Three Latin rayers ~ for SSATBB choir, a cappella ~ Angele i prayer to the guardian angel Agimus Tii Gratias prayer of thanks and rememrance Dona Nois acem prayer for peace Music y Christopher J. Hoh Traditional texts HMM M600 HohMade Music 619 Seventh Street South Arlington, A 0 U.S.A.
ii Angele i Angele i, qui custos es mei, Me tii commissum pietate superna, Hodie, hac cte, Illumina, custodi, Rege et guerna. Amen. Angel of God, my guardian, You commit your heavenly love to me, Today, this night, Illuminate, guard, Rule and direct me. Amen. Traditional, attr. Reginald of Canterury, 11 1th century The "rayer to the Guardian Angel" is attriuted to Reginald, a Benedictine monk and poet. Traditionally, the speaker chooses either "today" or "this night" (hodie or hac cte) depending on the time of day. The prayer also makes sense ith oth used together, as in this setting. The folloing poetic translation from 19thcentury Baltimore is popular. Angel of God, my guardian dear, To hom God s love commits me here, Ever this day (night) e at my side, To light and guard, to rule and guide. Amen. HMM M600
iii Agimus Tii Gratias Agimus tii gratias omnipotens us, pro universis eneficiis tuis, qui vivis et regnas in saecula saeculorum. idelium animae, per misericordiam i, requiescant in ce. Amen. e give you thanks, all poerful God, for all your enefits, ho lives and reigns for ages of ages. May the souls of the faithful, through the mercy of God, rest in peace. Amen. Traditional prayer after luncheon, from "Benediciones Mensae" (tale lessings) HMM M600
iv Dona Nois acem Dona is cem. Grant us peace. Traditional, from the Latin mass "Dona Nois acem" as ritten as a response to the outreak of ar in 00. "Angele i" and "Agimus Tii Gratias" ere ritten in 009 and 010 to make a set of three pieces that ould coordinate in style, key and text. All are for SSATBB a cappella and may e performed as a set or individually. They present old texts and dra on the traditions of Renaissance polyphony. As modern motets, hoever, they use an updated harmonic language and greater rhythmic freedom. hen all three are performed, the music progresses in complexity. The first piece, in Aflat, has more homophonic sections and fourrt textures. The second, in mir, makes frequent use of three irs of voices entering in imitation. The third, again in Aflat, eaves together for the most rt six individual lines. All three modulate and make use of modal harmony in their development, in an attempt to sound oth old and ne that is timeless, like the ords of these prayers. HMM M600
I. Angele i Traditional attr. Reginald of Canteury Christopher J. Hoh Sopra Calm p Alto p An ge le Ter div.* p Bass div.* An ge le p i, n an ge le Rehearsal Accomp. Calm ( h = 5 ) n * This piece alternates eteen rt and 6rt voicing. here divisi are marked, divide the sopras and altos evenly among their three rts. Similarly, divide the ters and asses evenly among their three rts. HMM M600A Copyright 009 y Christopher J. Hoh. All rights reserved.
5 div.* Angele i div.* i, an ge le n i, i, an ge le i, 5 n 8 qui an ge le, cu stos es cu stos es me i, me i, an ge le, cu stos es me i, qui, an ge le, cu stos es me i, 8 Ẇ HMM M600A
11 (me i,) * 9 9 Angele i me ti i com mis sum pi e ta te su per 6 6 9... 6 (me i,) * me, 9... 6 me 11 9 6 9... 6 * Diagonal line indicates return to rmal fourrt voicing. 1.. div.* na,.. div.* me ti i com mis sum div.* ti i com mis sum pi e ta te su per na, me div.* ti i com mis sum 1... HMM M600A
18 Angele i 6. pi e ta te su 6 per na;. ho di e, hac 6. J pi e ta te su 6 per na;. ho di e, hac 18 6 6.. j. ritard.. U cte, U. U cte, il. U a tempo il lu mi lu mi na, cu na, cu sto sto di, U. u ritard.. u a tempo HMM M600A
5. di, re.. re ge et.,,,. ge et gu,.. gu Angele i er. er na, gu. j. na, et gu er. J. 5 5.... j.. J. 8 er na. An ge le i, il na.. An ge le i, 8. HMM M600A
6 1 6 Angele i., 6 6 lu mi na, cu sto di, re ge,., re., 6 il lu mi na, cu sto di, re ge,., 1 6. 6.. p. j div.*.. ge et gu re ge et gu er na.. div.* er na. A div.* A men, p.. J A p.. men, men, j div.* a. men,.. a j. men,. j.... j.. j J.. j... HMM M600A
8... J a men,. Angele i an ge le N 7 a men,... an ge le 8. J.. n 1 Sloer i, a men. i, a men. 1 Sloer
II. Agimus Tii Gratias Traditional Christopher J. Hoh Sopra loing Mezzo A gi mus ti i Alto Ter Baritone Bass A gi mus A gi mus ti i ti i gra ti as, gra ti as,.. gra Rehearsal Accomp. loing ( h = 8 ). HMM M600B Copyright 010 y Christopher J. Hoh. Licensed for single group copying and performance.
5 gra ti gra ti as, ti as, as, om ni Agimus Tii Gratias om ni po tens om ni po tens us, 9 5 9 po tens us, a gi mus us, us, a gi mus us, a gi mus 9 HMM M600B
10 1 Agimus Tii Gratias 1 ti i ti i ti i tens 17 17 tens tens tens tens HMM M600B tens gra ti gra ti gra ti us, us, us, as, om om as, om om as, om om ni po ni po ni po ni po ni po ni po us, pro u ni ver sis e us, us, pro u ni ver sis e pro u ni pro u ni ver sis pro u ni pro u ni ver sis e ver sis ver sis
e ne fi ci is e ne fi ci is tu is qui vi vis et e ne fi ci is ne fi di is tu is, qui vi vis et re gnas in ne fi ci is ne fi ci is tu is, qui vi vis et re gnas in tu is, qui tu is, qui tu is, qui Agimus Tii Gratias vi vis et vi vis et vi vis et re gnas in re gnas in re gnas in re gnas in 11 6 6 sæ cula sæ cu lo sæcula sæc lo rum, pro u ni ver sæ cula sæ cu lo sæ cu la sæ cu lo rum, pro u ni ver sæ cu la sæ sæ cu la sæ cu lo rum, pro u ni ver. rum,.. rum, cu lo rum,. pro u ni pro u ni pro u ni ver sis ver sis sis sis ver sis sis HMM M600B
1 0 Agimus Tii Gratias 0 e ne fi ci is e ne fi ci is tu is qui re gnas in e ne fi ci is e ne fi ci is tu is, qui vi vis et re gnas e ne fi ci is e ne fi ci is tu is, qui vi vis et re gnas tu is, qui tu is, qui tu is, vi vis et vi vis et vi vis et qui vi vis et re gnas N N N re gnas in N re gnas in N sæ cu la sæ cu sæcu la sæcu lo sæ cu la sæ cu in sæcu la sæ cu lo rum. in sæ cu la sæ cu lo rum. i de li um in lo lo sæcu la sæ cu lo rum. rum. rum. rum. i HMM M600B
9 i Agimus Tii Gratias de li um a ni mæ, a ni 1 de li um a ni mæ, a ni mæ, a ni mæ,.. a ni mæ, 9. mæ, per mi se ri cor di am per mi se ri per mi se ri cor di am cor di am i, i, HMM M600B
1 7 Agimus Tii Gratias i, fi de li um a ni i, fi de li um a ni i, fi de li um a ni 7 5 mæ, per mi se ri cor di am i, mæ, per mi se ricor di am i, mæ, per mi se ricor di am i, re qui 5 HMM M600B
58 Agimus Tii Gratias ritard. N 15 re qui e scant in N ce, re qui N e scant N in ce, ce, e scant in ce, ce, 58 6 reely p re qui p p p re qui p p re N qui e scant in e scant in e scant in ce. ce. ce. π A π π N π π π A A N ritard. men. men. men. 6 reely N HMM M600B
Traditional III. Dona Nois acem Christopher J. Hoh Sopra Mezzo Alto Ter Baritone rayerfully Do na is Do na is Do na is do Do na Bass Rehearsal Accomp. rayerfully ( = 6 ) h Do na is HMM C6001 HMM M600C
5 5 8 8 na, do na is is do na is Do na do na is n do na do is do na is do na is do is A HMM C6001 HMM M600C na is n do na is do na is Dona Nois acem n n n is na is n do na is n do na is do na n n n n do na is do na is do do na 17
18 11 Dona Nois acem 11 n N n n do na n n n na is do n na is is n N n n n n do na do 1 1 do na, HMM C6001 HMM M600C n n do na is do na is n is do na A decr. n N decr. decr. N A n n A N is na Do decr. n cem. n na decr. decr. cem. n n is do is, do is, do na na
18 18 na do na is is do na is is is Dona Nois acem cem. cem. cem. 19 1 1 Do Do na cem. Do cem. Do decr. to end na decr. to end na HMM C6001 HMM M600C decr. to end is cem. cem. na is is decr. to end decr. to end decr. to end is cem. cem. cem.