Monday, 25 July 2011

The Younger Haydn

Many other blogs and news sites have covered the funeral Mass of Archduke Otto von Habsburg which took place in Vienna on Saturday 16 July.  The blogs in particular tend to point to particular points of interest regarding the liturgy itself, and I shall briefly do the same.  The first thing that struck me was the aptness of the entrance procession - slow, solemn and stately.  One thing which is often the source of angst when attending Mass is the sloppy manner in which the entrance procession is carried out.  Servers should study this video carefully.  

The only other thing which I would point out relates to the setting of the Requiem - that of Michael Haydn, the younger sibling of the celebrated Franz Joseph Haydn (though it is clear that musical talent ran in the family).  This setting has seldom been recorded, so it is a joy to have it preserved on film.  

See further extracts of the Mass here

Spanish Master at Spanish Place for Patron Saint of Spain

For the feast of St James (celebrated on Sunday 24 July) at the wonderful church of St James, Spanish Place, Victoria's Missa Laetatus Sum was sung.  The choir of St James has been singing Victoria's Mass settings throughout the year in commemoration of the 400th anniversary of the great composer's death.

It just so happened that the main celebrant, at the invitation of the clergy of St James, was Archbishop Mennini, Apostolic Nuncio to Great Britain.  Here are a couple of photos of His Excellence travelling to Buckingham Palace on 2 March this year to present his papers to Her Majesty: 

Photo: Diocese of Westminster
Photo: Diocese of Westminster
And from the Mass (extraordinarily held at 11am instead of 10.30 am):

As for the Order of Service, it was typical of the liturgies at Spanish Place:

ENTRANCE OF THE NUNCIO - Ecce Sacerdos (Elgar)
HYMN - O what their joy and their glory must be
KYRIE & GLORIA - Missa Laetatus Sum (T. L. de Victoria)
Short extract from Gloria:
COLLECT (for the Feast of St James) but for the sake of comparison, the collect for the 17th Sunday in Ordinary time:
God our Father and protector,
without you nothing is holy,
nothing has value. 
Guide us to everlasting life
by helping us to use wisely
the blessings you have given to the world (1973). 

O God, protector of those who hope in you,
without whom nothing has firm foundation, nothing is holy,
bestow in abundance your mercy upon us
and grant that, with you as our ruler and guide,
we may use the good things that pass
in such a way as to hold fast even now
to those that ever endure (from 2012). 
READINGS (Gradual Constitues eos principes - translation provided)
ALLELUIA (Ego vos elegi - translation provided)
OFFERTORY (In omnem terram, G. P. da Palestrina - translation provided)
SANCTUS & BENEDICTUS - Missa Laetatus Sum (T. L. de Victoria)
AGNUS DEI (Mass VIII - De Angelis & Missa Laetatus Sum by T. L. de Victoria during Communion)
PONTIFICAL BLESSING (the Nuncio celebrated Mass)
FINAL HYMN - Jerusalem the golden

Friday, 15 July 2011

ICEL/Vox Clara Bishop Explains New Translation

Below are a series of videos from a concise and well expressed lecture on the new translation of the Roman Missal given by the Most Reverend Arthur J. Serratelli, Bishop of Patterson, New Jersey.  


Art of Translation Part 1

Art of Translation Part 2

More to follow. 

Thursday, 14 July 2011

Update to New Mass Settings

Over at Pray Tell, Chris Ángel has helpfully compiled a list of new Mass settings which are available freely (or with certain licences) to be downloaded.  Most seem to be American but some appear to be from Australia or the UK.

Recall also that:  
Remember always that:  
  • The Missal chants should always be learnt alongside (and ideally prior to) any other Mass settings; 
  • It is up to local bishops to 'approve of' or 'recommend' Mass settings for their region; 
  • I do not vouch for the quality or suitability of any of the listed Mass settings, but merely bring them to my readers' attention.  

More Palestrina

This post is by way of update to an earlier post about Palestrina at St Peter's.  I have come across this video of the Bavarian Radio Choir singing the motet Tu Es Petrus, showing a different approach to singing Palestrina with a large choir:  
And then there is this gem from a professional choir hitherto unknown to me, Vox Coelestis, singing the same motet but with smaller forces, permitting greater clarity and vocal dexterity. According to their website:  
"[The singers who comprise Vox Coelestis are] drawn from the top choirs in the UK, such as the Gabrieli Consort, Royal Opera House Chorus, Joyful Company of Singers, Chorus of the Academy of St Martin in the Fields and some of the top cathedral choirs in the country.  All our singers very generously give their time free of charge, which helps us to maximise the income for the charities we perform for."
The high altar is that of the stunning Anglican Abbey at St Albans, situated just north of London, having formerly been the site of the Roman town Verulamium.  Perhaps it's time that Britain repaid the favour and launched a choral invasion of Rome (forgive the facetiousness)

Monday, 11 July 2011

More News from Australia about New Translation

In one of my previous posts I listed a typical order of Mass from St Mary's Cathedral, suggesting that its musical/liturgical programme exemplifies an ideal celebration of the modern Roman Rite.  It also provided an opportunity to show how (smoothly and effectively) the new translation is being implemented in Australia.

Well, not to be outdone is Parramatta's Cathedral of St Patrick.  The Parramatta Diocese borders the Sydney Archdiocese and was once part of it - the latter being divided up into three dioceses in the 1980s.  Encompassing much of Greater Sydney, its Catholic population is one of the most ethnically and culturally diverse in Australia - English is a second language for a large number of the faithful there.  They seem to be picking up the new translation with relative ease, assisted by the same pew cards which were issued to every other parish in the country.  The responses are being said/sung with confidence and even gusto, with few mistakes noticeable. 

The building that became the cathedral - a lovely stone church - was burnt down in the 1990s.  Happily, the exterior was saved and now constitutes the Blessed Sacrament Chapel (and full immersion font), with a new, bigger addition being built in a modern style.  The altar is at the centre of the cathedral and the pews arranged in choir formation.

The previous prelate, the Most Rev Kevin Manning, acquiesced in the formation of a cathedral schola, greatly enhancing the musical repertoire sung at the cathedral.  That tradition has continued under the new bishop, the Most Rev Anthony Fisher, previously auxiliary bishop of Sydney, and senior organiser of World Youth Day in that city in 2008. 

Here is the Order of Mass for the fifteenth Sunday in Ordinary Time (no excerpts this time):

INTROIT - Ego autem ... (translation provided)
ENTRANCE HYMN - God has spoken by his prophets
GREETING - New translation (Peace be with you/And with your spirit)
PENITENTIAL RITE - Confiteor (new translation)
KYRIE - (Mass XI - Orbis Factor)
GLORIA - Palestrina, Missa Tu Es Petrus (translation provided)
God our Father,
your light of truth
guides us to the way of Christ. 
May all who follow him
reject what is contrary to the gospel (1973). 

O God, who show the light of your truth
to those who go astray,
so that they may return to the right path,
give all who for the faith they profess
are accounted Christians
the grace to reject whatever is contrary to the name of Christ
and to strive after all that does it honour (from 2012).  
READINGS (Responsorial Psalm - The seed that falls on good ground will yield a fruitful harvest)
ALLELUIA (Proper alleluia sung by all, English verse, proper alleluia repeated)
GOSPEL - New translation
CREED (New translation, said)
OFFERTORY MOTET - Faure, Cantique de Jean Racine
PREFACE DIALOGUE - New translation
SANCTUS - Proulx, A Community Mass
MYSTERY OF FAITH - Acclamation A, Missal tone
COMMUNION RITE - New translation
AGNUS DEI - Palestrina, Missa Tu Es Petrus (translation provided)
ECCE AGNUS DEI - New translation
COMMUNION ANTIPHON - Passer invenit sibi domum (translation provided)
COMMUNION HYMN - For the fruits of all creation
CONCLUDING RITES - New translation, Pontifical blessing (Blessed be the name of the Lord ... )
DISMISSAL - First option
POSTLUDE (improvisation?)

Shows what you can achieve with the right attitude.

Diocese in Illinois Encourages Missal Chants and New Mass Setting, but Avoids Revised Settings

An interesting article by Jennifer Willems in The Catholic Post of the Peoria Diocese in Illinois.  Apparently:
"To assist the parishes, schools and Newman Centers of the Diocese of Peoria in making the transition to the new Mass texts, Bishop Jenky asked a committee of musicians to make recommendations for Mass settings and hymns that would give everyone a 'common language.'
Musicians around the diocese met with Msgr. Deptula and Dr. Sherry Seckler, diocesan director of sacred music, to sing through the new Mass settings and suggested two of them for use in central Illinois. The first is the chant setting that will appear in the new Roman Missal and likely be published in missalettes.
The second is the 'Mass of Wisdom' by Steven R. Janco. Published by World Library Publications, it was written for organ, brass and handbells as well as piano, woodwinds and guitar. (To listen to it, go to Sing the New Mass and click on New Musical Settings.)
'It is, in theory, rather elastic,' Msgr. Deptula said. “It will fit many different situations, many different styles of celebration.”
Revised settings of Masses currently in use, such as the 'Mass of Creation,' are available, but the committee opted against recommending one of these. Msgr. Deptula said they felt it would be more difficult for people to put new words to a well-known tune.
Parishes may want to learn other settings and are encouraged to do so, but Msgr. Deptula said Bishop Jenky is asking pastoral musicians to make people familiar with the chant setting and “Mass of Wisdom” as a starting point.
The U.S. Conference of Catholic Bishops helped the faithful last week by approving use of musical settings for the new Roman Missal beginning in September [rather than all at once on the first Sunday of Advent]" (emphasis added).  
As I have previously suggested, this seems to me to be the most appropriate way to go about introducing new settings of the Ordinary - by strongly encouraging the use of the new Missal setting, so that it becomes the default setting known across the diocese (and the English speaking world), and the use of a robust new setting (which Mass of Wisdom seems happily to be), and then permitting and encouraging the adoption of further Mass settings at will.  Credit ought to go to the bishop for his policy and his pastorally sensitive (but resolute) method of implementing it.

This is one of many newspaper articles that I have seen fit to post on my blog for being either interesting or particularly useful to people trying to understand the new translation and the process of its implementation.  Here is a full list, and bear in mind that new articles are added to the relevant page on the right hand side of this blog:

Sunday, 10 July 2011

Westminster Encourages Use of Missal Chants

The Archdiocese of Westminster is encouraging its parishes to introduce the chants from the newly translated Missal during the period between the first Sunday in September and the first Sunday of Advent this year.  To assist with the process of implementation, they are making pew cards available online.

From the website:
"Parishes may introduce the new translation of the Missal in full or incrementally.  However they have been asked also to ensure that they become familiar with the new missal chant during the period leading up to the 1st Sunday of Advent."

Friday, 8 July 2011

Requiescant in Pace and More Victoria

Today at St Mary's Cathedral what seemed like half of the legal profession in Sydney attended the funeral Mass of Roderick Pitt Meagher AO QC, a former Justice of Appeal of the Supreme Court of NSW.  According to the Australian newspaper:
"when he died last week he had already organised his funeral at St Mary's Cathedral today, where the mass was to be said in Latin, according to the death notice."
 He got roughly half of his wish granted.  The setting of the Ordinary was Victoria's Requiem (Kyrie, Agnus Dei), and the other Latin parts were:  the Introit, the Sign of the Cross and Greeting, the Offertory Motet, the Preface, the Sanctus (Mass XVIII), the Doxology, the Lord's Prayer, the Communion Motet and the Libera Me.  The remaining parts were largely using the new English translation of the Roman Missal.

A fitting send off for a man who by all accounts appreciated the full beauty and majesty of the Roman Rite.

I can now also upload one of my favourite youtube videos - Westminster Cathedral Choir singing the Kyrie from Victoria's Requiem at the funeral Mass of their beloved Cardinal Hume in 1999:

Thursday, 7 July 2011

Confused about Which Mass Settings to Use?

Over at Pray Tell, Fr Anthony Ruff OSB has produced a gem by compiling a very helpful list of new/revised settings of the Ordinary of the Mass which he intends to use in due course.  This should not deter you from seeking out other Mass settings, but in all likelihood you will not be any the poorer for not so doing, such is the breadth of his list.

A few points:
(a) It appears that almost all of the settings he will be using are American, which might pose a problem for parishes in other English speaking countries where the local bishops have endorsed and/or are recommending local settings;
(b) the sheer number of new congregational Mass settings from America is bewildering - this has its benefits (we all like variety, creativity ought to be allowed to flourish, and a given parish is more easily able to find a setting which is 'right' for it) BUT also has its disadvantages (it seems to thwart the admirable hope of bishops and many people that a common repertoire be established through-out the English speaking world, or at least within the one country)
(c) it's excellent to see that the Missal chants are being used and that they are listed first (as I have mentioned previously, they should be the 'generic' or 'default' settings in a parish in that they should not be entirely overlooked by any parish in favour of other Mass settings)
(d) the quality of many of the settings is surprisingly satisfactory
(e) I re-iterate my claim that no injustice is done if only the Mystery of Faith acclamations from the Missal are used.  Then we might actually have one part of the Mass which is common through-out the whole English speaking world all of the time)

Based on this, for parishes outside America, how is this for a rough plan?
- Implement the Missal chants as the 'generic' Ordinary (and alternate between the English and Latin settings where the latter are provided in the English Missal) [and make sure that the words AND notation are provided in the pews!!]
- When those are thoroughly learnt (but before they become tedious through excessive repetition), introduce another Mass setting recommended by your local Bishops' Conference (after consultation between the parish priest, the qualified musicians in the parish and other interested parties - ideally a good sample of parishioners of varying musical ability who will be expected to sing the setting) [and make sure that the words AND notation are provided in the pews!!]
- Perhaps introduce another recommended setting in due course (or one from another country if this is permitted) - or as many settings as your parish can cope with
- Give serious consideration to introducing one/a few of the Latin settings of the Ordinary from the Graduale Romanum.  Mass VIII is widely known, Mass XVII during Advent and Lent is easy to sing (and there is no Gloria during these seasons so the task of learning these chants is made considerably easier), etc - this links us to our rich musical/liturgical hertiage and also provides another opportunity for unaccompanied singing
- Where applicable, encourage the parish priest to let you (a competent organist and/or choral director) set up a schola capable of singing the Propers and more advanced settings of the Oridnary (from the rich musical inheritance of the Church, or new choral settings)
- Encourage the congregational singing of simple Propers in the vernacular where singing them from the Graduale Romanum is infeasible

Wednesday, 6 July 2011

Palestrina at St Peter's

If, as has been suggested, there are differing theories as to how Palestrina 'should' be sung, or indeed 'might' have been sung while he was alive, then perhaps these two choirs most strikingly highlight those differences:

It seems old habits die hard:

Or on the other hand:

Is this an unfair comparison or a necessary reality check?  Rumination necessary.

A Hope Shared by Many

"Perhaps we should remember Saint Benedict’s words that 'We believe that God is present everywhere and especially is this so when we celebrate the Sacred Liturgy'.  My hope for the new English translation of the Roman Missal is that all controversy is now laid aside, and that together bishops, priests, deacons, religious and the lay- faithful work to ensure that it becomes a great source for renewal in the liturgical life of the Church, and makes a valuable contribution to the work of new evangelisation."
Abbot Cuthbert Johnson, OSB 

Tuesday, 5 July 2011

More News from Ireland

The Irish Bishops have just issued this informative press release.  It outlines the state of affairs regarding new and adapted Mass settings for use in Ireland.

And from the Maynooth College website, outlining the tutors for the upcoming Irish Church Music Association summer school:    
"parish and contemporary music (Fr Liam Lawton and Chris de Silva), choral direction / conducting (Dominic Finn), cantor training (Sarah Waldron), liturgical composition (Edward Holden), organ (Eoin Tierney, Regina Deacy, Eanna McKenna and David Connolly), special choir (Órla Barry), schools (Monica Brown), chant (Giovanna Feeley), music by Irish composers for the new Missal translation (John O’Keeffe)."

Monday, 4 July 2011

Chanting the Mass - Again

In light of the appearance of the video of Monsignor Wadsworth's address in Pittsburgh last month, I thought I would re-post this:  

Those interested in the rationale behind the music for the latest edition of the Roman Missal in English may like to peruse this transcript of a speech given by Monsignor Wadsworth, current Executive Director of the International Commission on English in the Liturgy (hereafter "ICEL"), the body mostly responsible for the newly translated English language Missal.  The speech was given at Atlanta, Georgia on 21 August 2010. 

He develops his point in a more recent speech given at Pittsburgh, Pennsylvania, on 14 June 2011, which has also been made available as a video:

Chant shall be a recurring theme on this blog.

The Monsignor has also given this interview on the new translation, succinctly outlining the "official" position (by this I do not mean to imply that the official position is somehow flawed). 

It should be noted that while I shall attempt to have a degree of balance to the "Missal issue", in perhaps a vain attempt to avoid politicising it, I shall post those stories I personally find will be helpful/interesting/of note unfettered by any potential claims of bias.

Publishers of the Roman Missal, Third Typical Edition

Most jurisdictions do not have a choice of which Missal to purchase:
"The only altar missal in English approved for Australia, with the Australian supplement and variations approved by the Holy See is in preparation (in conjunction with England and Wales, and Scotland) by the Catholic Truth Society, London, and will be sold in Australia by St Paul's from whom you will receive information in due course.  There is the larger size (with superior binding and illustrations) suitable for parishes, a medium size (suitable for smaller chapels) and a hand size.  Under no circumstances should  missals from other countries be purchased as they lack the Australian proper and variations" (from the webiste of the Catholic Archdiocese of Melbourne).  
As you will see from the list below, Canada and Ireland seem to be in the same situation.

On the other hand, parishes in the United States are spoilt for choice, with no less than seven publishers deciding to produce editions of the Roman Missal, Third Typical Edition.  This certainly has its benefits (competition often results in superior products being produced, and the standard of American Missals appears to be very good on the whole, even at the cheaper end of the scale).  The disadvantage is that the Missal will not look the same from parish to parish.  Still, this is a relatively minor quibble.

On a different note, while presumably the "best" version offered by a publisher ought to be used on the altar, an alternative, less expensive version (which is also smaller and less heavy) will be appropriate for use "at the chair".  From the website of the Catholic Truth Society:
"The Bishops' Conference [in England & Wales] is not giving permission for a Book of the Chair (containing only prayers and antiphons, etc., and excluding the Order of Mass) to be published because it is not a genuine liturgical book in that there is no Latin editio typica. 
We will be producing a medium-sized Chapel Edition of the Roman Missal that will be hardback and in bonded leather rather than the genuine leather that we will use for the altar edition. This could also serve as a Book of the Chair."
Of course these are matters for local Bishops' Conferences, but common sense should prevail.



        UNITED STATES (in alphabetical order, prices in US dollars)
        By the wonders of modern technologies, and the hard work of many, one is able to peruse sample pages of most of these Missals.  

        Music for New Translation - An Irish Initiative

        The Irish Church Music Association is presently to hold its annual summer school where the theme is music for the newly translated Missal.  Click here to listen to an interview the ICMA's Registrar, Thomas Kenny.

        From the ICMA's website:
        "The ICMA is supported by the Irish Bishops' Conference, and is based in the National Centre for Liturgy, St Patrick's College, Maynooth, Co.Kildare."
        Exterior of St Patrick's College, Maynooth

        Interior of Chapel at St Patrick's College, Maynooth

        Sunday, 3 July 2011

        Music from the Roman Missal - More Examples from Australia

        Earlier I posted a link to an Episcopal Ordination at St Patrick's Cathedral in Melbourne in June this year where parts of the new translation of the Missal were used.  Now here are some excerpts from St Mary's Cathedral in Sydney.

        Before the extracts, it may be appropriate to be reminded of one of the first paragraphs of Sacrosanctum Concilium:  
        "In the earthly liturgy we take part in a foretaste of that heavenly liturgy which is celebrated in the holy city of Jerusalem toward which we journey as pilgrims, where Christ is sitting at the right hand of God, a minister of the holies and of the true tabernacle; we sing a hymn to the Lord's glory with all the warriors of the heavenly army; venerating the memory of the saints, we hope for some part and fellowship with them; we eagerly await the Saviour, Our Lord Jesus Christ, until He, our life, shall appear and we too will appear with Him in glory" (para 8).
        Many have argued that the musical and liturgical patrimony of the Roman Rite is the ideal form of expressing on earth that which is to be expected in the heavenly liturgy (c.f. Sacrosanctum Concilium, para 116).  The music at the Solemn Mass at St Mary's draws heavily on that rich inheritance - from the Order of Service at St Mary's Cathedral for the 14th Sunday in Ordinary Time (2011):  

        HYMN - Be thou my vision
        INTROIT - Suscepimus, Deus ... (translation provided)
        GREETING C (Peace be with you/And with your spirit)
        PENITENTIAL ACT A (Confiteor - new translation)
        KYRIE & GLORIA - Cantus Missae, Rheinberger (translations provided)

        Extract from Mass setting (sound quality not particularly good):  
        through the obedience of Jesus,
        your servant and your Son,
        you raised a fallen world. 
        Free us from sin
        and bring us the joy that lasts for ever.  (1973)
        O God, who in the abasement of your Son
        have raised up a fallen world,
        fill your faithful with holy joy,
        for on those you have rescued from slavery to sin
        you bestow eternal gladness.  (from 2012) 
        READINGS (Responsorial Psalm - I will bless your name for ever, O God my King)
        ALLELUIA - Simple refrain, verse Venite ad me ... (translation provided)
        GOSPEL (new translation)
        CREDO I

        Extract from Credo I (sound quality not particularly good):  
        OFFERTORY MOTET - Laudate Dominum, Dupre (translation provided)
        ORATE FRATRES (new translation)
        PREFACE DIALOGUE (new translation)
        SANCTUS - Mass XI (orbis factor) - Sung by all
        MYSTERY OF FAITH - Acclamation A

        We proclaim your Death (sound quality not particularly good):  
        COMMUNION RITE - (new translation)
        AGNUS DEI - Mass XI (orbis factor)
        ECCE AGNUS DEI (new translation)
        COMMUNION ANTIPHON - Gustate et videte ... (translation provided)
        POST COMMUNION HYMN - All ye who seek a comfort sure
        CONCLUDING RITES (new translation)
        ORGAN POSTLUDE (Reger)

        Is this not approaching the ideal liturgy envisaged by Vatican II by drawing on the best traditions of the Roman Rite?

        Friday, 1 July 2011

        Vespers from the Golden Age of Spain

        Speaking of the Birmingham Oratory, here is a short video taken surreptitiously by a member of the audience at a concert given in the Oratory on 15 June 2011 by the superb early music group Ex Cathedra, whose Director is Jeffrey Skidmore.

        From the advertisement:
        "The Siglo de Oro, or Golden Age of Spain gave  us some of world’s finest art. It is a period which encompassed the career of Tomás Luis de Victoria, perhaps the greatest of all Iberian composers.  To mark the 400th anniversary of his death, this concert recreates a Vespers sequence with sublime settings by Victoria for one, two and three choirs.  The gold and marble splendour of the Oratory, lit by candlelight as daylight fades outside, helps create a spellbinding atmosphere." 

        The acoustics at the Oratory are known to be excellent, and many recordings have been made here.  Enjoy, and once again thank you to the cameraman (or camerawoman!)

        Sacred Music in Light of Vatican II and the New Translation

        The Rev Guy Nicholls, Cong Orat., Director of the new Blessed John Henry Newman Institute of Liturgical Music, writes about sacred music in light of Vatican II and the new translation.  See his article here.

        The Institute:
        "is a new venture by the Fathers of the Birmingham Oratory in association with the Maryvale Institute under the joint patronage of Archbishop Bernard Longley of Birmingham [who is an able musician having studied at the Royal Northern College of Music] and James McMillan, the celebrated Catholic Composer."
        The Oratory, Birmingham

        Acclamations at the Mystery of Faith

        It is evident that composers of new settings of the Ordinary of the Mass are also seeing fit to write music for the three acclamations at the Mystery of Faith, as well as for the Alleluia and the final Amen of the Eucharistic Prayer.  As regards the former, and leaving the others aside for the time being, it is questionable whether the acclamations of a new Mass setting should ever be used in preference to the Missal chant versions:  

        It would seem to restrict a priest's choice whether or not to chant the Eucharistic Prayer.  As an example of the discordant sound which ensues when a celebrant intones the Mystery of Faith and then the people sing a response otherwise than as appears in the Missal, click here.  It is arguable that this extends to the final Amen as well.  

        And if this is not reason enough, then what about the stated desire of the bishops that a common repertoire of music for the Mass be established throughout the English speaking world?  This is a commendable policy, and one which is not furthered by parishes which opt for acclamations from Mass settings which are not necessarily widely known.  Would it not be nice if one were to attend Mass in Pittsburgh and Perth and Paisley and Portsmouth and be greeted with a familiar acclamation at the Mystery of Faith, if nothing else?  Should composers not just focus on writing music for what are customarily known as the Ordinary parts of the Mass - Kyrie, Gloria, [Creed], Sanctus and Agnus Dei, leaving the other parts which appear on all or most Sundays (Alleluias, Mystery of Faith acclamations and Amens) to be sung according to the new Missal tones or otherwise to traditional chant tones (e.g. the triple Alleluias from the Graduale Simplex)?  Rumination necessary.