Music Liberated by Colloquium XX

Several important pieces have been liberated from the prisons of obscurity and copyright for use at the Colloquium, and, by tradition, now put into the commons of the faith for your free use.

Here is the entire packet. These have not been previously available.

  • John Taverner’s Ave Maria
  • Ne reminiscaris Domine by Orlando di Lasso
  • Inclina Domine by Johannes Verhulst
  • A Catholic performance edition of Schubert’s Mass in G (prepared by Msgr. Schuler and redone by Jonathan Eason) with orchestra parts and organ reduction (not in the packet but available later this week).

13 Replies to “Music Liberated by Colloquium XX”

  1. This is all rather pointless.

    The archaic language is meaningless, the chant unsingable, and Rice's 'music' is plain, bloody boring.


  2. John, could you be more helpful with your post? It is clear that you don't like any of it, but what composers would you like to see?

    Jeffrey, Taverner's Ave Maria has been published in a collection of 3 or 4 other short Antiphons by Taverner, published by Mapa Mundi, which is extremely expensive—$15 a copy, I think! So this is a welcome version and the price is right!

  3. I did not say that I did not like any of it!

    I love plainchant and the music of John Tavener (& John Taverner).

    However, what pastoral use is the above? Will people know what 'vouchsafe' means, for example?

    OK, to be fair, Richard Rice is a very talented composer, but in my view his talent has deserted him when he attempts lirutgical music.

  4. John,

    You are, I believe, British, and therefore used to putting a car into gear. You might like to do the same with your brain before you post another comment. There is a debate to be had about the nature of liturgical language, but simply to state that a particular text is ‘pointless’, ‘meaningless’ and lacking in ‘pastoral value’ doesn’t even begin to define terms, let alone make a case. I would take it as a personal favour if you would think carefully about this – you have it in your power to save me from squirming with embarrassment every time I read such stuff, in the knowledge that it was written by a fellow English Catholic.

  5. My apologies for being rude yet again.

    I was unable to ascertain during the last week that the DELETE key on >•<'s computer became so worn that it had to be re-engraved and FROGMAN appears there rather than DELETE.

    I just came from a positive interview for a position from which I have been fired twice (not sure if I am a glutton for punishment OR stupid), was very hungry…and was waiting for my pulled pork sandwich to arrive.

    That's it! The low-blood sugar defense!

    I looked at the psalm as composed by Richard Rice in the music packet and thought, "Oh, that's ok. Not as difficult as other things being sung, but it is easier music to sing."

    Upon hearing it I was blown away. It was liturgical and very powerful.

    Now, it wasn't lirutgical, whatever that was. But I have the feeling we are about to find out.

  6. "John, could you be more helpful with your post? It is clear that you don't like any of it, but what composers would you like to see?"

    – Point taken Anon (Jeffrey might like to remove the original post).

    OK – I would like to see composers of the calibre (caliber) of Bernadette Farrell & Marty Haugen.

  7. John,

    You say that you don't like older forms of English in liturgical material because they're 'meaningless', but you do like plainsong. You may wish to consider that plainsong is quite as archaic as sacral English.

  8. Hi Ian,

    I did not mean to say that I dislike archaic forms of English liturgical material.

    In fact, I love the BCP & KJV Bible. – But I'm not sure I understand them!

    My view on plainsong is that it is timeless (rather than archaic).

  9. John,

    Substitution of 'timeless' for 'archaic' doesn't change what plainsong and sacral English have in common – they're both products of another age whose meaning is in some sense lost to us through cultural change, but they both have deeper, poetic resonances that reward familiarisation.

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