Lovely indeed!
And I've always been partial to Transfiguration.

Vetus Ordo, Low.....Holy Family, Kingsburg CA

Immaculate Mary (LOURDES)
Ave Maria (plainchant)
Ave verum corpus (plainchant)/
Panis angelicus (Lambilotte)
Salve Regina (simple)

At Holy Ghost, Knoxville, TN, 6:00 p.m. mass we did:

Entrance: "Hail, Holy Queen Enthroned Above" (Salve Regina Coelitum)
Psalm: The queen stands at your right hand... - Bolduc
Offertory: Salve Regina - the Solesmes version - Simple Tone. Cantor solo.
Mass Ordinary: ICEL chant
Propers: Rice
Communion: Organ - Arcadelt Ave Maria
Hymn: Alleluia, Sing to Jesus (Hyfrydol)
Recessional: Immaculate Mary (Lourdes Hymn)
Postlude: Grand Plein Jeu - Suite du Premier Ton - Jacques Boyvin

St. Mary's, Tampa

ICEL Ordinary
Processional: "Hail, Holy Queen Enthroned Above"
Ps. 132 - "Lord, go up to the place of your rest..." (Schiavone) at Vigil
Ps. 45 - "The queen stands at your right hand..." (Keil) at Masses of the Day
Offertory: "Ave Maria" (Schubert) at Vigil, "Sing We of the Blessed Mother" at Day
Communion: "Proclaim the Greatness of God" (Chepponis)
At the conclusion of Mass, the priest went to the Marian shrine and honored it with incense as all sang the "Salve Regina" (simple tone), and then priest and servers retired to organ improv on the "Salve Regina"

Sung Mass at St. John the Evangelist in Calgary. We're an ordinariate parish of the OCSP.

Ordinary: Kyrie, Sanctus Benedictus, Agnus Dei from Mass X Alme Pater
Gloria&Credo from Missa Simplicior  - Merbecke
Prelude: Entree from Messe pour la compassion de la trés Ste. Vierge -Valenti
Entrance Hymn: Sing we of the Blessed Mother (Abbot’s Leigh)
Introit: Palmer & Burgess
Gradual: Burgess
Alleluia: Peñalosa & Burgess
Offertory: Burgess
Offertory Motet: Ave Regina Coelorum - Dufay
Offertory Hymn : Sing of Mary, pure and lowly (Hermon)
Communion Motet: Ave Maria - Fogliano
Communion Hymn: Let all mortal flesh keep silence (Picardy)
Salve Regina Mode V
Recessional: Hail, holy Queen enthroned above  (Regina Coelitum)
Postlude: Virgo Dei Genitrix Opus 45, No. 2 - Dupre

The choir was in very fine form and sang an absolutely beautiful mass. Many thanks to the ever helpful Noel Jones who provides excellent resources (Catholic Choir Book & Catholic Organists Quarterly) as we build our parish music programme.

Mr. Osborn,

For several years I’ve much admired your posts and I'm so pleased to be able to answer your questions and make a few comments.

1. Fr. Roland Palmer wrote the text of ‘Sing of Mary’. Its inclusion in the Canadian Book of Common Praise (where it made it’s debut) its a longish story, but Fr. Palmer insisted that it be sung to the tune Hermon. In Canada, Long LONG before the establishment of the Ordinariate, the text made its way into RC hymnbooks where it was sung to an awful tune that wasn't Hermon. I don’t know anything of its provenance in Episcopal or Catholic churches in America. I’m unfamiliar with the tune Pleading Saviour but I’ll look it up.

2. A couple of years ago, I found an Alleluia by Francisco de Peñalosa (Missa „El Ojo) on CPDL. I thought it would be rather nice for the choir at St. John’s to learn. So I transposed it up into G Major, in modern notation, for SAB. Then I thought, why don’t we sing it on Solemnities in place the Burgess Alleluia and just add the psalm verse from Burgess in-between a repetition of the Alleluia? It works splendidly. The choir sings the Alleluia acapella and I accompany the trebles for the psalm verse on the choir manual. It was the choir’s introduction to polyphony and they loved it. We are now adding a different polyphonic motet to the repertoire every 4-6 weeks.

3. In regards to the Creed, I’m all for local patrimony taking precedence, (see my comments on the Music and Anglican Patrimony blog) but in my experience recto tono is the way one ought to sing the Apostles Creed in the office, not the Nicene Creed in the Mass. We always sing the Merbecke Credo, though I have a feeling that Creed III will be introduced sometime in the future.

I hope if I make it to Houston again, we can meet up at OLW.

tL

At St. Joseph in Palm Bay, FL:

Simple Choral Gradual for Introit.


https://youtu.be/eBJB8FzyqOA

Same for Communion. Original offertory setting for SSA. Original psalm, too.

Assumption and St Gregory, (Ordinariate Church) London.
Solemn High EF Mass, sung jointly by the Ordinariate choir and EF schola.

Propers sung in full according to G.R. (N.B. sadly not Gaudeamus etc.)
Mass setting: Vittoria's Missa Ave Maris Stella
Creed: Credo III with a polyphonic 'Et incarnatus'
Motet for Offertory: Hymn Sub acta cedunt tartara
Motet for Communion: Byrd's 'Assumpta Est Maria'
Salve Regina (chant)

EF Missa Cantata at St. Mary's, a diocesan parish in Independence, MO

Full propers were sung
Mass IX and Credo I
Entrance Hymn was O Sanctissima
Offertory Hymn after the chant was Concordis Laetitia
Motet after Communion chant was Byrd's Ave Verum
Closing Hymn was Hail, Holy Queen Enthroned Above
Postlude was Bach Prelude in G (BWV 541)

My list for Assumption got overruled, because it was also "welcome back" First Day of School mass at my old school. It was:

ENTRANCE: Sounds of joy have put to flight (WURTEMBURG)
KYRIE: Chant XVI with Cum Iublio Tropes, adpt. Myers
GLORIA: Lee, adpt. Biery

RP: The Queen stands (transcribed from BNSIC)
ALLELUIA: One of the ones on the CCW website, can't remember name
CREDO: to a Byzantine Chant
UNIVERSAL: to a Byzantine Chant

OFFERTORY: Who is she ascends so high (Assumption New)
ORDINARY: German Mass (arr. Proulx)
OUR FATHER: Intoned on piano (there is no organ in the gym), sung arr. Snow

COMMUNION: Magnificat (Pawel Bebenek); Holy is his name (Talbot) (Had to throw a bone)
MEDITATION: Salve Regina (Solemn Tone, sung by schola)
RECESSIONAL: Hail, Holy Queen Enthroned Above (ALL VERSES)

It was denied because they decided to skip the mass as the first day of school would be stressful enough.

Also, quick question. Is "Who is she ascends so high" even theologically correct? I love the version done at BNSIC, but I got flack for programming it originally because it said the BVM ascended, not assumed.

Introit chant: Signum magnum (Gregorian, mode 7)
Processional Hymn: Holy Mary, We Implore Thee (Abbot's Leigh)
Mass Ordinary: Mass in Honor of St. Cecilia (Richard Fitzgerald)
Psalm: Mueller
Alleluia: Assumpta est Maria (Gregorian, mode 5)
Offertory I: Assumpta est Maria (Gregorian, mode 8)
Offertory II: Ave maris stella (Thomas Stoltzer)
Communion I: Beatam me dicent (Gregorian, mode 6)
Communion II: Magnificat (Francisco Soriano)
Marian Antiphon: Salve Regina (Gregorian, mode 5)
Post-communion hymn of praise: Hail, Holy Queen (Salve Regina cœlitum)
Recessional: Prelude & Fugue in b minor (J.C.F. Fischer)

And the piece is marvelous - brooding, contemplative, really wonderful.

Good thinking, Kyle.
And, perhaps I should have put my ever-so-slight sarcasm about Catholic educators in purple - except that it's really not a laughing matter, is it!
Keep up the good work.

Communion II: Magnificat (Francisco Soriano)
Recessional: Prelude & Fugue in b minor (J.C.F. Fischer)

Which the source for the Fischer Prelude/Fugue? Blumenstrauss, Ariadne Musica?
As for the Soriano Magnificat, which tone?

By the way, I usually sing Magnificat preceded by its antiphon for the feast, in the common mode. Sometimes, when time permits (hymn, antiphon and polyphony/organ versets not too long), preceded also by the prescribed Hymn. In my opinion, singing it as cantus vari just like part of the Vespers program gives a sense of completeness. Assumption of Our Lady formulary has two wonderful Magnifcat antiphons, one in mode 8. G for the 2nd Vespers (Hodie Maria Virgo caelos ascendit) and another one in mode 1. f (Virgo prudentissima) for the 1st Vespers.

What is this???!!!

Who Is She Ascends So High...

The answer is 'no one'!
There is no 'she' who ascended - only a 'he', namely Jesus.

Is this yet another blatantly feminist attempt at godesshood for the BVM?
She was assumed into heaven but did not ascend there. There is quite a difference.
People who don't understand the niceties of Catholic faith and thought should not be writing hymns, or should have his or her thinking cap on when choosing them.

Actually, the writer of this text was fined twice during the English Reformation for recusancy. He is a Catholic hero.

I agree that there is some word confusion, Ascension (big A) vs. ascend (little a), but really, we all hope to ascend to heaven (little a). She has done so before us all, and helps to guide the Church there, according to Lumen Gentium.

Chez moi: (St. Sebastian, Akron, 5PM EF)
Campion Missal 908: Hail holy Queen enthroned above
Mass IX, Credo 3, Propers
At the Offertory: Perosi, Tota pulchra
At Communion: Peter Philips: Salve Regina (1628)

We did a Latin Mass at the Vigil, at a suburban church (1968) which doesn't usually have them, but did for the sake of the altar boys. We had a few guests from elsewhere in the D. of Cleveland, including an organist who saved me from playing the hymn (no other organ) Same program except the chant Ave Maria and Ave maris on place of the composed motets. And we had microphones, which was odd.

Else, why are two purposefully distinct words used for each happening to two beings substantially different in being?

In German, there aren't. Both feasts are called Himmelfahrt, or "going to heaven" (and yes, it makes me giggle even at my age.)

Or a more prosaic example: My office is on the third floor. Some days I take the stairs, and some days I get in the elevator and it gets me there. Either way, I have gone from Point A to a Point B at a higher elevation, and have ascended to my office either on my own steam or someone else's.

Chonak stated:

To be sure, "ascends" is not specific about the cause of the upward movement. It is not a complete statement of the dogma, and yet it is not wrong.

Pius XII stated the complete dogma:

... we pronounce, declare, and define it to be a divinely revealed dogma: that the Immaculate Mother of God, the ever Virgin Mary, having completed the course of her earthly life, was assumed body and soul into heavenly glory.

The dogma takes no position on the question of whether the Blessed Mother suffered earthly death or not.

Where does the dogma refer to an "upward movement"? I can't see how the dogma affirms the (still) rather popularly-held cosmology that heaven is up, and hell is down.

The hymn appears to be included in only three hymnals. The meter of the text is 7575, a quite unusual meter. Leo Nestor has a setting, published in 1995 by E. C. Schirmer Publishing.

No offense to Dr. Nestor, but I think the text of Sir John Beaumont is doggerel:

1. Who is she ascends so high,
Next the heav'nly King,
Round about whom angels fly,
And her praises sing?

2. Who is she adorned with light;
Makes the sun her robe?
At whose feet the queen of night
Lays her changing globe?

3. This is she in whose pure womb
Heaven's Prince remained;
Wherefore in no earthly tomb
Could she be contained.

4. Heav'n she was, which held that fire,
Whence the world took light,
And to heav'n doth now as pire:
Flames with flames unite.

5. She that did so clearly shine,
Our Day once begun,
See how bright her beams decline,
Sitting with the Sun.

(That final "Sun" appears not to be a typo. But how could she be sitting with the sun, when the sun is her robe [stanza 2]?)

in stanza 2, reference is to "sun"
in last stanza, reference is to "Sun" - could be the title of our Lord, 'Sun of Justice' (sol iustitiae), named in Malachi 4:2.
"Sol iustitiae" is also found in (maybe 4th cent.) hymn Tota Pulchra Es.

Baseball players look up into the sky after blasting a home run. I don't dispute the common notion that heaven is somewhere up there. Post-medieval painters usually depicted the Assumption of Mary as her being raised up into the clouds, rarely ascending under her own power but being borne up by cherubs. So, yes, an "upward movement" has long been a common understanding of the mystery.

But in Pius XII's dogmatic definition, I do not detect any reference to this upward movement. Even the etymology of "to assume" - ad + sumere - is "to take to/towards" not "to take up."

Fr. Krisman, would you care to explain exactly why you think the text is doggerel?

I'm not trying to be argumentative here. It's just that I've wondered for at least a decade now what your judgments are based on.

Wouldn't it have to be in irregular rhythm to be doggerel?

7.5.7.5. is not an irregular meter, but it is extremely rare. Only 9 texts with that meter have been included in the hundred of hymnals listed on hymnary.org.

Why is it so rare? Perhaps because it lends itself to sing-song-y texts. Readers may want to check out some of those 9 texts at:

http://hymnary.org/texts?qu=meter:7.5.7.5 in:texts in:texts

Guilt by association is not the same as honest critique.