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Views from the Choir Loft

PDF Download • “Missa de Angelis” (Fr. Castro)

Andrew Leung · January 5, 2017

CTL Dominus Dixit ad Me Download T HAS BEEN A WHILE since I have written here. The life in the seminary has been very busy and the Christmas season has been very intense. As I promised last time, I am going to share more about Fr. Áureo Castro, a priest, composer and music educator of the Diocese of Macau, China. 1

As I mentioned in my last post, I found a collection of choral pieces composed by local composers when I was going through old book in the seminary. One piece that I found in the collection is a setting of Missa de Angelis:

    * *  PDF • MISSA DE ANGELIS (Áureo Castro)

Missa de Angelis has always been the “pop” Gregorian Mass; it is the most widely-known and popular chant Mass setting. Fr. Áureo’s setting alternates the chant melody and the choral parts, which allows both the congregation and the choir to sing. While the internal participation is very important, it is also nice to allow the congregation to participate externally through active singing, especially the Ordinaries of the Mass. While this Mass setting is not the most difficult and complicated, the choral range is pretty wide and can be challenging. Also, you may realize there isn’t a score for the “Agnus Dei” movement; the Portuguese at the end of “Sanctus” actually indicates that Fr. Áureo didn’t compose any choral parts for the “Agnus Dei”.

So, when you are thinking about singing the “pop Mass” next time, consider about using this choral setting. I hope it will add beauty to your worship and make your Missa de Angelis more interesting. Please feel free to leave comments on our Facebook combox.



NOTES FROM THIS ARTICLE:

1   Fr. Áureo Castro was born in 1917 at Pico, on Calendaria in the Azores, Portugal. He came to Macau in 1931 when he was 14 years old and he entered the St. Joseph Diocesan Seminary. He was ordained for the Diocese of Macau later in 1943. He was actively involved in parish ministries and the musical training of diocesan seminarians. In 1951, Fr. Áureo went to Lisbon to further study music at the National Conservatory and he graduated with distinction in music composition. He founded the St. Pius X Academy of Music upon his return to Macau. The institute not only offers music classes, but it also organized public concerts and has invited many internationally famous musicians to Macau. He dedicated his life to the promotion of music and his compositions are widely recognized. He passed away in 1993 at the age of 76.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles, PDF Download Last Updated: January 13, 2020

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About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

A hymn verse need not be a complete sentence, but it must have completed sense as a recognisable part of the complete sentence, and at each major pause there would be at least a “sense-pause.” Saint Ambrose and the early writers and centonists always kept to this rule. This indicates one of the differences between a poem and a hymn, and by this standard most of the modern hymns and the revisions of old hymns in the Breviary stand condemned.

— Fr. Joseph Connelly

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