prelude: Ave, maris stella, solemn tone Click Here
A traditional Latin hymn in honour of the Virgin. It is presented in Jubilate Deo as a hymn that should be a part of a minimal repertoire of Latin chant for Catholics. Prior to the reform it was appointed in the Roman breviary as the Vesperal hymn of the Assumption of the Blessed Virgin Mary. We present it as a choral prelude, but with music provided for the congregation so that they may participate if they choose.
Lucernarium: Your light will come, Jerusalem, setting by J.Michael Thompson.
An SATB a cappella setting, with a congregational refrain, of the canticle from Tobit provided in Roman liturgy for the lamp lighting during the dedication of a church. music is unpublished and available from the composer.
Opening verse:Click Here- intro.jpg
Traditional chant with doxology and alleluia. Our standard opening.
Alleluia: for the Assumption
In order to provide a more festive setting for the Solemnity, and to utilize more of the Gregorian repertoire, we have substituted for this celebration the usual simple alleluia given above, with the alleluia setting provided for the Solemnity for Mass in the Graduale Romanum. We have omitted the verse of the chant that would normally be sung at Mass. We have also setting it in a from of three part canon to highlight the sense of resonance of the piece. Modern notation is presented here.
Hymn: Mary the Dawn
Actually appointed for Lauds in the American Breviary, this hymn is in the form of a responsorial chant in an adapted version of the mode IV psalm tone.
In the current structure of the Liturgy of the Hours in the Roman Rite, three psalms follow. Sometimes, in the case of longer psalms, the psalms are broken up into smaller sections, and each section is used as one of the three psalms. In the case of the two principle hours, Lauds and Vespers (morning and evening prayer respectfully), a biblical canticle is utilized in one of the spaces for psalms. At Lauds an Old Testament Canticle is employed, sandwiched between to psalms. At Vespers a New Testament is utilized after two psalms or psalm sections. For the Solemnity of the Assumption, the psalms and canticles are taken from the Common of the Blessed Virgin Mary. Each psalm is associated with an antiphon.
First psalm and antiphon.
Antiphon: Assumpta est Maria in caelumClick Here- assumpta.jpg
Psalm: 122 (121); Lætus sum (The holy city, Jerusalem) Click Here-psalm122.jpg
The mode of the antiphon/psalm combination is VII, employing tone VII,a. Because the melody is relatively straightforward (and pretty), the antiphon interweaves with the psalm text so well, and because this particular antiphon/psalm combination does such a good job of expressing the central importance of the celebration, we have used the antiphon not only at the beginning and end of the psalm, but as a congregational refrain between psalm verses. Normally our congregation also joins I with the psalm verses and we have preserved this in our presentation. Some might wish to compare this adaptation of the Latin mode VII antiphon with the version of Dr. Paul Ford in his recent volume: By Flowing Waters.
One of the difficulties in using the Roman tones with modern English psalm translations is that the texts tend to be relatively terse, compared to the Latin. In setting the psalm verses to the Roman tones, we have doubled up the lines. This helps fit the words into the settings, preserves the sense of a tonic reciting note, and gives the verses as litany flavour. It is our practice to sometimes embellish the psalm tones with simply spontaneous vocal harmonies.
Some will notice that we are sometimes free with the rules of accents when applying the psalm tones to the English text. The method of applying the psalm tones to the English text has been an area of difficulty and experimentation. Although we are, for the time being, remaining with the traditional psalm tones, we appreciate the decisions of those, sch as St. Meinrad's Archabbey, who have abandoned these tones in favour of newer compositions wish preserve the modal character, but are more suited to the English text. This has been the path followed in many other chant traditions when moving to a new vernacular, as has been seen in the Byzantine Rite.
Second psalm and antiphon
antiphon: Maria Virgo assumptaClick Here-MariaVir.jpg
psalm: 127(126) Nisi Dominus (Apart from God our labours are worthless) {Psalm127}
This mode VIII antiphon/psalm combination is adapted from the Latin chant. The familiar tone VIII,g is used for the psalm.
New Testament canticle an antiphonClick Here- Canticle.jpg
antiphon: We share the fruit of life
N.T. canticle: Ephesians 1:3-10, Benedictus Deus (God our Saviour)
The Latine source antiphon appointed is an attractive mode IV setting. However, or congregation still finds mode IV unfamiliar and we felt there was enough unfamiliar material programmed in this liturgy. Also, the particular melody appointed does not easily transfer to the Englis text without significant adaptations. Because of these concerns, we set the antiphon to an Anglican chant tone which is familiar to us. It is composed by E.G. Monk and placed in Bflat major. The canticle verses are sung to the familiar VIII,g psalm tone. To match the VII.g tone with the antiphon, the "do" (also the reciting tone) is set at Bflat, which has the psalm tone resolve on F.
Reading: 1 Corinthians 15: 22-23.
Our usual practice is to chant the reading at the Liturgy of Hours. However, in larger celebrations we try to respect the principle of utilizing multiple and diverse ministers. Since most of our lectors are uncomfortable with chanting the readings, even using simple tones, this is often a point of compromise in our celebrations.
Short Responsorial Click Here-RespSqua.jpg
The response to the reading presented here is a somewhat mellismatic mode VI solemn setting. Despite its apparent complexity, it is usually sung well by our congregation. The reason, I think, is that, despite the multiplicity of notes, it flows in a very natural and easy fashion that is easy to parrot. Also, as a responsorial, the congregation (and choir) can follow the lead of the cantor. In addition, since, in the Gregorian repertoire, this is a stereotyped melody for more solemn celebrations, we end up using it frequently, changing the text as needed. Therefore, the setting actually becomes a familiar one.
The setting as written above leaves out the repetitions and cues, because the format is so stereotyped that it is familiar to us, and leaving them out is simpler and saves space. for those unfamiliar to the format, here is the full responsorial written explicitly, in round notes, as it appears in our congregational pew book.
Responsorial; round notes Click Here-Resprnd.jpg
Homily
Our homily, if done, is usually inserted at this point. It is also appropriate place it prior to the responsorial,, linking the homily closer to the Word.
Magnificat
antiphon: Hodie Maria VirgoClick Here-HodieMar.jpg
Magnificat: tone VIII.g with solemn mediant Click Here-MagVIIIg.jpg
Magnificat: tone VIII,g with Solemn mediant, SATB Click Here-MagVIIIg.NWC
The setting for the Magnificat is tone VIII, with the solemn mediant Some might notice that the antiphon actually calls for the VIII,g2 (rather than VIII,g) ending is used. We usually sing this tone using an SATB arrangement adapted from Montani's version of the same tone for the Latin text. This arrangement is the one that is familiar to our choir and congregation. The SATB arrangement in NWC format is given as the last selection above.
Litany (intercessions) Click Here
Although the term "intercessions" is the one most used for this section of the Office, and the term employed in the liturgical books, I think that "Litany" describes the section better.
Our Father: we normally utilize the familiar Snow setting.
Closing prayer: The prayer of the day, as used for the opening prayer in Mass
Benediction
The familiar Tantum Ergo, with arrangement by N.A. Montani is sung, and Benediction is given by the presiding priest.
Marian antiphon: Ave Regina cælorumClick Here- AveRegin.jpg Since we do not normally celebrate Compline as a parish, it is our custom, after the close of our Vespers celebration, to sing one of the antiphons of the Blessed Virgin Mary. The one recommended to be used on the Solemnity of the Assumption is the Ave Regina cælorum. Although we have used the solemn tone for this chant, the congregation is more familiar with the simple tone, which is what is presented here.
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