Pronouncing the Pater noster in Modern English Latin

The following transcription is based on Harold Copeman’s transcription of a reading given by John Field and Charles Low of the Westminster School, who both followed the rules of John Sargeaunt’s explanation of “Old Style” or Modern English Latin. I’ve also included his transcription of the Gloria Patri (that’s right, pronounced PAY-trigh). Enjoy.

Pater noster qui es in cælis,
[ˈpʰeɪtʰɚ ˈnɒstɚ kwaɪ ɛz ɪn ˈsiːlɪs]

sanctificetur nomen tuum:
[saŋktɪfɪˈsitʰɚ ˈnoʊmɛn ˈtʰjuʊm]

adveniat regnum tuum:
[adˈvɛniat ˈɹɛɡnəm ˈtʰjuʊm]

fiat voluntas tua
[ˈfaɪæt βɔˈlʊːntʰas ˈtʰjua]

sicut in cælo et in terra:
[ˈsaɪkʊt ɪn ˈsiːloʊ ɛtʰ ɪn ˈtʰɛɹei]

et dimite nobis debita nostra,
[ɛtʰ ˈdaɪmɪtʰi noʊbɪs ˈdibɪtʰa ˈnɒstʰɹa]

sicut et nos dimitimus debitoribus nostris:
[ˈsaɪkʊtʰ ɛtʰ nɒs ˈdaɪmɪtɪmʊs dibɪˈtʰɔɹɪbʊs ˈnɒstɹɪs]

et ne nos inducas in tentationem:
[etʰ ni nɒs ɪnˈdjukas ɪn tʰɛntʰaʃiˈoʊnɛm]

sed libera nos a malo.
[sɛd ˈlaɪbəɹeɪ nɒs eɪ ˈmeɪloʊ]

Gloria Patri

Gloria Patri et Filio et Spiritui Sancto
[ˈɡlɔːɾia ˈpeɪtraɪ ɛtʰ ˈfaɪlioʊ ɛtʰ ˈspaɪrɪtʰjuaɪ ˈsæŋktʰoʊ]

sicut erat in principio et nunc et semper
[ˈsaɪkʊtʰ ˈɛɹaːtʰ ɪn pɹɪnˈsaɪpioʊ ɛtʰ nʌŋk ɛtʰ ˈsɛmpɚ]

et in sæcula sæculorum. Amen.
[ɛtʰ ɪn ˈsiːkjula siːkjuˈlɔɹʊm ˈeɪmɛn]

Tallis’s O nata lux

This was a piece written in the late sixteenth century by Thomas Tallis. Hence, it uses late Renaissance English Latin. What follows is my transcription.

O nata lux de lumine,
[ɔ ˈnæːtʰa ljuks di ˈljumɪni]

Ieſu redemptor ſeculi,
[ˈʤizju rɛˈdɛmptɔr sɛkjuləːi]

dignare clemens ſupplicum
[dɪŋˈnæri ˈkʰlimɛnz ˈsjuplɪkʰʊm]

laudes preceſque ſumere,
[ˈlɑudɛz prɛˈsɛskwi ˈsjumɛri]

qui carne quondam contegi
[kwəi ˈkʰarni ˈkʰondam ˈkʰontɛʤəi]

dignatus es pro perditis,
[dɪŋˈnatʰʊz ɛs pro ˈpɛrdɪtʰɪs]

nos membra confer effici
[noz ˈmɛmbræ ˈkʰonfɛr ˈɛfɪsəi]

tui beati corporis.
[ˈtjui biˈætʰəi ˈkʰɔrpɔɾɪs]

Pronouncing Vivaldi’s Gloria

Vivaldi wrote his Gloria (RV 589, though the text is obviously the same with the other two Glorias) around the year 1715 in Venice. This means that the Latin used should be eighteenth-century Venetian Latin. What follows is a recording and my IPA transcription. It’s a little different that what you might think. Continue reading Pronouncing Vivaldi’s Gloria

Dealing with Randall Thompson’s Choral Music

“Thompson has been largely dismissed in academic circles as an amateurs’ composer, but this categorization belies the technical challenges present in many of his works. Detractors have cited the popular directness of such works as Frostiana and the sentimentality and jingoism of The Testament of Freedom, but these are not characteristic of his style in general. Notwithstanding such criticisms, his choral music has been more widely performed than that of any other American composer up to his time; in 1968 the Alleluia was the best-selling choral work in the USA.” —Fredric Woodbridge Wilson (From Grove)

Randall Thompson, in his 1946 inaugural address at Princeton, wrote that “a composer’s first responsibility is, and always will be, to write music that will reach and move the hearts of his listeners in his own day.” A nationalist, he was an advocate for fostering a non-European American musical sound. He insisted that composers find inspiration in “our own genuine musical heritage in its every manifestation.” His second symphony certainly displays this attention to tunes reminiscent of the United States. That work sounds like a mix of musical ideas from Chadwick, Dvořák, and Still. His extremely obscure early piano sonata employs a healthy amount of chromaticism. Despite the mastery of his instrumental music, his often less interesting choral music is quite popular. Some of his earlier choral works, however, like the Odes of Horace, are actually interesting and worth some study, in addition to being beautiful. Continue reading Dealing with Randall Thompson’s Choral Music

C. S. Lewis on Beauty

“The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing, for they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.”

—C. S. Lewis, from The Weight of Glory

I love this explanation, even after reading it several times. The more we get stuck in the notes and the how of music, the more likely it is for us to forget the power of music. Music’s power is not in its notes, but in what the music suggests about our nature, which we cannot really understand using language. Music gets us that much closer, but not because of it itself, but because of something much more ineffable than it.