Working links:

http://www1.cpdl.org/wiki/index.php/Kleine_Orgelmesse_(Mass_no._7_in_Bb_Major)_(Joseph_Haydn)

http://www1.cpdl.org/wiki/index.php/Missa_Brevis_(Dietrich_Buxtehude)

Mass of Wisdom by Stephen Janco. It's in English, but it has great SATB parts.

Will look at Jeff's site- thanks.
Klerget- needs to be in Latin (EF) but thanks.

Mary Ann,

Have you looked at the Missa Prima and Missa Secunda by Michael Haller on CPDL? They're both SAB but they are quite nice. Missa Prima has an organ accompaniment.

Hassler's Missa Secunda is also quite lovely, but it's acapella. Score here.

I'm also quite interested in this SATB arrangement with organ accompaniment of Du Mont's Messe Royale on Sheet Music Plus. It's $13 /score, though. It sounds quite intriguing. Does anyone know anything about this arrangement?

I would highly recommend looking at Antonio Salieri's Hoffkapellmeistermesse (1788) (Mass No. 2 in D) at CPDL.

The treble does go up to 'A' about 5 times - and apart from an extended ff 'A' in the two hosannas (approached by a leap of an octave, double in accompaniment), and an 'A' approached by a skip of a fourth (doubled in accompaniment), the remaining three are approached by going up the scale (doubled in accompaniment).

I have noticed that the Bass tessitura in Salieri's (the real one, not me) church music is relatively high - hanging around middle 'D' a lot, basically making them more Baritone parts. I am speculating that there must have been a relatively low pitch standard at the Imperial Hoffkapell in the late 18th century, so it might be well to transpose down if possible.

There are two strategically placed fugatos: one at the 'Amen' of the Gloria, and another at the 'dona nobis'. I have also noticed that Salieri must have timed the Sanctus and Benedictus movements of his Masses - the Sanctus/Hosanna ends nicely before the consecration, and the Benedictus doesn't require the priest to wait too long (maybe a few seconds) before the "per omnia saecula".

Even if you don't use it, still give a read-through and a listen - he's a much better composer than people give him credit for, and his church music is well worth getting acquainted with.

Here's the Gloria:

http://www.youtube.com/watch?v=PaP0sMJCFZ4

and the Benedictus (my favorite movement):

http://www.youtube.com/watch?v=ZK0TGvYlwt8

mrcopper

I sympathize with your frustration, but purchasing music is probably last on the list of any DM's budget. I can understand this mentality because of sites like CPDL and IMSLP. I take advantage of them myself. I have over 10,000 pages of organ music and building, just from IMSLP alone.

I came to the conclusion decades ago that composers never make money composing music (unless maybe they get a contract composing for a major film). Therefore, the best bet for us is to get a job playing and conducting and including our own compositions into the performing process. I think that is how almost all other composers did it. They believed in what they composed and used it in their own performing/conducting gigs. Thoughts?

Another vote for Salieri's Mass in D (correction: it's his Mass #1). Masterworks Chorale of Boston presented it in November, using the CPDL score. Some portions could definitely be used in a parish setting.

Personally, I have a joy and desire for contemporary (not in the cheesy sense!) composition.

Has Frank LaRocca written a Mass yet?

Frank LaRocca has written an SAB mass, iirc. Thanks for the reminder. Maybe he's written something more recently. His work is top notch.

True, Ken. Lots of non-musicians don't get that. If I had a dime for every time someone quoted that movie like it was a documentary... :)

There's J.G. Zangl's Mass in Honor of St. Louis. Don't know if you'd consider it too saccharine or not:

http://www.free-scores.com/download-sheet-music.php?pdf=3150

Stimson:

This is an an extreme generalisation and there are always exceptions, so take it for what it's worth.

I feel and think that sacred music reached its height at the Baroque, and then it all went downhill except for a few standalones here and there. Harmonic theory tanked, and went I, IV, V (especially the compositions of the great classical composers) and counterpoint swiftly became a lost art altogether. Up to the Baroque, the music was transparent and timeless. After that it became earthy, opaque and became the object of its own devotion, and more novel as time went on until it arrived at the apex of decay in serialism (out of chaos, order) which also reflects the philosophy of modernism.

Any one of us involved in procuring, teaching and performing liturgical music is aware of the need to pinch pennies. It is part of the job. I think that it is great if we can help steer a colleague in the right direction in this regard. We are all joined in the one baptism, and I count it as a blessing if one of us can help another colleague to accomplish great things.

McLaughlin & Reilly rights went to Alfred Music.

French Baroque. Excellent reminder of under appreciated music, IMO. Heady and sumptuous. Contrapuntal satisfying.

Anyone used any Charpentier with their choirs?

French Baroque. Excellent reminder of under appreciated music, IMO. Heady and sumptuous. Contrapuntal satisfying.

Ah, the Golden Age of the Low Mass with motets! Charpentier is the special case and his ordinaries are listed here. The Requiem H7 is very beautiful with only organ bc and very mixed-choir friendly tessiaturas.

We've done the Alma Mater, the 4-part Regina caeli H.46 and the Shepherd's Cantata H.314, which has quite wonderful use of recorders alternating and together with violins.

I don't know if you're still looking, Mary Ann, but the Missa Benedicamus Domino by Lorenzo Perosi contains some lovely passages and doesn't seem terribly difficult.

The score is available at CPDL.

http://www.youtube.com/watch?v=-GwMiyTTfnY

StimsonInRehab: only person in this forum who likes the French Romantic

We are not alone.
http://www.youtube.com/watch?v=SDehSF8mXK0
http://www.youtube.com/watch?v=SDehSF8mXK0
What is not to like? :-)

Oh, and the score:
http://imslp.org/wiki/Messe_Solennelle,_Op.16_%28Vierne,_Louis%29

Jackson, you have in no way advanced the merits of either preference.
First of all, please recognize that you dwell musically in a very enriched and less than diverse music cultural environment. Secondly, as you are aware that within the Roman Rite DM's are confronted with concerns much more myriad than whether $=quality.
As someone who has paid his own money for choir quantities of Mueller's Tertione and Clark's "Mass of the Angels," as well as having employed Nickels Therese of Liseaux and Ostrowski's "English Saints" and others from CPDL/CCW and other commons sources, the critical decision happens before the download or paypal button is pushed.
I applied the same critical analysis for the other new settings back in 2010 from the Big Three before making decisions that would affect 15 Masses per week, and advice disseminated among music leadership subsequently. And none of "their front runners" have ever made my cut.
The real issue for DMs in this era centers around the discipline to resist marketing and conventionality, and to apply themselves to a reality that their decisions are meant to stand for the long haul, the artistic legacy and the spiritual benefit. $ is just $. Integrity is everything.

If there were any money for scores (and next season included Christmastide), George Malcolm's Missa ad Praesepe for SATB (with divisi) and organ would meet the requirements for a great, well-known Mass of less than fifteen minutes' duration (with no Credo).

Richard Mix, thanks for the mention of the Charpentier Requiem mass

Golden Age of the Low Mass with motets! Charpentier is the special case and his ordinaries are listed here. The Requiem H7 is very beautiful with only organ bc and very mixed-choir friendly tessiaturas.

I had not looked at his music before, very lovely work. Also shows quite well how to handle imitation at the fifth in nearly classical tonal harmony.

Many of the works on CPDL are not readily available elsewhere. It is not a matter of only going for the free stuff, many of those compositions haven't been in print for years. I buy music when it is well-written and a good fit for my choir and parish. There is a lot of junk music out there put out by publishers who are trying to turn a profit and stay in business. Thank goodness for CPDL.

Thanks, Salieri. What a delightful little piece. It will soon be heard in my parish.