Sequence: Annunciation of the BV Mary - both english and latin
  • Chris_McAvoyChris_McAvoy
    Posts: 389
    Merry lady day,

    Work continues to go well in typesetting the 12th-13th century sequences.

    This particular sequence really turned out to sound especially good in english and have an especially good translation.

    Here we are in both english and latin, neume and modern notation:

    Here's the link to your file:
    https://www.yousendit.com/download/eURDWUhoZEtFc0pjR0E9PQ

    Quote "The beginning, the melody to the 1st strophe, Gabriel's mission, is a grand and noble melody
    in antique style, sombre of colour, yet vivid of emotion, — serious, yet gentle, — one of the
    most splendid melodies of mediaeval days! The Archbishop of Lund, Andreas Suneson (13th c),
    is the author of this and still another sequence, "Stella solem praster morem". The design of the
    music is the gradual rise out of gloom into light, an adjustment that eminently coincides with
    the spirit of the textual contents. Beginning with the graver "plagal" mode and ending in the
    more cheerful "authentic", corresponds to the two groups of sentiments in the text: 1) the first 3
    whole strophes, with their mysticism in the appearance of the Archangel Gabriel to the Virgin,
    2) the last 2 whole strophes with the song of praise over the accomplished miracle, and the
    prayer to the Saviour. This sequence is characterized by a peculiar poetical and musical accord,
    a close unity of words and tones throughout almost tempting one to believe that the text in
    this instance was first written, and the melody afterwards composed to it."

    Mediaeval musical relics of Denmark - Angul Hammerich

    It looks likely that Dr. William Renwick will begin featuring some of them on his website, as either part of the propers or a special section for sequences which were native to the salisbury (sarum) use. Though I also typeset sequences which are not found in the Salisbury use but are from French uses too. Hopefully they can find a home there too.
  • MarkThompson
    Posts: 768
    That's very cool. In the first line, may I recommend that the word "heaven" set to a clivis be rendered "heav'n" (or set to two puncta)? It seems a likely thing to stumble over.
  • Paul F. Ford
    Posts: 864
    Wonderful! My wife and I are oblates of the benedictine congregation of the annunciation, so I just sent this off to our abbot and the choirmasters.
  • Chris_McAvoyChris_McAvoy
    Posts: 389
    Perhaps this year more people may have an opportunity to sing this, now that I can permanently attach it to the forum. One year later, it has lost none of it's appeal. Probably because it has an eternal beauty.

    Here is myself singing the sequence in english.
    I apologize for the mistakes, it was the best i could accomplish on short notice.

    http://www.youtube.com/watch?v=EdwksFvtsng&context=C3edf783ADOEgsToPDskL-_ku0CLwY0SECcFxp1si7

    I will see if I can upload a more professional version of the latin recording of it on the same youtube account.



  • Chris_McAvoyChris_McAvoy
    Posts: 389
    there is the attachment, this time I see it.
    03-25 - GABRIEL, sent from heaven (Missus Gabriel de celis) (Sequence for Annunciation of Blessed Mary).pdf
    517K
  • JonathanKKJonathanKK
    Posts: 542
    I very much enjoyed the video. However, I was wondering: where did you get this interpretation of it? The notes you sing are different from what is on the page in some of the more melismatic places, and the whole thing is done with a mostly regular rhythm.
    Also, I am curious, where do you picture these being used in a Catholic liturgy today? I would guess they would be good processional pieces. Let me know if ever you start a blog.
    Thanked by 1Ihidaya
  • Ihidaya
    Posts: 13
    There's a transcription error in the notation:
    page 4, fifth staff (text beginning "4a. Vir-ga sic-ca..."):

    The Do clef should be on the top line, as on the staffs below. Thus the custos on La (the top line on the previous staff) would then correspond with the first note on the following staff.
  • Chris_McAvoyChris_McAvoy
    Posts: 389
    I corrected the error on do clef possition for latin version, sorry about that, but havent uploaded it yet.

    All recordings I have ever heard of sequences appear to have a regular rythym used?

    If I sang all 6 neumes on the melismatic spots as they are..the rhythm would be seem strange to myself? The professionals I've been around, including seminarians at Mt. St. Mary's seem to always sing the multi neumed syllables as a very fast shortened slur. I am for the most part copying them, without studying in detail any "official method".
    It was always emphasized to me to keep the rhythm steady. I am open to the possibility that this is a flawed approach.

    My interpretation of rhythm comes from too many people and places.

    The core of them are, Dr. William Renwick in Ontario, J Michael Thompson for his recording of the sequence "Christians prace the paschal victim" for the "by flowing waters" CD. The artist "Capella Antiqua München" "Gloria in Excelsis Deo; Chants, Hymns and Sequences" CD. Recordings by Sequentia/Benjamin Bagby. The infamous controversial Marcel Peres/Ensemble Organum. The late Dr. Laszlo Dobszays cd "Schola Hungarica / Sequences from Nonantola".

    That Nonantola cd had multiple rhythmic interpretations applied for different featured sequences to compare and contrast different possibilities and musicological conjectures of "proper rhythm".

    I remember a retired priest in the Antiochian Western rite vicariate, Fr. Peter, who was a classical music scholar, said that my view of rhythm comes from too much greek orthodox chant music exposure. Whether this is true I do not know, but I like whatever it is.

    I will have to post an example of the latin version of the sequence by the end of this week. You can see for yourself the variances. If their are many I wasnt aware of it, probably there is a little.

    the version i need to upload to youtube is from the 'Absalon Six - Gregorian Denmark"
  • Chris_McAvoyChris_McAvoy
    Posts: 389
    Dearest Jonathan,

    Where I picture sequences being used in "Catholic liturgy today" is the same place they were used in catholic liturgy yesterday, tomorrow, always and forever.

    Ask anyone in mater dei, I will agree with their answer. (So long as they don't say that they "should not be used in tridentine mass" in which I would disagree. Trent never made that rule and I , along with many church music authorities, can easily prove it.)

    AFTER the Alleluia is the proper place for a sequence. Where else would they possibly be used?

    Actually, they are also used as propers for the divine office in a few instances "Congaudentes exultemus" for St. Nicholas and "Laetebundus" for II Vespers Nativity/Purification and a few other instances where they replace the standard hymn.

    We see this in all the older pre-tridentine MS, which were allowed and were used in existing cathedrals and monasteries, though they were no longer printed in new editions. In many regions of france the sequences were continued to be sung in those cathedrals and monasteries that continued to keep and sing from their oldest MS.

    Dom. Prosper Gueranger didn't write about them in his "The Liturgical Year" books strictly from "research and archaeology" he had actually heard several sequences sung in in existing churches in his day from the old illuminated Graduals, as had been done for 800 or more years. (He was alive between 1805-1875)

    Processional in some instances is fine.

    My concern is less WHERE they are used, so long as they ARE used.

    The idea being that they could be propers again. Especially within local dioceses, as they used to be. Every diocese can have their own varying propers, some of which are sequences, with instances of universally used sequences as well.

    When I go into the average catholic parish and sing Victime Paschale laudes in english, they always love it, every time, no exceptions. People who say they hate gregorian chant say they love the best sequences.

    Sequences are one of the most immediately appealing genres of latin ecclesiastical music. It needs to live, breath and enrich our lives again.

    What is my friend Jean-Blaise from Congo, Africa's favourite music to sing?
    The Sequence from Corpus Christi of course, and my how well he sings it.
  • Maureen
    Posts: 678
    We do hear translations of this sequence fairly often, during Christmas, as carols.

    "Gabriel from Heaven-King" is a really old one, but newer ones, like "The Angel Gabriel from Heaven Came" and many others are also familiar.
  • Chris_McAvoyChris_McAvoy
    Posts: 389
    I think you are mistaken. The two translations you named are not based on this sequence. Additionally they are in very different meters, not the standard 8.8.8.7 for post-11th c. sequences.

    I do not think this has been used as a carol. Rarely if at all, some anglican church at some point has sung it (probably in the 19th c.) but I am uncertain what music was used.

    The texts you named are both based on the latin incipit 'Angelus ad virginem'.

    In fact this specific text and sequence is noticeably richer and more in depth theologically than the "Angelus ad virginem" which is comparatively less interesting, as many carols are.
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