Propers    (Proprium de Tempore)

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Proper	mode / tone	LU - MV LB	GR - AR OF - GB	Comments
Saturday before Septuagesima Introibo Mesnil
Vespers		LU496	AR340
Ant. Dixit Dominus ad Adam Cant. Magnificat	8G	LU496 LU212	AR341 AR52
V. Benedicamus Domino	B	LU783 MV649	AR341	Last time Alleluia is said, twice at Benedicamus Domino, until Easter Vigil.
Septuagesima Introibo Daoudal Baron Johner
Missa		LU496 MV427	GR73	NLM - Daoudal - Mesnil, St Augustin - La Septuagésime - Traits (vidéo)
Intr. Circumdederunt me Ps. 17, 5, 6 et 7. 2-3. Ps. 17, 4 et 7.	5	LU497 MV428	GR73 GB1168 VPC48	D/E♭ - Maybe a little difficulty: watch out the 5th down on the word invocavi.
Grad. Adjutor in opportunitatibus Ps. 9, 10-11 et 19-20.	3	LU498 MV430	GR74 GB222	E/F Difficult piece. Doable but need serious practice. - Careful at the incipit with the various 3rd and 4th. - The words qui noverunt are a bit tricky: starting on a small semitonesque second EF it jumps with DFA = three notes of a minor chord, giving this unique flavour. - Then you have a jump a 5th on quoniam which will come back again as a 4th two lines later on the same word. - A few notes difficult to pitch on Domine: 1) a 4th down CG on the porrectus, 2) then a major 3rd down AF, followed by another major 3rd up GB, 3) finally the porrectus on "mi" is episemed but not the ones on "ne", it is tempting to lengthen the whole. - After the second quoniam, the word non is divided in two parts: 1st part: chaotic movements between A and C, 2nd part: beautiful jump high BE-FDB followed by D-ECA; ECA composes a minor chord = minor third AC + major third CE but this particular set of notes FDB is called a "diminished" chord composed of two minor thirds BD and DF, as explained in this page: http://piano.about.com/od/chordskeys/a/dim_chords.htm: « Diminished Chords and "Dissonance" - The reason for a diminished chord's bizarre sound is its tonal instability (or "dissonance"). The intervals in a diminished triad, for example, are equally spaced – there are three intervals between B-D, and also between D-F – and this lack of harmony within the chord is what causes the ear to seek tonal resolution. » ... Therefore the need of the following ECA which makes the dissonance vanishing and brings back harmony. - Next you find again the three notes DFA of a minor chord on the word infinem like previously on noverunt. - The word pauperis has a quilisma followed by a liquescent, this liquescent is where you sing the "u" of "au". - Next the word patientia is syllabic, seems obvious but be careful on this DEGAG. - Double lovely pattern on aeternum to express life forever... I suppose. It will sound better if you sing the whole in one breath. - The final phrase starts with exsurge, Domine, wonderful with its three fourths. Sing with majesty. - The final word homo is beautiful too, with these ascending and descending notes from bottom D to top C, to conclude with the final E. This last phrase is a treat.
Tract. De profundis Ps. 129, 1-4.	8	LU499 MV431	GR75 GB926	E/F Famous psalm 129 from Wednesday Vespers. - Look at the three clivis AG on the first Domine. It sounds better if you give a different expression for each one, for example a bit more intensity to the second clivis (or the third one), so to make the group less monotonous. You can also express the first and third one, releasing the intensity on the second one, then expressing and holding the double top C. - Be careful at the first notes FABb of vocem: the apparition of the B flat gives a different flavour from the previous phrases. It comes back to B natural at the end of meam. - Fiant aures has two liquescents: one for the "n" and one for the "u". Also watch out the 5th down after the "u". - The word intendentes also has two liquescents for the two "n" but also a long melism on "tes": 1) try not to breath at the quarter bar and move on to the fourth down and up G/D, 2) you find again the three clivis AG, like above, to be sung with different expressions. - Then again these notes FABb on the word servi with the B flat, developing like before on the words vocem meam. - Then for the third time we encounter the three clivis on the third occurrence of Domine. Sing like explained above. - The words Quia apud te do not follow the classic GAC from mode 8 but mark a step at B first before reaching the C. After that watch out the 4th CG to get down to propitiatio: same note G as the starting of the verse. - In the end pay attention to the transition from "mi" to "ne" on the last occurrence of Domine.
Offert. Bonum est confiteri Ps. 91, 2. Ps. 91, 6.	8	LU501 MV433	GR76 GB1194 OF26 SOV6	D/E♭ Worth quoting the words in English: « It is good to give praise to the Lord, and to sing to thy name, O Most High ». That's what we do here. - First: pay attention to the change of flavour after the incipit, the word confiteri will go GAC but it starts with a low fourth DG. What I do before we start: I play on the keyboard a few incipit notes then the 3 notes G-A-C (including both dominant and final in this mode 8), so it goes this way: Eb-Eb-G-F-F then a quick F-G-Bb. This way the ear is prepared for the next. - I love the climbing of notes to the highest CDE to emphasize this word psallere = sing, reaching the choir of angels in Heaven. - Dom Johner indicates the third part should be sung crescendo to the third pressus, through the word Altissime. - Overall sing this Offertory on a slow pace full of awe.
Comm. Illumina faciem Ps. 30, 17-18. Ps. 30, 2-6, 7-9.	1	LU501 MV434	GR76 GB640 VPC48 MV2006	D/E♭ - Sing this one gently. - Lovely transition a 4th down from A to E, from salvum to me.
Lauds			AR341
1 Ant. Miserere mei Deus et a Ps. 50. Miserere mei Deus secundum	1a	LU---	AR341 AR10 GB13183
2 Ant. Confitebor tibi Domine Ps. 117. Confitemini... dicat	8G*	LU---	AR342 AR11 GB12211
3 Ant. Deus deus meus Ps. 62. Deus deus meus ad te	1f	LU---	AR342 AR3 GB12711
4 Ant. Benedictus es in firmamento Cant. II. Puer. Benedictus es Domine Deus patrum	1a2	LU---	AR342 AR12 GB12272
5 Ant. Laudate Dominum de caelis Ps. 148. Laudate Dominum de caelis	1a	LU---	AR342 AR5 GB18347
Hymn. Aeterne rerum Conditor	1	LU---	AR6 GB13348	F/F♯
Ant. Simile est... homini patrifamilias Cant. Benedictus	1g	LU---	AR343 AR10 GB12720
Prime		LU496	AR343
Ant. Conventione autem Ps. 53. Dominus regnavit Ps. 118i. Beati Immaculati in via Ps. 118ii. Retribue servo tuo	1f	LU496 LU226	AR343 AR16
Terce		LU497	AR344
Ant. Ite et vos Ps. 118iii. Legem pone Ps. 118iv. Memor esto verbi tui Ps. 118v. Bonitatem fecisti	8c	LU497 LU236	AR344 AR27
Sext		LU502	AR344
Ant. Quid hic statis Ps. 118vi. Defecit in salutare Ps. 118vii. Quomodo dilexi Ps. 118viii. Iniquos odio habui	1g	LU502 LU241	AR344 AR33
None		LU502	AR344
Ant. Voca operarios Ps. 118ix. Mirabilia testimonia Ps. 118x. Clamavi in toto corde meo Ps. 118xi. Principes persecuti sunt	8G	LU502 LU246	AR344 AR40
Vespers		LU502 MV435	AR345	Introibo Antiphons and psalms of the Sunday.
Hymn. Lucis creator optime	8	LU256 MV119	AR48	E
Ant. Dixit paterfamilias Cant. Magnificat	7a	LU503 LU211 MV435 MV217	AR345 AR52
Septuagesima Week - Monday
Vespers		LU---	AR346
Ant. Hi novissimi Cant. Magnificat	1a3	LU---	AR346 AR52
Septuagesima Week - Tuesday
Vespers		LU---	AR346
Ant. Dixit autem paterfamilias Cant. Magnificat	8G	LU---	AR346 AR52
Septuagesima Week - Wednesday
Vespers		LU---	AR346
Ant. Tolle quod tuum est Cant. Magnificat	8c	LU---	AR346 AR52
Septuagesima Week - Thursday
Vespers		LU---	AR347
Ant. Non licet mihi Cant. Magnificat	8G	LU---	AR347 AR52
Septuagesima Week - Friday
Vespers		LU---	AR347
Saturday before Sexagesima
Vespers		LU503	AR347
Ant. Dixit Dominus ad Noe Cant. Magnificat	8G	LU503 LU212	AR347 AR52
Sexagesima Introibo /23 Daoudal /21 Baron Johner
		LU504 MV436	GR77
Intr. Exsurge Ps. 43, 23-26. 2. Ps. 43, 2-3.	1	LU504 MV436	GR77 GB529 VPC48	D/E♭ A beautiful piece, full of emotion. A plea to God. Listen to the first video and the tremendous interpretation by the monks. - After obdormis Domine you might want to go through the half bar without stopping, it sounds better. - No pause at the quarter bar between exsurge Domine and adjuva nos.
Grad. Sciant gentes Ps. 82, 19 et 14.	1	LU506 MV439	GR78 GB1265	C/C♯ - Take plenty of air to sing the long incipit in one breath. - Careful at tu solus: it ends on a G, not natural in mode 1. - The word terram has difficult up and down, think of memorizing the long starting F as you come back to it after the torculus. Then there is the projection from the dotted E to the episemed A, hopefully without any pause at the quarter bar. - ut rotam starts on the same G as the previous word illos and the word rotam also starts on G; sounds obvious but... - Here too you might want to sing the whole rotam in one breath. It's doable. - Watch out the second "disconnected" quilisma on stipulam: it goes E-G-A, not consecutive notes.
Tract. Commovisti Ps. 59, 4 et 6.	8	LU507 MV440	GR78 GB1178	B/C - Here too there is a long incipit. Eventually you can breathe at the quarter bar but if you can do it in one breath do it. - The word eam after conturbasti has a long melism, if you want to breathe it is better to breathe at second quarter bar after the dotted F. - The word est after mota has big 4th jumps, don't lengthen the ictus notes on G. - Be careful at the 5th down DG on the word arcus; there is a dotted G for everybody to regroup before moving on.
Offert. Perfice gressus Ps. 16, 5, 6-7. Ps. 16, 1.	4	LU508 MV442	GR79 GB265 OF90 SOV6	C♯/E♭ Will be sung again on 6th Sunday after Pentecost. - Memorize the note F as it is the main recitating note. - In the end, after facis make a little pause to get the D right, down a fourth from G.
Comm. Introibo Ps. 42, 4. Ps. 42, 1-3, 4-6.	8	LU508 MV443	GR80 GB554 VPC49 MV2007	E/F Words pronounced by the priest at the foot of the altar, when the mass starts. - Think to emphasize the word Dei, not forgetting to lenghten the beginning of the word. - Make sure to separate the two "d" of ad and Deum. - At the word laetificat it is tempting to come back to G (mode 8 final) when actually it is the same note A as the previous word qui. Maybe that's why there is an episema (lengthening) on the note, to regroup and stabilise before continuing. - The word juventutem is a bit tricky: one wants to climb to C but there is a successing of three AG before going to B and C. Also I tend to say the "m" early, like juventum instead of juventutem...
Lauds			AR348
1 Ant. Secundum magnam Ps. 50. Miserere mei Deus secundum	1g2	LU---	AR348 AR10
2 Ant. Si mihi Dominus Ps. 117. Confitemini... dicat	1a2	LU---	AR348 AR11
3 Ant. In velamento clamavi Ps. 62. Deus deus meus ad te	2D	LU---	AR348 AR3
4 Ant. Hymnum dicamus Cant. II. Puer. Benedictus es Domine Deus patrum	8G	LU---	AR349 AR12
5 Ant. In excelsis laudate Ps. 148. Laudate Dominum de caelis	6F	LU---	AR349 AR5
Hymn. Aeterne rerum Conditor	1	LU---	AR6	F/F♯
Ant. Cum turba plurima Cant. Benedictus	8G	LU---	AR349 AR10
Prime		LU504	AR350
Ant. Semen cecidit... in patientia Ps. 53. Dominus regnavit Ps. 118i. Beati Immaculati in via Ps. 118ii. Retribue servo tuo	8c	LU504 LU226	AR350 AR16
Terce		LU504	AR350
Ant. Qui verbum Dei Ps. 118iii. Legem pone Ps. 118iv. Memor esto verbi tui Ps. 118v. Bonitatem fecisti	1f	LU504 LU236	AR350 AR27
Sext		LU509	AR350
Ant. Semen cecidit... aliud Ps. 118vi. Defecit in salutare Ps. 118vii. Quomodo dilexi Ps. 118viii. Iniquos odio habui	8c	LU509 LU241	AR350 AR33
None		LU509	AR351
Ant. Si vere fratres Ps. 118ix. Mirabilia testimonia Ps. 118x. Clamavi in toto corde meo Ps. 118xi. Principes persecuti sunt	7c	LU509 LU246	AR351 AR40
Vespers		LU509 MV443	AR351	Antiphons and psalms of the Sunday.
Hymn. Lucis creator optime	8	LU256 MV119	AR48	E
Ant. Vobis datum est Cant. Magnificat	6F	LU510 LU211 MV444 MV216	AR351 AR52
Sexagesima Week - Monday
Vespers		LU---	AR352
Ant. Si culmen veri honoris Cant. Magnificat	7c	LU---	AR352 AR52
Sexagesima Week - Tuesday
Vespers		LU---	AR352
Ant. Semen est verbum Dei Cant. Magnificat	3a	LU---	AR352 AR52
Sexagesima Week - Wednesday
Vespers		LU---	AR352
Ant. Quod autem cecidit Cant. Magnificat	1g	LU---	AR352 AR52
Sexagesima Week - Thursday
Vespers		LU---	AR353	No particular antiphon for this day.
Sexagesima Week - Friday
Vespers		LU---	AR353	No particular antiphon for this day.
Saturday before Quinquagesima
Vespers		LU510	AR353
Ant. Pater fidei nostrae Cant. Magnificat	6F	LU510 LU211	AR353 AR52
Quinquagesima Introibo /22 Daoudal /21 Baron Johner
		LU510 MV444	GR80
Intr. Esto mihi Ps. 30, 3-4. 2. Ps. 30, 3 et 6.	6	LU511 MV444	GR80 GB1381 VPC49	F/G - Notice the mode 6 final F which is very present all along this proper. - The words quoniam firmamentum are sung with the intonation/tenor/ending of psalm tone 6. It continues in a similar way with et refugium meum, ends with a solid bottom C on the words es tu. - Lovely long C on dux mihi « thou will be my leader », top notes probably indicates what is coming from Heaven above. - The word enutries is a bit difficult: only one note on the initial "e", the temptation is to continue the melody and stay with this vowel when the melody actually continues with four notes on "nu". Then one has to remember the various lengthenings on "tri" and "es", as well as the final "me".
Grad. Tu es Deus Ps. 76, 15 et 16.	3	LU512 MV446	GR81 GB850	A/B♭ - Watch the various B in this proper, especially followed by C. - Also memorize the E, final of mode 3, it appears here and there. - Notice a rare 5th on a torculus resupinus at the word notam. - Next you encounter a succession of major thirds up and down GB and BG on the words fecisti and gentibus. The word gentibus continues with a jump down a 4th AE on "bus": that's where you remember the importance of memorizing the E. - The four notes GC-AB of "vir" on the word virtutem are a bit tricky to sing. Before you start, visualize the fourth GC then insert the second AB. - Another place to look at the various B: in brachio tuo where most of the notes stay between C and A, a little interval of three semitones, when the ear would like to come back to the G of Liberasti. Also here it is tempting to sing not one but two or three notes on "tu"... It is the next "o" which takes all the five ending notes before the quarter bar. Eventually do not breathe at this quarter bar but take one good breath before in brachio.
Tract. Jubilate Domino Ps. 99, 1-2.	8	LU513 MV447	GR82 GB1299	E/F - Similar melody and patterns like in the Tract. De profundis from Septuagesima. Same advices apply here. Notice though at the end of laetitia the additional F which differs from similar patterns. - You will find again this FABb on two occurrences: in (laetitia) and ipse (est Deus). - Little difficulty on Ipse fecit nos: the melody is going down but not as quickly as one would think, lots of semitones C to B. Big breath after that at the half bar to sing the next et non ipsi nos. And as before sing crescendo the three clivis on nos. - Lovely triple climacus (more like "podatus sub-bipunctis") on the second nos. - Finish the last ejus in one breath after a little pause after the star.
Offert. Benedictus es... in labiis Ps. 118, 12-13. Ps. 118, 1, 2.	3	LU514 MV449	GR83 GB1317 OF28 SOV7	E/F - The second benedictus has the same notes as the first one (incipit) although the notes are not episemed. - On two occasions: tuas and pronuntiavi, in the end there is a CAA-FGF which is not necessarily easy to grab, the ear would rather go down a fourth with CGG-FGF. - Make a pause at the last quarter to prepare the ending oris tui, beautiful with the elevating fourths and the finish on semitones: A/Bb and F/E, reflecting on the words « all the judgments of thy mouth ».
Comm. Manducaverunt Ps. 77, 29-30. Ps. 77, 1, 3, 4, 23-25, 27-28.	1	LU515 MV450	GR84 GB677 VPC50 MV2007	D/E♭
Lauds			AR353
1 Ant. Secundum multitudinem Ps. 50. Miserere mei Deus secundum	1f	LU---	AR353 AR10
2 Ant. Deus meus es tu Ps. 117. Confitemini... dicat	8c	LU---	AR354 AR11
3 Ant. Ad te de luce Ps. 62. Deus deus meus ad te	7a	LU---	AR354 AR3
4 Ant. Hymnum dicite Cant. II. Puer. Benedictus es Domine Deus patrum	4E	LU---	AR354 AR12
5 Ant. Omnes angeli ejus Ps. 148. Laudate Dominum de caelis	5a	LU---	AR354 AR5
Hymn. Aeterne rerum Conditor	1	LU---	AR6	F/F♯
Ant. Ecce ascendimus... et consummabuntur Cant. Benedictus	4E	LU---	AR355 AR10
Prime		LU510	AR355
Ant. Iter faciente Jesu Ps. 53. Dominus regnavit Ps. 118i. Beati Immaculati in via Ps. 118ii. Retribue servo tuo	1D	LU510 LU226	AR355 AR16
Terce		LU511	AR356
Ant. Transeunte Domino Ps. 118iii. Legem pone Ps. 118iv. Memor esto verbi tui Ps. 118v. Bonitatem fecisti	1f	LU511 LU236	AR356 AR27
Sext		LU515	AR356
Ant. Et qui praeibant Ps. 118vi. Defecit in salutare Ps. 118vii. Quomodo dilexi Ps. 118viii. Iniquos odio habui	7a	LU515 LU241	AR356 AR33
None		LU516	AR357
Ant. Caecus magis Ps. 118ix. Mirabilia testimonia Ps. 118x. Clamavi in toto corde meo Ps. 118xi. Principes persecuti sunt	1f	LU516 LU246	AR357 AR40
Vespers		LU516 MV450	AR357	Antiphons and psalms of the Sunday.
Hymn. Lucis creator optime	8	LU256 MV119	AR48	E
Ant. Stans autem Jesus Cant. Magnificat	1D	LU516 LU207 MV451 MV212	AR357 AR52
Monday after Quinquagesima Introibo Baron Johner
Missa. Esto mihi		LU517	GR---	Same as Quinquagesima.
Vespers		LU517	AR358	Antiphons and psalms of the Monday.
Hymn. Immense caeli Conditor	1	LU517	AR101
Ant. Et qui praeibant Cant. Magnificat	7a	LU515 LU211	AR345 AR52
Tuesday after Quinquagesima Introibo Baron Johner
Missa. Esto mihi		LU517	GR---	Same as Quinquagesima.
Vespers		LU518	AR358	Antiphons and psalms of the Tuesday.
Hymn. Telluris alme Conditor	1	LU518	AR122
Ant. Miserere mei Cant. Magnificat	8G	LU518 LU212	AR358 AR52
Ash Wednesday (Quadragesima) Introibo Daoudal /21 Baron Johner
		LU519 MV452	GR84
Ant. Exaudi nos Ps. 68, 17. 2.	7	LU521 MV452	GR84 GB1081	D/E♭ Sung during the blessing of ashes.
Ant. Immutemur habitu Ioel. 2, 13.	1	LU523 MV454	GR85 GB313	G/G♯ Sung during the imposition of ashes. - At the half bar after in cinere it starts a fifth higher, visualise the interval before moving on. - Watch out the B flat on jejuneus. - Notice the change of B as well on antge Dominum: B natural twice then B flat three times. - Don't forget the "s" at the end of misericors. - There is a major third down AF on Deus, with an episema on A to visualise the interval before taking it.
Ant. Juxta vestibulum Ioel. 2, 17.	4	LU523 MV455	GR85 GB1208	F/F♯ Sung during the imposition of ashes. - Lots of sadness on the fourth down AE at the end of plorabunt sacerdotes (the priests shall weep). - Parce Domine is easy, put expression in it: plea for mercy. - But be very careful at parce populo tuo, you would expect it lands on D but it keeps coming back to F, ends on F. - dissipes might be tricky unless you sing the two torculus neumes on their own. - Lovely melodic phrase on ora clamantium.
Resp. Emendemus Esther 13 ; Ioel. 2. Ps. 78, 9.	2	LU524 MV455	GR86 GB743	C♯/D Sung during the imposition of ashes. - Do not break the phrase ne subito...: no pause before die mortis. - Beautiful fall on bottom A at paenitentiae. - Lovely refrain Attende Domine..., very dramatic and penitential. Avoid breathing at the quarter bar. - Hear the cry of misery at quia peccavimus tibi: "for we have sinned against thee."
Intr. Misereris omnium Sap, 11, 24, 25 et 27. Ps. 56, 2. Ps. 56, 3-4.	1	LU525 MV457	GR87 GB533 VPC50	F/F♯ - Notice the fourth up DG at quae fecisti. - Same fourth but down on peccata, be ready to come back to FGA (like Do-Re-Mi). And don't forget the B flat on top. - Another dramatic effect with the top notes of paenitentiam; by the way: anticipate "ti-am" by singing "tsi-am", otherwise it is too late when you come to "am".
Grad. Miserere mei Deus Ps. 56, 2 et 4.	1	LU526 MV458	GR88 GB754	D/E♭ - The second Miserere mei has large amplitudes and a long melism. Transition through the quarter bar is made by a little bouncing on F before climbing GA to C; a distropha on C prepares for the big drop CAF after that. - quoniam ends on G before the quarter bar, not necessarily easy to pause on G in mode 1, that's why it is better to move on without pausing. - Watch out the minor third GE + major third FA on the word confidit, a major third always needs a little push when it goes up. - Be careful at the word anima: it starts the same as quoniam and it is tempting to hit top C, but instead it goes back to the lowest notes of the scale. - The word caelo has a major third FA (4 semitones) followed by a B flat (1 semitone): one has to refrain his voice not to go higher than a semitone. - Again caelo has a long melism after the quarter bar and there is an important lengthening at the dotted A in the middle, the place where you regroup (without stopping) before going further. Because there is a minor third down CA followed by a fourth down CG; it is tempting to sing the third as a fourth, anticipating the fourth which comes only later. - The words dedit in follow a reversed major chord progression: CAF, and the A is the same note ending the previous word me, just something to remember.
Tract. Domine non secundum Ps. 102, 10. Ps. 78, 8-9.	2	LU527 MV459	GR89 GB425	F♯/G With Ash Wednesday starts a serie of tracts in mode 2, sad mode, penitential. See the tract Qui habitat on 1st Sunday of Lent for more explanation about this type of proper. Notice that: we all kneel at the verse Adjuva nos. - On the word nobis: I find difficult to come back to D after bottom A, the trick is to remember D from three notes before or sing the same porrectus DCD. - Try to go through without breathing at the quarter bar after iniquitatum nostrarum. - As well go through the quarter bar after et propter gloriam... - Make a pause after et propitius esto and enjoy the top notes of the melody at peccatis nostris.
Offert. Exaltabo te Ps. 29, 2-3. Ps. 29, 4.	2A	LU528 MV891	GR90 GB648 OF96 GB17550 SOV7	C♯/D Same as 11th Sunday after Pentecost (MV). - Try to go through the quarter bar without breathing between Domine and clamavi ad te. - The pattern on Domine recalls the Intr. Dominus dixit from Christmas Midnight Mass.
Comm. Qui meditabitur Ps. 1, 2 et 3. Ps. 1.	3	LU529 MV461	GR90 GB582 VPC51 MV2008	C♯/D - Jump a fourth between nocte and dabit, visualise it before. - If you are lost after suum remember it is a minor third down.
Lauds			AR358	Antiphons, psalms and hymn of Wednesday Lauds II.
Ant. Cum jejunatis Cant. Benedictus	7a	LU---	AR359 AR10
Vespers			AR358	Antiphons, psalms and hymn of Wednesday Vespers.
Ant. Thesaurizate vobis Cant. Magnificat	4A	LU--- MV---	AR359 AR52

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