The antiphons for the OF Divine Office are derived from a variety of sources, not just the 1912 Antiphonale Romanum. For a complete list of the OF antiphons look at the Ordo cantus officii.

Found it. Wow... I've got a lot of trawling to do for those antiphons...

I've been looking through and I have the 1912 Antiphonale. Are there other collections of Antiphons which I can trawl through to find the appropriate antiphons?

I get lots of requests to organise Lauds and Vespers for retreats. I would like to eventually collect all the antiphons for the Psalter and create a complete collection of pointed psalms. I want the original Latin texts and their melodies, as I intend to base the melodies of the antiphons as closely as possible to the Latin originals.

In the OF you sing the entire antiphon before and after the psalm. ignore the antiphon and sing whatever you feel like.

FIXED.
:)

In order to get an idea about the dimensions of Your project You might want to have a look at Frans Kok's book Laus Divina which is the result of his 30 years of research about the ordo cantus for the new Office. He lists all the 2201 antiphons with sources (both printed and manuscript).
The problem, however, is that the sources are very different in time and space, so that they actually represent many different dialects of Gregorian chant. So from just transcribing all the chants from these sources one would probably obtain a very strange antiphoner.

Can I at least get all the Antiphons for Compline and for Vespers I and II for Sundays? (Maybe Lauds too if possible?)

Most of my requests for music are for Lauds, Vespers and Compline. I'm yet to have a request for Solemn Terce.

I have been working on a similar project (adapting Sunday/Lauds and vespers into English). I have finished the four-week psalter (with the exception of the canticle antiphons).

I have been using the Antiphonale Romanum II for Vespers antiphons and Les Heures Gregoriennes for the Luads antiphons. A worker at Paraclete Press informed me that Antiphonale Romanum I should be published by Christmas.

I will be starting Advent soon. I would love to compare your work. I am a bit of an amateur at adapting Chant but this has been working for my own purposes. Sunday Lauds is now chanted according to my settings in my seminary. I have been adapting the canticle antiphon as seen in Les Heures Gregoriennes on a weekly basis. The problem there is that there is no official translation for the canticle antiphons on the three-year cycle. Instead, I have been setting the single antiphon in the breviary (which generally corresponds to the Year B antiphon).

Aaron W.

That is my understanding from the worker.

It seems that no-one in North America has heard of an "interrupted cadence."

I have!

So going back to my example, in Tones II, V and VIII which have the same mediation, the pointing would be thus:

I will always praise the | Lord *
Ego semper laudabo | Do-minum *

I will always be | prais-ing. (first syllable is stressed)

I will always |1 give Him |2 thanks *

There two schools of thought here, where there is a stressed-weak-stressed ending. Some would insist on the interrupted cadence, using |2 and others would argue that the stress goes on "give" and use |1. This is where the discretion of the person doing the psalm pointing needs to be used, whether giving or thanking is more important in context.

The Lord will | res-cue him *

In this example I would say that "rescue" is the important word and the mediation starts on "rescue" even though "him" is a stressed syllable and you could put the pointing there.

I have found that certain termination formulae don't really work. If I were setting the Psalm Tones out in my own Psalter I would use the same tones as the Latin Psalter but probably different terminations, depending on how well it worked. The funny thing is that I believe the different terminations are used to make it easier to pick the starting notes of the antiphons.

The Psalm Tones used by Communio with English Psalm Verses work quite well.

I love (not really) the pointing argument. Don't know why the adaptation to English bothers people. I'd rather change my interpretation with regard to the degree of stress or the application of it, than use more adapted tone with an altered melody.

I don't know why giving a melodic accent to a syllable which receives a slight stress when grouping syllables into 2s and 3s (even if it isn't a particularly strong accent) is interpreted by purists as accent the heck out of it. We're just trying to make it fit here folks, let's not get all caught up on whether it's really deserving of being a stressed syllable or not.

Also, when a conflict arises between which syllables should be stressed I make recourse to the published, pointed versions of the Grail or Revised Grail Psalms. It's always helpful to know how the translators/editors felt about the poetry of their own translation!

I do strongly feel that we need to pay attention to the placement of the ictus in the Revised Grail Psalter and rely on the translator's interpretation. Unfortunately, most digital editions don't have the ictus and people often leave them out, not understanding the importance of their placement.

For any serious work in this area, one needs to buy the published singing edition. It is not that expensive.