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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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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

    New Bulletin Article • “21 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

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“Franz Liszt was an eminent keyboard virtuoso but a dangerous example for the young. … As a composer he was terrible.”

— Clara Schumann

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