European Sacred Music sampler

2 

CHORAL 

CLASSICS 

European 

Sacred Music 

EDITED BY JOHN RUTTER

for online perusal only 

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Great Clarendon Street, Oxford OX2 6DP, England 

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© Oxford University Press 1996 


The moral rights of the editor have been asserted 

Database right Oxford University Press (maker) 

First published 1996 

This reprint 2017 

All rights reserved. No part of this publication may be reproduced, 

stored in a retrieval system, or transmitted, in any form or by any means, 

without the prior permission in writing of Oxford University Press, 

or as expressly permitted by law. Enquiries concerning reproduction 

outside the scope of the above should be sent to the Music Copyright 

Department, Oxford University Press, at the address above 

Permission to perform the works in this anthology in public 

(except in the course of divine worship) should normally be obtained 

from the Performing Right Society Ltd. (PRS), 29/33 Berners Street, 

London W1T 3AB, or its affiliated Societies in each country throughout 

the world, unless the owner or the occupier of the premises 

being used holds a licence from the Society 

Permission to make a recording must be obtained in advance 

from the Mechanical Copyright Protection Society Ltd. (MCPS), 

Elgar House, 41 Streatham High Road, London SW16 1ER, 

or its affiliated Societies in each country throughout the world 

ISBN 978–0–19–343695–4 

Music originated on Sibelius 

Printed in Great Britain on acid-free paper by 

Halstan & Co. Ltd., Amersham, Bucks. 

Orchestral scores and parts are available on rental 

(see the Index of vocal and instrumental requirements on p.378)


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Transliterations of Church Slavonic 

Settings of texts by Rachmaninov and Tchaikovsky have been transcribed as they might be heard 

in performance by a Russian choir. Most of the sounds are similar to those found in English 

(though the vowels are somewhat more Italianate), and no further effort to attempt an ‘accent’ is 

necessary. Some choirs may be fortunate enough to have access to a speaker of modern Russian, 

who can help to perfect what a transliteration can only broadly suggest. The following remarks 

have therefore been kept to a minimum in the hope that the undertaking will not appear too 

daunting. 

1. The most ‘foreign’ sound is the so-called ‘hard i’. Here it is represented by ‘yi’. This is 

pronounced close to the English ‘i’, as in ‘sit’, but further back, with a dark and covered sound. 

The main thing is to avoid pronouncing ‘yi’ as a forward ‘i’, as in Italian ‘aria’. 

2. Clusters of consonants can look intimidating but need not be so. The sound ‘kh’ is the 

guttural ‘ch’ found in the Scottish word ‘loch’; ‘zh’ is the voiced counterpart of ‘sh’ and sounds 

the same as the ‘s’ in ‘leisure’; ‘shch’ sounds as in ‘English church’. 

3. The letter ‘o’ in a stressed syllable should be pronounced with tightly rounded lips, as in 

classical Italian ‘toga’; in pre-stressed syllables (shown in this book as oă), Russians may 

modify the sound slightly (though not as much as in their modern spoken language), making 

it closer to the ‘o’ in British English ‘hot’. 

4. The ‘soft sign’, modifying the final ‘t’ of ‘yest’ as sung in the piece by Tchaikovsky (so that 

it resembles the initial sound in British English ‘tube’), has been ignored in transcription. 

5. The letter ‘s’ in the middle of words, when it occurs between vowels or before a voiced 

consonant, has been represented by ‘ss’ in order to guard against it being mispronounced 

as a ‘z’.


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The Angelic Salutation 

s. 

A. 

MM J = 72 

46 Ave Maria 

323 

IGOR STRAVINSKY 

(1882-1971) 

A 

- ve Ma-ri - a, 

ti - a ple na, 

T. 

B. 

Do - mi - nus te - cum: be-ne-dic-ta tu_ in mu - Ii 

J 

e - ri - bus, et be - ne-dic - 

13 

' 

tus ven - - tris_ tu - i_ Je - SUS. 

San 


' 

eta Ma -ri - a, ma - - - ter De - i, o 

ra 

pro no -bis 

27 

pec-ca-to-ri -bus, 

nunc_ et in ho - ra mor - tis_ nos - trae. 

rr-r- 

A-men __ _ 

J .J. 

© Copyright 1934 and 1949 Hawkes & Son (London) Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.

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2 

CHORAL 

CLASSICS 

‘There is no doubt that European Sacred Music is one of the most important 

additions to the repertoire made in this century . . . It goes without saying that 

every self-respecting choir should have a set of this valuable book in its library.’ 

Church Music Quarterly 

The Oxford Choral Classics series gathers together over 300 of the world’s choral 

masterpieces into a unique set of anthologies spanning the whole of Western choral 

literature. Each volume contains the established classics of its genre under one cover, in 

authoritative new editions and at a price that gives outstanding value for money. 

Opera Choruses European Sacred Music 

Christmas Motets Madrigals and Partsongs 

English Church Music, Vol. 1: Anthems and Motets 

English Church Music, Vol. 2: Canticles and Responses 

Sacred Choruses 

Oxford Choral Classics: European Sacred Music contains over fifty of the finest examples of 

sacred choral music from continental Europe. John Rutter’s selection ranges from the 

sixteenth to the twentieth centuries, and familiar classics like Allegri’s Miserere, Lotti’s 

Crucifixus, Monteverdi’s Beatus vir, Fauré’s Cantique de Jean Racine, and Stravinsky’s Ave 

Maria appear alongside rare and lovely pieces by composers as diverse as Sweelinck, 

Buxtehude, Bach, Schubert, Rossini, Bruckner, Grieg, and Poulenc. Great Renaissance 

masters such as Palestrina, Lassus, and Victoria are well represented, and the anthology 

is further enriched by four exquisite examples of nineteenth-century Russian liturgical 

music. This is a unique collection of marvellous music, and an invaluable practical 

addition to choir libraries everywhere. 

John Rutter has prepared completely new editions of all the pre-twentieth-century items, 

going back to the earliest and most reliable manuscript or printed sources. New English 

singing translations are provided for the majority of pieces, with playable keyboard 

reductions in every case. 

Cover illustration: Five Musical Angels by Hans Memling. Museum voor Schone Kunsten, Antwerp/AKG Photo. 

1 

ISBN 978-0-19-343695-4 

9 780193 436954

European Sacred Music sampler

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