The Antiphoner and Grail: Being the Words of the Antiphons and Hymns at Mattins and Evening, and also of the Introits, Graduals, and Sequences at the Holy Eucharist, Derived Mainly from the Sarum Breviary and Missal, and Adapted to the Use of the Book of Common Prayer (1880)
The Hymner, Containing Translations of Hymns from the Sarum and Other English Service-books, Supplemented by Sequences from Various Sources (1891)
The Office Hymn-Book, Part II: Harmonies for Organists (1891)
The Great Advent Antiphons: With the Musical Notation from the Salisbury Antiphoner (1910)
Salve festa dies: A Hymn for Easter Day, with Words and Musick Drawn from the Sarum Processionale (1912)
The Psalms and Canticles at Mattins and Evensong Pointed to the Eight Gregorian Tones from the Sarum Tonale (1920)
The Diurnal After the Use of the Illustrious Church of Salisbury (1921-1930)[2]
The Diurnal Noted: From the Salisbury Use, translated into English and Adapted to the Original Music-note (1926)
The Order of Tenebrae, Or Mattins and Lauds, of the Last Three Days of Holy Week, from the Salisbury Antiphoner (1929)
The Antiphons upon Benedictus from the Salisbury Antiphoner (1958)
References
^Modern translation - Page 77 Ernest Stuart Bates - 1936 - G. H. Palmer. The latter made it the main concern of the latter part of a long life to anglicize the Latin words of the medieval English liturgy so that they should harmonize as faithfully with the original accompaniment of 'plain-chant' as did the Latin. He combined qualifications rarely found in unison: a scholar's gift for research, a poet's sense of words, a musician's knowledge of music, and a sense of perfection entirely his own. His Salisbury 'Diurnal' is, in consequence, not only a model ...
^Worship: A Review Devoted to the Liturgical Apostolate 1952. Another office book used by a limited number of sisterhoods is The Salisbury Diurnal, edited by Dr. G. H. Palmer, the plainchant authority, and published by the
Community of St Mary the Virgin, Wantage.
The Antiphoner and Grail: Being the Words of the Antiphons and Hymns at Mattins and Evening, and also of the Introits, Graduals, and Sequences at the Holy Eucharist, Derived Mainly from the Sarum Breviary and Missal, and Adapted to the Use of the Book of Common Prayer (1880)
The Hymner, Containing Translations of Hymns from the Sarum and Other English Service-books, Supplemented by Sequences from Various Sources (1891)
The Office Hymn-Book, Part II: Harmonies for Organists (1891)
The Great Advent Antiphons: With the Musical Notation from the Salisbury Antiphoner (1910)
Salve festa dies: A Hymn for Easter Day, with Words and Musick Drawn from the Sarum Processionale (1912)
The Psalms and Canticles at Mattins and Evensong Pointed to the Eight Gregorian Tones from the Sarum Tonale (1920)
The Diurnal After the Use of the Illustrious Church of Salisbury (1921-1930)[2]
The Diurnal Noted: From the Salisbury Use, translated into English and Adapted to the Original Music-note (1926)
The Order of Tenebrae, Or Mattins and Lauds, of the Last Three Days of Holy Week, from the Salisbury Antiphoner (1929)
The Antiphons upon Benedictus from the Salisbury Antiphoner (1958)
References
^Modern translation - Page 77 Ernest Stuart Bates - 1936 - G. H. Palmer. The latter made it the main concern of the latter part of a long life to anglicize the Latin words of the medieval English liturgy so that they should harmonize as faithfully with the original accompaniment of 'plain-chant' as did the Latin. He combined qualifications rarely found in unison: a scholar's gift for research, a poet's sense of words, a musician's knowledge of music, and a sense of perfection entirely his own. His Salisbury 'Diurnal' is, in consequence, not only a model ...
^Worship: A Review Devoted to the Liturgical Apostolate 1952. Another office book used by a limited number of sisterhoods is The Salisbury Diurnal, edited by Dr. G. H. Palmer, the plainchant authority, and published by the
Community of St Mary the Virgin, Wantage.