Laetentur Coeli!

That's the Offertory for Divine Service at Christmas Midnight - but I really just wanted to post Saint-Saëns' Tollite Hostias from his Christmas Oratorio, which uses the same text. This version is sweetly sung by Bavarian schoolchildren at their 2008 Christmas concert - and led by an enthusiastic conductor. Perfect.



I can't resist it, sorry. Here are the words (and maybe later I'll post the Gregorian chant, but right now I have to go sing the midnight service myself....

Tollite hostias,
et adorate Dominum
in atrio sancto eius.
Laetentur coeli,
et exultet terra
a facie Domini,
quoniam venit.

Bring offerings,
and adore the Lord
in his holy place.
Rejoice, heaven,
and exult, all the earth,
before the Lord,
for he comes.

Rejoice, heaven! A blessed Feast of the Nativity to all. See The Christmas Office here.

O Virgo Virginum: O Virgin of Virgins (2009)

December 23:

O Virgin of Virgins, how shall this be? For neither before thee was any like thee, nor shall there be after. Daughters of Jerusalem, why marvel ye at me? That which ye behold is a divine mystery.

Still no sound file available for this one; the only people who sing it are Anglican and Norbertine monastics - and that's a small population indeed.

(EDIT: There are now (12/2010) a couple of versions of this one at YouTube. The one linked in the commments, and this one - from Japan!:



)

And that is the last O Antiphon; it's now Christmas Eve. A blessed Feast of the Incarnation to all.

O Emmanuel (2009)

December 22:

O Emmanuel, our King and Lawgiver, Desire of all nations and their Salvation: Come and save us, O Lord our God.

And here, again, is the "O Antiphon" page at Full Homely Divinity.

Here, the wonderful Choir of Clare College, Cambridge, sings the great Advent hymn "O Come, O Come, Emmanuel"; the hymn developed around the 12th Century, taking its verses from the original Great "O" Antiphons. 

O Rex Gentium: O King of the Nations (2009)

December 21:

O King of Nations, and their Desire; the Cornerstone, who makest both one: Come and save mankind, whom thou formedst of clay.

More here and here.

And more from "Sapientia-tide: The Great O Antiphons."

Dec 17th:* O Wisdom that comest out of the mouth of the Most High, that reachest from one end [of the heavens] to another, and dost mightily and sweetly order all things: come to teach us the way of prudence!

Dec 18th: O Adonai, and Ruler of the house of Israel, who didst appear unto Moses in the burning bush, and gavest him the law in Sinai: come to redeem us with outstretched arm!

Dec 19th: O Root of Jesse, which standest for an ensign of the people, at whom the kings shall shut their mouths, unto whom the Gentiles shall seek: come to deliver us, make no tarrying!

Dec 20th: O Key of Davd and Sceptre of the house of Israel; that openest and no man shutteth; and shuttest and no man openeth: come to bring out the prisoners from the prison, and them that sit in darkness, and in the shadow of death!

Dec 21st: O Day-spring Brightness of the everlasting Light, Sun of Righteousness: come to give light to them that sit in darkness, and in the shadow of death!

Dec 22nd: O King of the Gentiles, yea, and Desire thereof, O Cornerstone that makest of twain [two] one: come to save man, whom Thou hast made of the dust of the earth!

Dec 23rd: O Emmanuel, our King and our Law-giver, Longing of the Gentiles, yea, and Salvation thereof: come to save us, O Lord our God!

(If the missing optional antiphon is used, it should be used on the 23rd and the others moved back one day: O Virgin of Virgins, how shall this be? For neither before thee was any like thee, nor shall there be after. Daughters of Jerusalem, why marvel ye at me? That which ye behold is a divine mystery.)

O Oriens: O Morning-Star (2009)

December 20:

O Day-Spring, Brightness of the Light everlasting, and Sun of righteousness: Come and enlighten them that sit in darkness and in the shadow of death.

Go here to listen to the Boston Camerata version I like best of any.

And more from "Sapientia-tide: The Great O Antiphons."

Each antiphon begins with a metaphor, a title for Christ, most evoking not just a passage but whole swathes of Scripture. This metaphor is expanded by ancillary images and references that add depth and dimension to the Scriptural stories. Last, an imperative beseeches Christ to come and liberate us from sin, death, and darkness. As we take the words and images of the prophets in our mouths, we join their cry for the coming of the babe of Bethlehem. And speaking our own future, we call for the Coming King who will consummate the redemption of all creation. And—furthermore—we cry Christ into our own hearts, asking that the birth of the divine child be not only in history of distant days or future consummation but that we see, we experience, his redemptive resurrection power in our own flesh.

O Clavis David: O Key of David (2009)

December 19:

O Key of David, Scepter of the house of Israel; that openeth and no man shutteth, and shutteth, and no man openeth: come, and bring forth from the prisionhouse the captive, who sitteth in darkness and in the shadow of death.

A new video of this one this year:



Here's the Musica Sacra mp3, with Magnificat.

More from "Sapientia-tide: The Great O Antiphons."

The antiphons are a mosaic of Scriptural citations and allusions. As Advent privileges the writings of the prophets, so the central image of each antiphon is drawn from a prophet nugget. Since the Book of Revelation was composed in a similar fashion—always in conversation with the prophets and the psalms—many of the antiphons have multiple Scriptural sources. We hear the words of the prophets not only from their own time and place but through the lens of New Testament's use of them as well. In the scriptural cloud that surrounds each core image, some links are obvious—others are less so, drawing on the interpretive methods and decisions of the Church Fathers.

Here's the English version of the chant score of "O Clavis David":

O Radix Jesse: O Root of Jesse (2009)

December 18:

O Root of Jesse, which standest for an ensign of the people, at whom kings shall stop their mouths, whom the Gentiles shall seek: Come and deliver us, and tarry not.

From the Blackfriars. You can listen to the antiphon sung on each side of Magnificat, as it really is sung, here via this mp3 file at this post at Musica Sacra, where 7 of the antiphons are posted together.

More from "Sapientia-tide: The Great O Antiphons."

Jumping back a thousand years, the deep roots of the antiphons in the English tradition may be seen in the leaves of the Exeter Book, a collection of poetic texts and riddles from the tenth century written in Old English. The opening lines—only partially preserved—are poetic paraphrases of not seven but twelve “O” antiphons that ponder the Advent, the time of waiting, the Incarnation, and its implications for fallen humanity. The choice of these antiphons is not happenstance—rather these texts are rich with spiritual and doctrinal content that beg for further expansion, explanation, and appreciation. I feel this urge today as surely as it was felt over a millennium ago.

Here's the chant score to the antiphon in English:

O Adonai (2009)

December 17:

O Adonai and Leader of the house of Israel, who appearedst in the Bush of Moses in a flame of fire, and gavest him the law in Sinai: Come and deliver us with an outstretched arm.

From the Blackfriars:



More from "Sapientia-tide: The Great O Antiphons."

A curious entry appears in the December liturgical calendar of English Books of Common Prayer. The year 1561 brought an influx of minor saints from the Roman cycle back into the calendar of the Elizabethan Book of Common Prayer by way of the Latin Book of Common Prayer used in college chapels—places where Latin was expected to be “a tongue understanded of the people.” But among this number came an entry that was not the name of a saint or martyr. December 16th bears the legend: O Sapienta—O Wisdom. Formally ratified by its inclusion in the calendar of the 1662 Prayer Book—still the official prayer-book of the Church of England and often considered the liturgical norm for the Anglican Communion—this entry holds an indisputable place in our history grounding the “O” Antiphons in the Anglican tradition although they have never yet appeared in an authorized prayer book. The Roman Catholic Church has retained these antiphons as well, but their course begins on December 17th—meaning that the Anglican tradition retains an antiphon no longer used by Rome. Ironically, the missing antiphon is the one addressed to the Blessed Virgin Mary.

Here's another version.

O Sapientia: O Wisdom (2009)

December 16:

O Wisdom, which camest out of the mouth of the most High, and reachest from one end to another, mightily and sweetly ordering all things: Come and teach us the way of prudence.

For each night this week, as I post the Great "O" Antiphons of Advent, I'll also post a paragraph from Derek's article, "Sapientia-tide: The Great O Antiphons."

I doubt you've heard of Sapientia-tide—but I'll bet you know “O Come, O Come Emmanuel.” The liturgical obscurity and the popular hymn are both vestiges of an ancient tradition that celebrates the Incarnation of Christ: The Great “O” Antiphons. The intentional liturgical communities of the Middle Ages—the monastic houses and cathedrals—always sang the Song of Mary, the Magnificat, as part of their Evening Prayer (Vespers). To further their meditation upon the various mysteries of Christ made present in the liturgical cycles, one-line antiphons drawn from biblical or traditional sources were interwoven with Mary's canticle. The verses we now know as “O Come, O Come Emmanuel” are versions of the antiphons traditionally sung on the seven nights leading up to Christmas Eve. These antiphons are worthy of our attention as we enter this time before Christmas for both their spiritual riches and for their place in our Anglican heritage.

A nice version here, although with dizzying visuals. And it includes the Magnificat, which most audio versions of the antiphons don't.



Here's more from the link above:

Photos are taken at Abteikirche Niederaltaich, Bavaria, Germany.

The Benedictine monastery of Niederaltaich was founded in 731 and has seen a lot of ups and downs during the centuries.

Monastery and village of Niederaltaich are placed next to the Donau river.

The Basilica of Niederaltaich is nowadays belonging to the worldly parish, but the monastery cares for the parish. It is dedicated to St. Mauritius.

An mp3 version is here; and another one here, sung along with the Magnificat.

Rejoice in the Lord Alway

The Introit for Advent III is Gaudete in Domino - "Rejoice in the Lord." Here's a beautiful video of the chant (no indication at the YouTube page about who's singing it):



Here's the full score:





The first part of the text is taken from Philippians 4:4-6 (the Epistle reading for Advent III in both the RCL and BCP lectionaries for Year C):

Rejoice in the Lord always. I will say it again: Rejoice! Let your gentleness be evident to all. The Lord is near. Do not be anxious about anything, but in everything, by prayer and petition, with thanksgiving, present your requests to God.

The second half is taken from Psalm 85, Benedixisti Domine: "LORD, You have been favorable to Your land; You have brought back the captivity of Jacob."

I posted about this Introit last year, too - but have since come to realize that there are some very nice polyphonic settings of this text. And also that I really like the English version of the text, so I'm giving it equal time this year; I especially like the older words:

Rejoice in the Lord alway, and again I say, rejoice. Let your softness be known unto all men, the Lord is e'en at hand. Be careful for nothing: but in all prayer and supplication, let you petitions be manifest unto God with giving of thanks. And the peace of God, which passeth all understanding, keep your hearts and minds
through Christ Jesu. Amen.

Here's one of those settings, for instance; we're singing this this Sunday. It isn't known who the composer was - kind of interesting, that, I think. It's sung by the College of William & Mary Choir, and they do a good job keeping a really brisk pace:



Here's the Choir of King's College, Cambridge, singing Henry Purcell's setting, also called "The Bell Anthem" - and it is gorgeous:




Here's one that isn't really "Gaudete" - but I like it all the same:

Arise, O Jerusalem!

It seems that the Revised Common Lectionary - and apparently we use a version created specially for the Episcopal Church, which makes me wonder what's so "ecumenical" about having adopted it in the first place? - is in fact following fairly closely the 1979 BCP Lectionary for the Sundays in Advent, at least. Well, except that it goes mad with Canticles in Year C, as a replacement for the Psalm.

In any case, for Old Testament this week we have the choice of readings from Baruch or Malachi; who, though, could resist the gorgeous Baruch reading, which comes from Chapter 5, verses 1-9:

Take off the garment of your sorrow and affliction, O Jerusalem,
and put on forever the beauty of the glory from God.
Put on the robe of the righteousness that comes from God;
put on your head the diadem of the glory of the Everlasting;
for God will show your splendor everywhere under heaven.
For God will give you evermore the name,
"Righteous Peace, Godly Glory."
Arise, O Jerusalem, stand upon the height;
look toward the east,
and see your children gathered from west and east
at the word of the Holy One,
rejoicing that God has remembered them.
For they went out from you on foot,
led away by their enemies;
but God will bring them back to you,
carried in glory, as on a royal throne.
For God has ordered that every high mountain and the everlasting hills be made low
and the valleys filled up, to make level ground,
so that Israel may walk safely in the glory of God.
The woods and every fragrant tree
have shaded Israel at God's command.
For God will lead Israel with joy,
in the light of his glory,
with the mercy and righteousness that come from him.

I even like the NRSV translation of this reading! I'm going to check a few others, but this one certainly must do it justice, I'd think.  I've come to notice that I really am a huge Old Testament fan; there is so much I love in the Hebrew Bible.  Psalms, the Prophets, the Apocrypha - all the really old, ecstatic and mystical poetry that so appeals to me.  I think I'm going to try to learn Hebrew, in fact; I'd like to read these things in the original.

And as usual, I checked the chant propers for this coming Sunday (this more recent version, too) - and lo and behold, I find the lovely "stand upon the height" verse embedded in the Communio for Advent 2 (mp3):

Jerusalem surge, et sta in excelso, et vide
jucunditatem quae veniet tibi a Deo tuo.

Arise, O Jerusalem, and stand on high, and behold
the joy that comes to thee from thy God!

Giovanni Battista Martini and Heinrich Isaac have both apparently written settings of this song, says CPDL (which BTW is now a registration-required site). I believe this must be the Heinrich Isaac piece, and it is very beautiful indeed:



Here's another version, not mentioned above, by one Giacomo Mezzalira. Nice, too!



Interestingly, there is another version of "Jerusalem, Surge," one used in Holy Week - it's the Responsory II of the Tenebrae Responsories for Holy Saturday - which does exactly the reverse of what the reading above does!  Here's the chant (sung by Benedictines from Solesmes) with score, and the Latin text and English translations from CPDL below; CPDL says the texts come from Jonah 3:6 and Lamentations of Jeremiah 2:18:

Jerusalem, surge, et exue te vestibus
jucunditatis; induere te cinere et cilicio:
quia in te occisus est Salvator Israel.
Deduc quasi torrentem lacrimas per diem et noctem,
et non taceat pupilla oculi tui.

Arise, O Jerusalem, and put off thy garments
of joy; put on ashes and sackcloth:
For in thee was slain the Saviour of Israel.
Shed thy tears like a torrent, day and night,
and let not the apple of thine eye be dry.

And Gesualdo and Benedetto Pesenti have written settings of this one. Here's the Gesualdo, sung by the Hilliard Ensemble (sorry for the mournful Holy Week-ishness of this, but I can't resist Gesualdo):




So here's what must have happened:  the author of the responsory (I'm sure this must be the correct scenario) used the Jonah passage to respond directly to the author of the Communion Song/Baruch, using the converse of the image.  Isn't that wonderful?   And of course, this is done throughout the Scriptures, too; everybody is constantly responding to somebody else across time and space through their writings.

And this is what I love - more and more, actually - about the Scriptures of late. There are long drawn-out conversations and discussions going on throughout them - poets speaking in rhymes and rhythms to one another, and ideas picked up centuries later and elaborated upon - and we get to watch from this distant country. It's really beautiful.

Universi, qui te exspectant

Universi, qui te exspectant is the Gradual for the First Sunday of Advent. Here's an mp3 of this chant, sung by the Benedictines of Brazil. Very, very beautiful.

Here's another wonderful version, this time from Giovanni Vianini's Schola Gregoriana Mediolanensis:



The text comes from Psalm 25:3-4:

1 Unto thee, O LORD, do I lift up my soul.

2 O my God, I trust in thee: let me not be ashamed, let not mine enemies triumph over me.

3 Yea, let none that wait on thee be ashamed: let them be ashamed which transgress without cause.

4 Shew me thy ways, O LORD; teach me thy paths.

5 Lead me in thy truth, and teach me: for thou art the God of my salvation; on thee do I wait all the day.

6 Remember, O LORD, thy tender mercies and thy lovingkindnesses; for they have been ever of old.

7 Remember not the sins of my youth, nor my transgressions: according to thy mercy remember thou me for thy goodness' sake, O LORD.

I'm not sure what this is, but it does use the same text, at least to start out with. And I like the Colby Chorale ("Men, Women & Tangos"), don't you?



Last year I published all the Introits for the Sundays of Advent; here's a video (unavailable last year) of the Advent I Introit, Ad te, levavi, which also comes from Psalm 25:



Here is a post about the hymns of the Advent Office, also from last year.


Here are all the chants for the day, from ChristusRex.org:

Hebdomada Prima Adventus
Dominica Introitus: Ps. 24, 1-4 Ad te levavi (3m29.7s - 3275 kb) score
Graduale: Ps. 24, 3. V. 4 Universi, qui te exspectant (2m00.6s - 1887 kb) score
Alleluia: Ps. 84, 8 Ostende nobis (2m41.5s - 2525 kb) score
Offertorium: Ps. 24, 1-3 Ad te, Domine, levavi (1m41.0s - 1579 kb) score
Communio: Ps. 84, 13 Dominus dabit benignitatem (51.2s - 801 kb) score

And these are posts on Chantblog for the Advent 1 propers:

• The Introit: Ad Te Levavi Animam Meam
• The Gradual: Universi, qui te exspectant
• The Advent I Alleluia: Ostende nobis Domine ("Show us thy mercy, O Lord")
• The Offertory: Ad te, Domine, levavi
• The Communio:  Dominus Dabit
• The Advent Office

A blog worth checking out

And that blog is the somewhat dauntingly-named "The Hopeless Journey," which describes itself with this tagline:

The Hopeless Journey is my attempt to explore the entire history of western music, or at least the important parts of it... that we know about... and that I can purchase on iTunes in some form. As someone who listened primarily to popular music for the first 28 years of his life, I hope to provide a unique perspective on this music that so many of my generation have written off. There are gems to be found here, so come help me look for them.

An amazing amount of great stuff for lovers of early music and chant. Thanks, Traveler!

The Last Sunday after Pentecost

Hymn melodies for the whole year from the Sarum service-books does not list this day, in some traditions known as "The Feast of Christ the King," as a feast day.

There is good reason for that. According to this Wikipedia page, "Pope Pius XI instituted the Feast of Christ the King in 1925, in response to growing nationalism and secularism. In Pope John XXIII's 1960 revision of the Calendar, the date and title remained the same and, in the new simpler ranking of feasts, it was classified as a feast of the first class." So this is too recent a development to have been included in the medieval Sarum calendar.

And in fact, the 1979 Book of Common Prayer does not list this day as a feast day, either; it's simply "The Last Sunday After Pentecost" - the Sunday before Advent starts.

So, to celebrate this non-feast day, I will post part of this article from the newsletter The Angelus, by Stephen Gerth, Rector of the Church of St. Mary the Virgin:

The Episcopal Church does not call the last Sunday of the Church year “Christ the King.” In our Prayer Book it is simply “The Last Sunday after Pentecost.” Yes, our prayers and lessons are about the kingship of Christ. At Solemn Mass and at Evensong we will sing some of the greatest hymns on this theme. I think our Episcopal Church’s particular decision merits wider and greater appreciation.

Since its earliest days the Church has had a feast of the kingship of Christ. It’s Epiphany, which along with Easter, Pentecost and Christmas are the great ancient celebrations of the Church. Note that aside from Trinity Sunday, the liturgical tradition does not have thematic Sunday observances. Our celebrations are rooted in the historical events of Jesus’ life, death and resurrection. Our days and our lives find their meaning in his life, in his gospel.

The Christian community is plagued, world without end, not only by anachronism – reading the present into the past, it’s also plagued by amnesia – forgetting what has been. In origin, Christ the King wasn’t about Christ; it was about the pope. I have a hunch that some leaders of our Church remembered this as the 1979 Book of Common Prayer was being created.

In 1925, Pope Pius XI had yet to make the treaty with Mussolini that would turn the Vatican into an independent city state. Like all popes since the loss of Rome in 1870, he considered himself a prisoner of the Vatican. His encyclical Quas Primas proclaimed the celebration of Christ the King and fixed it on the last Sunday in October. The pope gave a very clear reason for its institution: to fight anti-clericalism. I think it’s fair to say that the liturgical reformers of the 1960s and 1970s quietly ignored its origins. They moved the feast to the end of the Church year with a focus on the time when God will be all in all.

This parish, like the Episcopal Church, stands for a particular theological and historical Christianity. We are certainly not perfect. But since I encountered the Episcopal Church and the Anglican tradition in college it seemed to me then, and still does, to embrace what is best of the Catholic and Protestant experience. Our commitment to Christ as Anglican Christians has survived monarchs, revolutions and civil wars. We found a way to end slavery. We are working to find ways to welcome all into the life of God’s Church. We continue to work for conversion, justice and freedom. Episcopalians care and give to help those who are hungry, to those who will never have the capacity in this life to take care of themselves. We try to tell the truth about what has been and what we believe God plans in his love for us. I am very proud to be an Episcopalian.

Lapidem

An interesting new find: Vocal Ensemble Gregoriana, from the Netherlands. "Gregorian chant based on tenth-century manuscripts and inspired by oral oriental traditions." Here's their rendition of Psalm 118:22-23:



Here's the note from the YouTube page:

Lapidem, quem reprobaverunt aedificantes, hic factus est in caput anguli: a Domino factum est, et est mirabile in oculis nostris.

Psalm 118(117): 22.23

The stone which the builders refused is become the head stone of the corner. This is the Lord's doing; it is marvellous in our eyes.

"Lapidem" is the second verse of the offertory "Benedictus qui venit" sung by Geert Maessen in the Amsterdam Obrechtchurch on June 17th, 2009.

Saint Gall neumes: tenth century, CH-E 121, p. 224 and CH-SGs 339, p. 113. Fluxus score: 2009, Geert Maessen, Amsterdam

Interesting to see, first, the old-style neume notation in the manuscript, and then the modern rendition of it. See "lelalilu"'s YouTube channel page for more.

"Father, in whom thy saints are one...."

Don't miss this lovely Evensong, sung earlier today, October 28, at All Saints Church, Margaret Street, London.

Angelus
Responses: Plainsong
Psalms: 148, 150 (Plainsong)
First Lesson: Isaiah 65 vv17-25
Office Hymn: Father, in whom thy saints are one (Veni redemptor)
Canticles: Walmisley in D
Second Lesson: Hebrews 11 v32 - 12 v2
Anthem: Timete Dominum (Byrd)
Hymn: Hark, the sound of holy voices (Deerhurst)
O salutaris hostia (French chant)
Te Deum (Solemn Tone)
Tantum ergo (de Severac)
Organ Voluntary: Fantaisie sur le Te Deum et Guirlandes Alleluiatiques (L'Orgue Mystique) (Tournemire)

Organist: Henry Parkes
Director of Music: Paul Brough.

Wonderful voices! And some gorgeous chant - especially that Office Hymn....

Anglican Chant, Part the Third

The Saint Paul Cathedral Choir sings Psalm 121:



As ever, from the wonderful Coverdale Psalter:

Psalm 121. Levavi oculus

1. I WILL lift up mine eyes unto the hills : from whence cometh my help.
2. My help cometh even from the Lord : who hath made heaven and earth.
3. He will not suffer thy foot to be moved : and he that keepeth thee will not sleep.
4. Behold, he that keepeth Israel : shall neither slumber nor sleep.
5. The Lord himself is thy keeper : the Lord is thy defence upon thy right hand;
6. So that the sun shall not burn thee by day : neither the moon by night.
7. The Lord shall preserve thee from all evil : yea, it is even he that shall keep thy soul.
8. The Lord shall preserve thy going out, and thy coming in : from this time forth for evermore.

New from Liturgica.com

Liturgica.com now has a video library, here, with about 10 different videos, some Byzantine chant, some Greek, some Znamenny chant.

The first group is "The Romeiko Ensemble, Performing at the National Library of Greece, Dec. 13, 2006"; the second is "St John Men's Chorale, Performing at Holy Virgin Mary Cathedral, San Francisco, 2008."

I can't embed these here, I don't think, so there's the link for you.

(A little bit) More about Ergo Maris Stella, verbi dei cella

In re: my previous post, I did find this PDF file online, which comes from the site of The Schola Antiqua of Chicago. The PDF is titled: "LONG JOY, BRIEF LANGUOR" and subtitled "The Anonymous English Quem malignus spiritus Mass."

The relevant section is notated thusly: "Alleluia (V. Ave Maria Dominus tecum) and Sequence: Ave maria…virgo serena." Ergo Maris Stella is taken from the Sequence (and as usual, I find myself attracted to Sequence Hymns, even without knowing it!). I've put the words to Ergo Maris Stella, verbi dei cella in bold purple in both the Latin and the English:

Alleluia
Ave Maria gratia plena
Dominus tecum:
benedicta tu in mulieribus.
Ave Maria, gratia plena,
Dominus tecum—virgo serena.
Benedicta tu in mulieribus—
que peperpisti pacem hominibus
et angelis gloriam.
Et benedictus fructus ventris tui—
qui coheredes ut essemus sui
nos, fecit per gratiam.
Per hoc autem Ave
Mundo tam suave,
Contra carnis iura
Genuisti prolem
Novum stella solem
Nova genitura.
Tu parvi et magni,
Leonis et agni,
Salvatoris Xpisti
Templum extitisti,
Sed virgo intacta.
Tu floris et roris,
Panis et pastoris,
Virginum regina
Rosa sine spina,
Genitrix es facta.
Tu civitas regis iusticie,
Tu mater es misericordie,
De lacu faecis et miseriae
Theophilum reformans gratie.
Te collaudat celestis curia,
Tibi nostra favent obsequia,
Que es Dei mater et filia,
Per te reis donatur venia.
Ergo maris stella,
Verbi Dei cella
Et solis aurora,
Paradysi porta,
Per quam lux est orta,
Natum tuum ora,
Ut nos solvat a peccatis,
Et in regna claritatis
Quo lux lucet sedula,
Collocet per secula.
Amen.

Alleluia.
Hail Mary, full of grace,
The Lord is with you:
Blessed are you among women.
Hail Mary, full of grace,
The Lord is with you—O serene virgin.
Blessed are you among women,
you who bore peace for humankind
and glory for the angels.
And blessed is the fruit of your womb—
he who makes us his heirs through grace,
so that we might be his.
But though this “Ave” —
So pure and sweet,
Contrary to the law of the flesh—
You, O star, through a new birth
Brought forth your offspring,
The new sun.
You stand out as the temple
Of the humble and the great,
Of the lion and the lamb,
Of Christ the savior—
Yet you remain a virgin.
You have been made mother
Of the bud and the dew,
Of the bread and the shepherd
You are queen of virgins,
Rose without thorns.
You are the city of the king of justice,
You are mother of mercy,
From the pool of impurity and misery
You recast one who through grace
becomes a lover of God.
You the celestial curia
together praises in song,
To You our services are devoted,
You who are mother and daughter of God,
Through You the pardon for guilt is offered.
Therefore star of the sea,
Sanctuary of the word of God
And dawn of the sun,
Door of paradise
Through which the Light is born:
Pray to Him your Son,
That He might free us from sins,
And place us in the kingdom of clarity,
Where the sedulous light shines
Through all ages.
Amen.

Here's the video again, from Psallentes:



The notes in that PDF from the Chicago Schola say, first, that:

The Missa Quem malignus spiritus is an anonymous English setting of the cyclic mass for three voices and remains one of the earliest known masses to be unified by a single plainchant melody. This mass is based on a responsory chant found in just one mid-fifteenth-century source. This source bears the rhymed office of John (Thweng) of Bridlington, a fourteenth-century English saint canonized in 1401 (d. 1379). The mass seems to have appeared a little more than a generation after his canonization. While this saint represents an obscure figure of ostensibly local renown, the Missa Quem malignus spiritus is found well beyond the English orbit, remarkably in the famous Trent Codices—one of the largest sources of fifteenth-century polyphony—as well as in a fragment from the city of Lucca. In this mass setting, the lowest voice sings the melody of the responsory chant, while the upper voices unfold two independent lines to form the polyphony. The rhythmic texture of the upper voices is extremely subtle and complex, and rhythm itself seems to be treated as something of a dissonance which is “resolved” at cadences. Melodic imitation is clearly audible between the two upper voices.

The section about Ergo, Maris Stella has this:

We supplement the Missa Quem malignus spiritus with four plainchants, which fall into their proper place in the Mass with one exception (the Marian antiphon Ave regina caelorum). The plainchant genres of Alleluia and sequence formed a splendid prelude to the Gospel in the medieval liturgy, and many of the most highly developed musical moments created by and for the medieval cantor appear at this moment. The Alleluia. Ave Maria was sung as early as the tenth century and probably represents the work of ninth-century Frankish cantors. The sequence Ave Maria...virgo serena demonstrates the new style of both poetry and music that emerged in the late eleventh and twelfth centuries. The poetry of the sequence is rhymed without being strictly metrical, and the music is shaped by the rhythmic flow and rhymed lines of the text. While this sequence originated in the south German sphere around 1100, by the fifteenth century it was sung throughout Europe.

It seems to me that the notes above are saying that the Sequence Ave maria…virgo serena does not necessarily belong with the Quem malignus spiritus Mass, but that it could possibly have been sung with it as a chant proper to the day, as the two separate pieces were being used around the same time.

But, at least that's a bit more information about this very pretty tune.

The Well-Tempered Clavier, Again

Awhile back, I posted this wonderful link that offers great audio, stunning video/animations to go with the music, and terrific analysis of all the fugues in both Well-Tempered Clavier books - and now I'll give you another.

Here's a site where you can download PDFs of both Well-Tempered Clavier books; each book comes in two parts (#1-12 in Part 1, and #13-24 in Part 2). All Preludes and all Fugues are included.

I've been meaning to go over to that other site, the one with audio and video, and thank that guy for doing all that incredible work - and I think I will....

(Yes, this is Chantblog, but for me J.S. Bach is a serious weakness. Indulge me.)

Ergo Maris Stella, verbi dei cella

A lovely Ave Maria, from the Belgian chant group Psallentes.



A blurb at the YouTube page says:

This is part of the gregorian chant prosa 'Ave Maria'. Listen while watching the same in the original manuscript (E-Bc 911, which is a cantorale from Girona). This is from the cd 'Llibre Vermell de Montserrat' RIC 260.

This is an obscure text, as far as I can tell; there's not much in English on the web about it. Much of what Psallentes does seems to be taken from rather obscure old manuscripts; I'm really looking forward to learning more about the pieces they are singing. Here's their terrific YouTube channel.

(Amusingly, there's a Psallentes Ladies, too, on their own section of the the website. Here's what it says about them there:

Making a striking début at the Alden Biesen ‘Day of Early Music’ in 2007, a female version of Psallentes has arisen from the original. Eight young female singers devoted themselves to the interpretation of the ethereal music of Hildegard von Bingen. This may lead to a CD of the female ensemble, to appear in 2009. Meanwhile the project ‘Gregorian chant for young female voices’ made a second appearance with ‘De Begijntjesprocessie’ (Procession of the Beguines) a programme dedicated to the Gregorian chant of the Beguines, originating from various Flemish beguinages in sources from the late Middle Ages.)

Very interesting to me, the thing about the Beguines; I have a strong interest in one of those women, the 13th-Century Marguerite Porete (burned at the stake for heresy, of course). The Ladies are actually how I found this ensemble to begin with, after coming across their gorgeous version of "O Sacrum Convivium."

Rachmaninoff's "Bless the Lord, O My Soul"

A gorgeous piece of music, from Rachmaninoff's Vespers: Blagoslovi, Dushe Moya (the text comes from Psalm 104):



The translation given at the YouTube page is this:

Bless the Lord, O my soul,
blessed art Thou, O Lord.
O Lord my God, Thou art very great.
Blessed art Thou, O Lord.
Thou are clothed with honor and majesty.
Blessed art Thou, O Lord.
The waters stand upon the mountains.
Marvelous are Thy works, O Lord
The waters flow between the hills.
Marvelous are Thy works, O Lord.
In wisdom hast Thou made all things.
Glory to Thee, O Lord, who hast created all!

Rachmaninoff also wrote a Liturgy of St. John Crysostom that includes "Bless the Lord, O My Soul" - but I do believe this is the version for Vespers.

Will look more into this and return with what I find. I honestly don't know very much, from either experience or reading, about Orthodox liturgy, but am trying to learn.

[EDIT: Our great friend Caelius notes in comments that "This Psalm is the standard opening of the Orthodox Vespers service and is considered in that tradition to be a song of Adam."

Thanks, Caelius.]

The Introit Gaudeamus

It doesn't take too long to find the answer to even the most obscure question any more! I went Googling (and a Hey, Nonny, Nonny...) and found exactly what I was looking for when I asked Ben about Gaudeamus used an an Introit. It comes from a chapter called "Josquin's Mass for All Saints and the Book of Revelation" in a book titled Symbolic scores: Studies in the music of the Renaissance:

It should be pointed out, however, that the Introit "Gaudemus" - as ascertained already by Helmuth Ostoff - is also used for a large number of saints' days as well as for the feast of All Saints (November 1). The Introit sung in the Mass of Saint Agatha (February 5) is the oldest version. Its text is the same as that of Example 1, except that it has "Agathae martyres: de cujus passione" (Agatha martyr, at whose passion) instead of "Mariae virginis: de cujus assumptionae" (the Virgin Mary, for whose Assumption). From the eleventh century onwards, the antiphon appears in at least seven other Masses. In the Introit of All Saints the text passage quoted above reads "Sanctorum omnium de quorum solemnitate" (of all the Saints, at whose solemnity).

Below is the "Example 1" referred to above:

[Another Edit: Ben to the rescue in the comments again! Still another of my questions answered, and I'll simply quote him directly again:

Regarding the Assumption: 'Gaudeamus' was the introit until 1950. That's when Pope Pius XII defined the dogma of the Assumption, and at that stage he replaced the ancient proper with a confected set of texts that more closely related to the dogma as defined, including the new introit 'Signum Magnum'. Not sure where the music for that came from. The wisdom of replacing wholesale an ancient festal proper is questionable, so in the revised Graduale Romanum in the 1970s, both Gaudeamus and Signum Magnum are offered as alternatives.

Thanks a million, Ben!]

Messe de Nostre Dame, Guillaume de Machaut

From this YouTube entry:

Guillaume de Machaut, sometimes spelled Machault, (c. 1300 April 1377), was an important Medieval French poet and composer. He is one of the earliest composers for whom significant biographical information is available.

Guillaume de Machaut was "the last great poet who was also a composer,". Well into the 15th century, Machaut's poetry was greatly admired and imitated by other poets including the likes of Geoffrey Chaucer.

Machaut was and is the most celebrated composer of the 14th century. He composed in a wide range of styles and forms and his output was enormous. He was also the most famous and historically significant representative of the musical movement known as the ars nova.

Machaut was especially influential in the development of the motet and the secular song (particularly the lai, and the formes fixes: rondeau, virelai and ballade). Machaut wrote the Messe de Nostre Dame, the earliest known complete setting of the Ordinary of the Mass attributable to a single composer, and influenced composers for centuries to come.

Here's the "Ensemble Organum" version of the Gloria from that page:



Interesting to read the comments on that page; apparently each recording of this mass - and most likely other music from that time and earlier - is an approximation/estimate/guess about how it originally was sung and sounded. This version seems very "Moorish" (perhaps ?), as one commenter noticed.

Here's a different version of the Machaut Messe de Nostre Dame, from "Ensemble Giles Binchois". It begins, "Gaudeamus," so I think this version must include the chant propers; Gaudeamus is the Introit for All Saints' Day - but also, I'm reading, historically for The Feast of the Assumption, which makes more sense in this circumstance, since it's the "Messe de Nostre Dame," after all. [EDIT: A commenter, Ben, helpfully notes that:

The Ensemble Giles Binchois is indeed singing Mass of the Assumption. The introit text varies according to the feast on which it is used - this version bids us rejoice 'sub honore Mariae Virginis, de cujus Assumptione gaudent angeli'.]

Thank you very much, Ben! I'll still need to look more at that and see what I find - would like to know more about "Gaudemus" and its use - but meantime, here's the piece:



Here's the Kyrie from the Ensemble Binchois:



And here's the Binchois Gloria:



Here's the Sanctus:



Here's the Agnus Dei:



There seem to be 14 videos in all of the latter version, all available if you click over there. Dominique Vellard is the guy with the curly hair; I've come across him before.

This is really beautiful music, isn't it?

Ss. Michaelis, Gabrielis et Raphaelis, Archangelorum (St. Michael and All Angels, that is): September 29

Today is the Feast of St. Michael and All Angels: Michael ("Who is like God?"); Gabriel ("God is my champion"); Raphael ("God heals"); Uriel ("God is my light"). More about this:

The word El appears in other northwest Semitic languages such as Phoenician and Aramaic and in Akkadian ilu as an ordinary word for god. It is aso found also in the South-Arabian dialects and in Ethiopic, and as in Hebrew it is often used as an element in proper names. In northwest Semitic texts it appears to be often but not always used of one single god, of "the God", the head of the pantheon, sometimes specifically said to be the creator.

El is used in both the singular and plural, both for other gods and for the God of Israel. As a name of God, however, it is used chiefly in poetry and prophetic discourse, rarely in prose, and then usually with some epithet attached, as "a jealous God." Other examples of its use with some attribute or epithet are: El ‘Elyon ("most high God"), El Shaddai ("God Almighty"), El ‘Olam ("everlasting God"), El Hai ("living God"), El Ro’i ("God of seeing"), El Elohe Israel ("God, the God of Israel"), El Gibbor ("Hero God"). In addition, names such as Gabriel ("Hero of God"), Michael ("Who is Like God"), and Daniel ("God is My Judge") use God's name in a similar fashion.

Here's the Collect for the day, which is also called "Michaelmas":

Everlasting God, you have ordained and constituted in a wonderful order the ministries of angels and mortals: Mercifully grant that, as your holy angels always serve and worship you in heaven, so by your appointment they may help and defend us here on earth; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.

And the New Testament reading, from Revelation 12:7-12:

War broke out in heaven; Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven. The great dragon was thrown down, that ancient serpent, who is called the Devil and Satan, the deceiver of the whole world-- he was thrown down to the earth, and his angels were thrown down with him. Then I heard a loud voice in heaven, proclaiming,

"Now have come the salvation and the power
and the kingdom of our God
and the authority of his Messiah,
for the accuser of our comrades has been thrown down,
who accuses them day and night before our God.
But they have conquered him by the blood of the Lamb
and by the word of their testimony,
for they did not cling to life even in the face of death.
Rejoice then, you heavens
and those who dwell in them!
But woe to the earth and the sea,
for the devil has come down to you
with great wrath,
because he knows that his time is short!"

And of course, Jacob's Ladder with angels ascending and descending, from Genesis, too.

Here's something about Michael:

Michael (Hebrew: מִיכָאֵל‎, Micha'el or Mîkhā'ēl; Greek: Μιχαήλ, Mikhaḗl; Latin: Michael or Míchaël; Arabic: میکائیل‎, Mikā'īl) is an archangel in Jewish, Christian and Islamic tradition. He is viewed as the field commander of the Army of God. He is mentioned by name in the Book of Daniel, the Book of Jude and the Book of Revelation. In the book of Daniel, Michael appears as "one of the chief princes" who in Daniel's vision comes to the angel Gabriel's aid in his contest with the angel of Persia (Dobiel), and is also described there as the advocate of Israel and "great prince who stands up for the children of your [Daniel's] people".

The Talmudic tradition rendered Michael's name as meaning "who is like El?", - so Michael could consequently mean "One who is like God." But its being a question is alternatively understood as a rhetorical question, implying that no one is like God.

And Gabriel:

In Abrahamic religions, Gabriel (Hebrew: גַּבְרִיאֵל, Modern Gavriʼel Tiberian Gaḇrîʼēl; Latin: Gabrielus; Greek: Γαβριήλ, Gabriēl; Arabic: جبريل, Jibrīl or جبرائيل Jibrail; Aramaic: Gabri-el, "strong man of God"[1]) is an angel who serves as a messenger from God. Based on two passages in the Gospel of Luke, many Christians and Muslims believe Gabriel to have foretold the births of both John the Baptist and Jesus.

And Raphael:

Raphael (Standard Hebrew רָפָאֵל, Rāp̄āʾēl, "It is God who heals", "God Heals", "God, Please Heal", Arabic: رافائيل, Rāfāʾīl) is the name of an archangel of Judaism, Christianity and Islam, who performs all manner of healing.

The angels mentioned in the Torah, the older books of the Hebrew Bible, are without names. Rabbi Shimon ben Lakish of Tiberias (A.D. 230-270), asserted that all the specific names for the angels were brought back by the Jews from Babylon, and modern commentators would tend to agree.

Raphael in the Book of Enoch

Raphael bound Azazel under a desert called Dudael according to Enoch 10:5-7:

"And again the Lord said to Raphael: 'Bind Azazel hand and foot, and cast him into the darkness: and make an opening in the desert, which is in Dudael, and cast him therein. And place upon him rough and jagged rocks, and cover him with darkness, and let him abide there for ever, and cover his face that he may not see light. And on the day of the great judgement he shall be cast into the fire."

Of seven archangels in the angelology of post-Exilic Judaism, only Michael, mentioned as archangel (Daniel 12:1) and Gabriel are mentioned by name in the scriptures that came to be accepted as canonical by all Christians. Raphael is mentioned by name in the Book of Tobit, which is accepted as canonical by Catholics and Orthodox. Four others, however, are named in the 2nd century BC Book of Enoch (chapter xxi): Uriel, Raguel, Sariel, and Jarahmeel.

I think I'll leave these last Enoch angels for my 2010 post!

The Introit for the day is Benedicite Dominum, from Psalm 102:20 (103:20 in the Anglican reckoning), the second half being the wonderful Verse 1 from the same Psalm:

Bless the Lord, all ye his angels: you that are mighty in strength, and execute his word, hearkening to the voice of his orders. Bless the Lord, O my soul: and let all that is within me bless his holy name.

Here's the mp3 from the Benedictines of Brazil, and below is the chant score:





The Offertory for the day is Stetit angelus, from Revelation 8:3-4:

3 And another angel came and stood before the altar, having a golden censer: and there was given to him much incense, that he should offer of the prayers of all saints, upon the golden altar which is before the throne of God.

4 And the smoke of the incense of the prayers of the saints ascended up before God from the hand of the angel.

Here's the mp3, and below is the chant score:





Here's Giovanni Vianini's version of this Offertory:



And this Stetit angelus comes from a contemporary composer, Giovanni Bonato:



The Communion song for the day is Benedicite, omnes angeli, from Daniel 3:58 (part of the Benedicite, omnia opera):

O ye angels of the Lord, bless the Lord: praise and exalt him above all for ever.

here's the mp3, and below is the chant score:





See also the Office hymns, posted last year.

Here's a nice Guido (Reni, that is) of St. Michael:





I posted a lot of Michael images last year - they're a dime a dozen - but you know, I'd really like to give Gabriel and Raphael some equal time this year, so here goes.
About Raphael:

The name of the angel Raphael appears only in the Deuterocanonical Book of Tobit. The Book of Tobit is considered canonical by Roman Catholic and Orthodox Christians. Raphael first appears disguised in human form as the travelling companion of the younger Tobias, calling himself "Azarias the son of the great Ananias". During the adventurous course of the journey the archangel's protective influence is shown in many ways including the binding of the demon in the desert of upper Egypt. After the return and the healing of the blindness of the elder Tobit, Azarias makes himself known as "the angel Raphael, one of the seven, who stand before the Lord" Tobit 12:15. Compare the unnamed angels in John's Revelation 8:2. Christian churches following Catholic teachings (Roman, Oriental, Orthodox, Anglican, etc) venerate and patronize him as Saint Raphael.

Regarding the healing powers attributed to Raphael,[1] we have little more than his declaration to Tobit (Tobit, 12) that he was sent by the Lord to heal him of his blindness and to deliver Sarah, his daughter-in-law, from the devil (Asmodeus) that was the serial killer of her husbands.[2] Among Catholics, he is considered the patron saint of medical workers and matchmakers, travellers and may be petitioned by them or those needing their services.[3]

And - saving the best for last - I'm sure I don't need to mention (yet again) my fondness for this Annunciation by Sandro Botticelli, and the terrific take on the Archangel Gabriel:

September 17: Hildegard von Bingen

The Collect, via Satucket:

O God, by whose grace your servant Hildegard, kindled with the fire of your love, became a burning and shining light in your Church: Grant that we also may be aflame with the spirit of love and discipline, and walk before you as children of light; through Jesus Christ our Lord, who lives and reigns with you, in the unity of the Holy Spirit, one God, now and for ever.

The First Lesson comes from one of my favorite of all books:

Sirach 43:1-2, 6-7, 9-12, 27-28


The pride of the higher realms is the clear vault of the sky,
as glorious to behold as the sight of the heavens.
The sun, when it appears, proclaims as it rises
what a marvelous instrument it is, the work of the Most High.
It is the moon that marks the changing seasons,
governing the times, their everlasting sign.
From the moon comes the sign for festal days,
a light that wanes when it completes its course.
The glory of the stars is the beauty of heaven,
a glittering array in the heights of the Lord.
On the orders of the Holy One they stand in their appointed places;
they never relax in their watches.
Look at the rainbow, and praise him who made it;
it is exceedingly beautiful in its brightness.
It encircles the sky with its glorious arc;
the hands of the Most High have stretched it out.
We could say more but could never say enough;
let the final word be: "He is the all."
Where can we find the strength to praise him?
For he is greater than all his works.

Here is a video labelled "'O Ierusalem', la Séquence de Saint Rupert"; the singers are "Sequentia Women's and Instrumental Ensemble;Maria Jonas;Diane Severson;Allegra Silbiger."



At Liturgica.com, you'll find a few mp3 samples of her work, and this blurb, explaining the "St. Rupert" reference:

After being forgotten for several centuries, Hildegard von Bingen is recognized today as one of the universal minds in Western culture. The abbess at the monastery of Saint-Rupert close to the town of Bingen, Hildegard was a composer, writer, physician and visionary who lived in the 12th century AD.

Below is another video, this one labelled "Hildegard of Bingen, O magne Pater." Here's the blurb over there:

III. Antiphon from the vesper of St. Hildegard of Bingen, Schola of Benedictine sisters of Abbey St. Hildegard, Eibingen.

O großer Vater, III. Antiphon aus der Vesper der Hl. Hildegard von Bingen, Schola der Benediktinerinnenabtei St. Hildegard, Eibingen

And here is "Spiritus Sanctus," which I believe I've sung parts of:



Here's an article at the Fordham server about Hildegard. I still love this little poem, which I was introduced to about 5 years ago at a time when I was really hardly very interested in any of this stuff and was actively furious at the church (even more than I am now!):

Holy Spirit,
Giving life to all life,
Moving all creatures,
Root of all things,
Washing them clean,
Wiping out their mistakes,
Healing their wounds,
You are our true life,
Luminous, wonderful,
Awakening the heart from its ancient sleep.

There's an interesting variety of images of Hildegard out there; for some reason I'm partial to this one:

The Introit for the Maundy Thursday Evening Mass: Nos autem gloriari

Below is Giovanni Vianini's version of Nos autem gloriari, the Introit for Maundy Thursday (it's also used on September 14's feast,  In Exaltatione Sanctæ Crucis  - The Exaltation of the Holy Cross).   It's a beautiful song, with texts taken from the wonderful Galatians 6:14 and also from Psalm 67; see full texts below the video.



Here are the words in Latin and English, with citations from Galatians and Psalms:

Nos autem gloriari oportet in Cruce Domini nostri Iesu Christi:  in quo est salus, vita, et resurrectio nostra: per quem salus, vita, et resurrectio nostra: per quem salvati, et liberati sumus.

Deus misereatur nostri, et benedicat nobis: illuminet vultum suum super nos, et misereatur nostri.

But it behooves us to glory in the cross of Our Lord Jesus Christ: in Whom is our salvation, life, and resurrection; by whom we are saved and delivered.

May God have mercy on us, and bless us: may He cause the light of His countenance to shine upon us; and may He have mercy on us.

(Galatians 6:14: But far be it from me to boast except in the cross of our Lord Jesus Christ, by which the world has been crucified to me, and I to the world.

Psalm 67:1: May God be gracious to us and bless us, and make his face to shine upon us and have mercy on us....)

Here's the chant score:

This is another Gregorian piece for which Palestrina wrote choral music. That doesn't seem to be online - but there is a stunning choral version of this text by 20th-Century French composer Alfred Desenclos:




All the chants for today are listed at ChristusRex.org, as follows:

Missa Vespertina in Cena Domini Ad liturgiam verbi Introitus: Cf. Gal. 6,14; Ps. 66 Nos autem gloriari (4m37.3s - 4337 kb) score
Graduale: Ps. 144,15. V. 16 Oculi omnium (2m58.5s - 2793 kb) score
Tractus: Mal. 1,11 et Prov. 9,5 Ab ortu solis (2m33.8s - 2409 kb) score

Ad lotionem pedum

Antiphona: Cf. Io. 13, 4.5.15 Postquam surrexit Dominus (43.3s - 681 kb) score
Antiphona: Io. 13, 2.13.15 Dominus Iesus (1m02.4s - 979 kb) score
Antiphona: Io. 13, 6.7.8 Domine, tu mihi lavas pedes (1m16.0s - 1191 kb) score
Antiphona: Cf. Io. 13, 14 Si ego Dominus (37.2s - 583 kb) score
Antiphona: Io. 13, 35 In hoc cognoscent omnes (45.5s - 713 kb) score
Antiphona: Io. 13, 34 Mandatum novum (15.8s - 248 kb) score
Antiphona: I Cor. 13, 13 Maneant in vobis (56.2s - 876 kb) score

Ad liturgiam eucharisticam

Offertorium: Ubi caritas (2m16.3s - 2132 kb) score
Communio: I Cor. 11, 24.25  Hoc corpus (2m51.7s - 2684 kb) score

Ad translationem SS.mi Sacramenti

O salutaris Hostia I (52.2s - 818 kb) score, Panis angelicus I (1m15.5s - 1182 kb) score, Adoro te devote (2m26.0s - 2282 kb) score, Ecce panis (1m33.2s - 1458 kb) score, Pange lingua, Tantum ergo (3m06.5s - 2916 kb) score

Here are other posts on Chantblog for some of the propers:

• The Introit for the Maundy Thursday Evening Mass:  Nos autem gloriari
• The Maundy Thursday Gradual: Oculi ómnium in te sperant ("The eyes of all creatures look to you")
• The Tract for Maundy Thursday: Ab ortu solis
• The Maundy Thursday Offertory: Ubi Caritas 
• Maundy Thursday: Pange Lingua, gloriosi