My school is considering adding in about 15 minutes a day before lunch to say the Angelus.
Seeing as how it doesn't take that long to say an Angelus, is there a longer form? A sung form?
Perhaps: Angelus plus Sext of the Little Office of the Blessed Virgin Mary?
Or a hymn too? I don't know, does anyone have any opinion or experience with this? It is my hope that they will be chanting the Ave Maria.
Any historical info anyone can give on a sung Angelus would be great!
Though this is going to be for pretty small kids (1st-5th grade) I think I can get away with having it in mostly Latin, the Aves in particular. English Gregorian would be good too, for the other parts.
Sorry for the jumbled nature of this post, but I am hoping someone will get the gist of what I'm looking for here.
And, if you are using a bell or chime, try a gong at the the beginning of each V/R, and the Ave Maria. That gives you nine gongs, with space in between. Then maybe peal away during the Collect.
The one Jeff is recommending is the one sung daily before mass at our Parish School. We start at 5 to noon and have oodles of time left over. In fact, it's the junior boys choir's favourite song to sing if they get to pick.
my high school students LOVED singing that Angelus, and begged to sing it over and over, year after year . . . (After they spent the first three months complaining about it, that is) . . . I guess with teens, if they say they hate it, that's a sure sign they love it.
The Angelus is usually a simple fast thing, isn't it, hence the recto tono and minimalist settings. I like Dom Charpentier's Mode 4 setting very much.
New modal settings are of course possible. Here's a new setting of the versicles and responses in Mode 5, with a Gregorian Ave in Mode 1. FWIW. I like modal mixture and the contrast. Some have told me it's ungainly, but I don't know. Comments, criticism welcome.
This forum doesn't seem to play well with zips. Or anything really. Try to post your PDF elsewhere and then provide a link to it. Looking forward to seeing it. It's composed by you, yes?
Pes, i find your version very beautiful. I took the liberty of posting it HERE, in case people have issues with that third-party download. Let me know if this is a problem.
Thank you Jeff, you are too kind. There's no problem posting it at Lalemant or anywhere else. My own criticism is that the melody of "promissionibus Christi" doesn't quite do, and I know why, but I finally had to stop fiddling with it. If anyone wants to fiddle further, I could post the Meinrad/.doc source, but these things are simple enough. It might be fun just to create V/R settings in each mode and post them.
I have heard Steve's version of the Angelus at the Holy Name Church in Manchester. I wonder where it comes from? (I was told it was an Anglican setting.)
I was wondering if anyone had the final verse "Pray for us O Holy Mother of God, that we may be made worthy of the promises of Christ" as well as a chant for the "Pour Forth" prayer (as my children like to call it.)
I have written (and had published) a setting of the Angelus. It uses solo singers for the Versicle/Response, and 4-parts for the Ave Maria. The final prayer contains both.
If you're interested, it's available from canticaNOVA
Here's a version of the traditional Anglo-Catholic Angelus setting we sang at a recent residential music week. I have head it said the original was put together by an organist of Pusey House, an Anglican religious institution in Oxford. I have never seen a printed original; only photocopies of hand-written manuscripts, passed between organists.
Not a English native speaker... Why?? Why should a preposition get more emphasis than our Lady?
Reminds me of the doxology at the end of the canon in the Novus Ordo. Most priests put the emphasis on "THROUGH him, WITH him and IN him" (at least in German) whereas I think it should be "through HIM, with HIM and in HIM"
I didn't compose the melodic setting (I merely typeset it and provided 4-part harmony for the responses), but I believe I understand its rationale. The melody of the responses is derived from Anglican chant, which (like Gregorian psalm tones) provides a single melody for many verses, each with their own particular stress patterns. How well that works depends on how it's sung. If done mechanically or carelessly with heavy accents, it can sound odd. However, English phrases typically have shades of accent, and allow for alternative relative stresses. The chant should be prepared with sensitivity to this.
Here are some possibilities for the phrase in question: 'the Lord is WITH thee', 'the LORD is WITH thee', 'the Lord is with THEE', 'the LORD is with THEE' (note there are actually more options when one considers the relative strength of double stresses). Each of these conveys a different shade of meaning, and each works when spoken, assuming you don't interpret the capitals as a heavy stress.
This would have been assumed by the Anglican organist at Pusey House. It might not be so obvious to those whose main experience is is with Latin chant, or through-composed settings.
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