Friday, April 18, 2014

The Tract for Good Friday: Domine exaudi orationem meam

Domine exaudi orationem meam is the tract for Good Friday.  Here it is sung at the Vatican last year:

This is not the same as the Tridentine tract; there were formerly two tracts sung on Good Friday:  Domine audivi, and Eripe me, domine.

CPDL calls this the "Offertory for Wednesday in Holy Week" (which is probably what it was in the Tridentine), and notes that the source of the text is Psalm 101:2-3 (Vulgate):
101: 2  Domine, exaudi orationem meam, et clamor meus ad te [per]veniat.

101: 3 Ne avertas faciem tuam a me: in quacumque die tribulor, inclina ad me aurem tuam; in quacumque die invocavero te, velociter exaudi me.

102:1 Hear my prayer, O Lord: and let my crying come unto thee.

102:2 Hide not thy face from me in the time of my trouble: incline thine ear unto me
when I call; O hear me, and that right soon.

There is more to this tract than just that, though; see the image below, which includes other portions of Psalm 101 (one of the "Seven Penetential Psalms"):

I am on the way out to my own Good Friday observance, so I will complete this post later.  Meanwhile, provides a listing, including audio files and chant scores, of all the propers on this day:

Feria sexta in Passione Domini

Ad liturgiam verbi

Tractus: Domine exaudi (2m23.6s - 2246 kb)  score
Graduale: Christus factus est (2m15.2s - 2114 kb)  score

Adoratio Santæ Crucis

Invitationem: Ecce lignum Crucis (prima 42.6s - 668 kb, secunda altius quam prima 43.9s - 688 kb, tertia altius quam secunda 43.4s - 682 kb)  score
Antiphona: Crucem tuam (1m39.1s - 1550 kb)  score
Improperia: Popule meus (in four parts because of size: 1 - Popule meus - 2m18.7s - 2170 kb  score; 2 - Quia eduxi te - 4m34.7s - 4294 kb  score; 3 - Ego propter te flagellavi Ægyptum - 4m17.8s - 4030 kb  score; 4 - Ego te potavi - 3m22.1s - 3160 kb, 1+2+3+4=14m31s)  score
Hymnus: Crux fidelis (7m01.9s - 6594 kb)  score
Communio: Hoc corpus (2m51.7s - 2684 kb)  score, Vexilla Regis (3m22.7s - 3168 kb)  score

Wednesday, April 16, 2014

The Tract for Maundy Thursday: Ab ortu solis

Here's a video of a very interesting Mozarabic-ish take on this amazing tract, sung by Countertenor Eric de Fontenay.

As you can see, he's labeled the video "XIème siècle" -  i.e., "11th Century"; I'm assuming this means he's found a date for the chant's origin, although I can't confirm this myself.  In point of fact, there apparently was no tract in the Tridentine Maundy Thursday mass, according to

It's important to remember that there are many possible styles in which chants can be sung; this video is a great demonstration of this.   

CCWatershed provides the Latin and English texts (along with its own recording; see below), which are taken from, they say, Malachi 1: 11 and Proverbs 9: 5.
Ab ortu solis usque ad occásum, magnum est nomen meum in géntibus.
Vs. Et in omni loco sacrificátur, et offértur nómini meo oblátio munda: quia magnum est nomen meum in géntibus.
Vs. Veníte, comédite panem meum: et bíbite vinum, quod míscui vobis.

From the place where the sun rises to the place of its setting, my name is great among the nations.
Vs. And in every place, a sacrifice is offered to my name, a pure offering, for my name is truly great among the nations.
Vs. Come, eat of my bread, and drink of the wine I have prepared for you.

I suspect that Malachi is citing Psalm (112/)113 here.  Here's Malachi 11 in its entirety:
For from the rising of the sun to its setting my name will be great among the nations, and in every place incense will be offered to my name, and a pure offering. For my name will be great among the nations, says the Lord of hosts. 

And here's Psalm 113, verse 3:
3 From the rising of the sun to its setting,
    the name of the Lord is to be praised!

Isaiah used this terminology, too, in Chapter 45 v. 6; (and lo and behold, there in verse 8 we have the Advent antiphon, the Rorate Coeli!)
1 Thus says the Lord to his anointed, to Cyrus,
    whose right hand I have grasped,
to subdue nations before him
    and to loose the belts of kings,
to open doors before him
    that gates may not be closed:
2 “I will go before you
    and level the exalted places,[a]
I will break in pieces the doors of bronze
    and cut through the bars of iron,
3 I will give you the treasures of darkness
    and the hoards in secret places,
that you may know that it is I, the Lord,
    the God of Israel, who call you by your name.
4 For the sake of my servant Jacob,
    and Israel my chosen,
I call you by your name,
    I name you, though you do not know me.
5 I am the Lord, and there is no other,
    besides me there is no God;
    I equip you, though you do not know me,
6 that people may know, from the rising of the sun
    and from the west, that there is none besides me;
    I am the Lord, and there is no other.

7 I form light and create darkness,
    I make well-being and create calamity,
    I am the Lord, who does all these things.

8 “Shower, O heavens, from above,
    and let the clouds rain down righteousness;
let the earth open, that salvation and righteousness may bear fruit;
    let the earth cause them both to sprout;
    I the Lord have created it.

And the citation from Proverbs is also fascinating!  It comes from this section of Proverbs 9:
1 Wisdom has built her house;
    she has hewn her seven pillars.
2 She has slaughtered her beasts; she has mixed her wine;
    she has also set her table.
3 She has sent out her young women to call
    from the highest places in the town,
4 “Whoever is simple, let him turn in here!”
    To him who lacks sense she says,
5 “Come, eat of my bread
    and drink of the wine I have mixed.
6 Leave your simple ways, and live,
    and walk in the way of insight.”

Remember that in John's Gospel, Christ is the logos - the divine reason of creation.  And that Wisdom in Scripture - particularly in the Apocrypha - is also "the divine reason of creation," fashioned into a  kind of persona, a (feminine) aspect of God. 

Clearly, this citation refers to the Eucharist - but it does so from a really fascinating perspective.

William Byrd set this text as a motet;  CPDL calls it a "Tract for Votive Mass of the Blessed Sacrament."  Clearly, the chant itself existed in his time - the motet was written in 1607 - but it was not used at Maundy Thursday, evidently; there was no tract at all for the day.   But neither was there an alleluia in the old form, it seems.   Maundy Thursday is an unusual day; there's no other quite like it on the Calendar.   Here, Derek writes about that.

The Liber Usualis 1961 (big file!  115.5MB!) does list this chant, as - yes - the tract for a Votive Mass of the Blessed Sacrament to be sung "After Septuagesima" in place of the Alleluia; see p. 1282 in that document.

Here's the full chant score for this Tract:

CCWatershed offers a more straightforward rendition of the tract:

Tract Ab ortu solis usque ad occásum from Corpus Christi Watershed on Vimeo.

All the chants for today are listed at, as follows:

Missa Vespertina in Cena Domini
Ad liturgiam verbi
Introitus: Cf. Gal. 6,14; Ps. 66 Nos autem gloriari (4m37.3s - 4337 kb) score
Graduale: Ps. 144,15. V. 16 Oculi omnium (2m58.5s - 2793 kb) score
Tractus: Mal. 1,11 et Prov. 9,5 Ab ortu solis (2m33.8s - 2409 kb) score

Ad lotionem pedum

Antiphona: Cf. Io. 13, 4.5.15 Postquam surrexit Dominus (43.3s - 681 kb) score
Antiphona: Io. 13, 2.13.15 Dominus Iesus (1m02.4s - 979 kb) score
Antiphona: Io. 13, 6.7.8 Domine, tu mihi lavas pedes (1m16.0s - 1191 kb) score
Antiphona: Cf. Io. 13, 14 Si ego Dominus (37.2s - 583 kb) score
Antiphona: Io. 13, 35 In hoc cognoscent omnes (45.5s - 713 kb) score
Antiphona: Io. 13, 34 Mandatum novum (15.8s - 248 kb) score
Antiphona: I Cor. 13, 13 Maneant in vobis (56.2s - 876 kb) score

Ad liturgiam eucharisticam

Offertorium: Ubi caritas (2m16.3s - 2132 kb) score
Communio: I Cor. 11, 24.25  Hoc corpus (2m51.7s - 2684 kb) score

Ad translationem SS.mi Sacramenti

O salutaris Hostia I (52.2s - 818 kb) score, Panis angelicus I (1m15.5s - 1182 kb) score, Adoro te devote (2m26.0s - 2282 kb) score, Ecce panis (1m33.2s - 1458 kb) score, Pange lingua, Tantum ergo (3m06.5s - 2916 kb) score

Here are other posts on Chantblog for some of the propers:

This is part of an altarpiece, the "Passionsaltar, linker Flügel außen: Fußwaschung" (i.e. "Passion, left wing outside: Washing of the Feet"), by the "Master of the Housebook (fl. between  and ):

This is "The Last Supper," by Jacopo Bassano (1510–1592):

This is "Christ washing the feet of the Apostles," an "Icon of Pskov school."  It comes from the 16th Century also:

Saturday, April 12, 2014

Compline at St. Mark's: "Old time, new age"

At The Economist (April 4, 2014):

RELIGION in America is clearly changing, but it can be difficult to fathom where it is going. While Evangelical Protestantism is declining and Liberal Protestantism is in freefall, some groups which demand a deep commitment—from the Mormons to the Pentecostalists—are still gaining members. Yet the fastest-growing category seems to be that of the "spiritual but not religious"–people who have a sense of connection with a higher power and want to share it with others, without signing up to formal rules or beliefs. Generally, religion seems to do best at the extremes: either rigorously conservative or free and easy.

In Seattle, one of America's least "churched" cities, academics are impressed by the success of a religious phenomenon that appeals to both extremes at once. Compline, as old-fashioned Christians know, is the last service in the daily cycle of monastic prayer. Every Sunday evening, an 18-strong male choir performs that service at Saint Mark's Episcopal Cathedral (pictured above). They attract an enormous crowd. Some 600 people, mostly young and bohemian, pack the building and thousands more listen on the radio or a podcast.  The atmosphere is come-as-you-are. The pews and concrete floors are packed with worshippers who sit or lie down; some bring blankets and close their eyes, while others meditate or cuddle up with partners.

The sound is mesmerising. And the very fact that the service consists of music rather than a sermon seems to be a selling point, allowing everyone to interpret the message in his or her own way. “Whatever they’re saying, you hear but you don’t necessarily recognise it as part of the Bible or something that’s religious,” says Becky Doubles, a teacher who calls herself “spiritual” not “religious” and travels for an hour to attend. “It’s very much a spiritual experience, a beautiful way to centre yourself and find that inner peace,” said Mary Weston, another devotee.

Jodi O'Brien, a professor of sociology at Seattle University, thinks the key to Compline's success is that it "offers connection with no obligation”. Susan Pitchford, a lecturer at the University of Washington, reckons that young people may be drawn to this unchanging rite because everything else in their lives is shifting. “A liturgy that's changed only modestly in 2,000 years, and music that goes so far back as to be unconnected to any musical movements in their or their parents' lifetimes, gives them a sense of being anchored in something lasting.”

Maybe so. But for some of the bohemians and hipsters who crowd into Compline, even that statement might go too far in pinning down something which they prefer to leave vague. What people take away from Compline seems at least as varied as the styles and age groups that throng the cathedral every Sunday.

Thursday, April 10, 2014

A Responsory for Palm Sunday: Ingrediente Domino

I've never heard it used, but this Responsory is prescribed for use upon the (re-)entrance into the church after the Palm Sunday procession, just before the mass itself begins.

Here's an English translation from Cantica Nova; it's easy to see why it is used at this particular moment in the liturgy.  The chant score is below.
R. As the Lord entered the holy city, the children of the Hebrews proclaimed the resurrection of life. Waving their branches of palm, they cried: Hosanna in the highest.

V, When the people heard that Jesus was coming to Jerusalem, they went out to meet him. Waving their branches of palm, they cried: Hosanna in the highest.

The chapter titled "The Palm Sunday Procession in Medieval Chartres" in the book The Divine Office in the Latin Middle Ages mentions Ingrediente domino, describing it as "a Matins responsory of Palm Sunday at Chartres and elsewhere."  Here's a description of the Palm Sunday Procession as it moves to the cathedral for the mass:
[The assembly] followed the Rue Saint-Pierre, which led from the Benedictine house of Saint-Père up the hill and into the upper town (haute ville).  Along the route the succentor intoned and the multitude sang after him a succession of antiphons and responsories, the texts of which were mainly reworkings of the four evangelists' accounts of Christ's entry into Jerusalem:  A. Ceperunt omnes, A. Cum audiesset populus, A. Ante sex dies, R. Cum audisset turbe, R. Dominus Jhesus ante sex dies, and R. Ingrediente domino.  At the Porte Cendreuse, one of the half-dozen gates leading through the old walls into the upper town of Chartres, the clergy sang this last responsory, Ingredient domino.  This chant, a Matins responsory of Palm Sunday at Chartres and elsewhere, was reserved for this special moment of "entry into Jerusalem" here in Chartres and in most of the other dioceses in northern France.  Finally, as the procession passed through the west door of the cathedral of Notre-Dame, the spiritual theme, as communicated in the text of the plainsong, switched from on extolling Christ's triumph to one honoring the Virgin Mary (A. Letare virgo v. Post partum virgo).

Ingrediente domino has definitely been used in this way at the Palm Sunday mass since at least the Tridentine (1570) era (see this page; change the date to 4-13-2014); however, I have not been able to find Ingrediente domino listed as a Palm Sunday Matins Responsory at Divinum Officium (or anywhere else), as described in the above paragraph.  

"The Palm Sunday Procession in Medieval Chartres" continues this way, with more about the entrance into the Cathedral:
Although this was a standard liturgical practice - to change to chants honoring the patron of the church at the moment of entry - the transition from chants for Palm Sunday to one for the Virgin is of interest here, for it occurred beneath a similar thematic transition represented in sculpture and glass.  The typmpanum of the west side of the famous royal portal, as is well known, is constructed around an imposing sculpture of Christ in Majesty surrounded by four apocalyptic animals symbolizing the four evangelists.  Those in the procession celebrating the First Coming of Christ looked up to vision of the ultimate prophecy, the majestic Second Coming of Christ, when He would judge the quick and the dead.

Passing through the portal and into the church, the sudden darkness brought to light, then as now, three of the finest examples of stained glass ever created, the dazzling twelfth-century lancet windows immediately below the great west rose.  The largest and most central of these lancet windows, the one directly above the royal portal, is the Incarnation Window, which recounts the story of the principal events in the life of Christ up to, but not including, His passion and resurrection.  At the top of the central Incarnation Window are three panels depicting Christ's entry into Jerusalem on Palm Sunday.  The telling in glass of the story of Palm Sunday concludes the history of His earthly life.  Accordingly, these panels are then immediately surmounted by a great crowned Virgin and Child in Glory, a fitting capstone to the theme of the Word made flesh.  Thus, just as the processional chants proceed from a theme commemorating Christ's final triumphant arrival to one honoring the Virgin, so the sculpture and stained glass directly above the heads of the clergy and laity of Chartres depict the same subjects.  At this moment musical and visual arts stood in perfect harmony.

As the faithful reentered the cathedral the bells of the church rang again.  Inside a candelabrum holding seven candles was illuminated, and the crosses and relics were left uncovered for the remainder of the day.  Having entered the chancel and mounted to their choir stalls, the canons and chaplains of the cathedral again celebrated the office of Terce, just as they had earlier that morning at Saint-Cheron.  High Mass then immediately followed.

Here's that "Christ in Majesty," photo courtesy of Vassil:

And here are the three "Entry into Jerusalem" stained glass panels from the Incarnation Window: (all window images © Dr Stuart Whatling, 2011):

The Disciples

Christ riding a donkey

The City's Welcome

Finally, this is the "great crowned Virgin and Child in Glory" at the top of the window, described above:

Here's some general introductory stuff about the Palm Sunday procession, from the beginning of the same chapter:
The origin of the Palm Sunday procession in the Latin West can be traced back to Jerusalem and the scriptural account of Christ's triumphant entry into the Holy City as a prelude to His final great work of Redemption.  The joyful scene, described in varying degrees of detail in the four Gospels, naturally lent itself to vivid re-creation.  As early as the late fourth century the nun Egeria, a pilgrim to the Holy Land from Spain or southern France, observed the people of Jerusalem reenacting the entry of the conquering Christ.  From the top of the Mount of Olives they led their bishop back to the celestial City, the children running before him shouting "Blessed is he who comes in the name of the Lord."  From Jerusalem the Palm Sunday ceremony moved westward, to th elands of the Gallican rite, undoubtedly carried by pilgrims such as Egeria and by later monastic refugees fleeing the Holy Lands.  The Bobbio Missal, a Gallican source of the early eighth century, contains a blessing of the palms ("Benedictio palme et olivae super altario"), which implies that  a procession followed thereafter (Hermann Graef 1959, II; and Tyrer 1932, 50).  And although there are suggestions that a procession was known in Spain by this time, documents of the ninth century originating in northern France are the first to prove incontrovertibly its existence.  Most important among these is the statement by Amalarius of Metz indicating that the tradition of a Palm Sunday procession was already widespread.  Later, the custom was carried into Italy, though apparently not until the twelfth century was it officially adopted in Rome.

Thus, invoking Amalarius as the witness, we can say with confidence that the clergy of the principal monasteries and cathedrals of the Carolingian Empire were accustomed to celebrate Palm Sunday with an appropriate procession by the ninth century.

You can read Egeria's descriptions of The Liturgy of Jerusalem during the 4th Century; the liturgies of Holy Week are among the most detailed.    Here's the section titled "Procession with Palms on the Mount of Olives":
Accordingly at the seventh hour all the people go up to the Mount of Olives, that is, to Eleona, and the bishop with them, to the church, where hymns and antiphons suitable to the day and to the place are said, and lessons in like manner. And when the ninth hour approaches they go up with hymns to the Imbomon, that is, to the place whence the Lord ascended into heaven, and there they sit down, for all the people are always bidden to sit when the bishop is present; the deacons alone always stand. Hymns and antiphons suitable to the day and to the place are said, interspersed with lections and prayers.

And as the eleventh hour approaches, the passage from the Gospel is read, where the children, carrying branches and palms, met the Lord, saying; Blessed is He that cometh in the name of the Lord, and the bishop immediately rises, and all the people with him, and they all go on foot from the top of the Mount of Olives, all the people going before him with hymns and antiphons, answering one to another: Blessed is He that cometh in the name of the Lord.

And all the children in the neighbourhood, even those who are too young to walk, are carried by their parents on their shoulders, all of them bearing branches, some of palms and some of olives, and thus the bishop is escorted in the same manner as the Lord was of old.

For all, even those of rank, both matrons and men, accompany the bishop all the way on foot in this manner, making these responses, from the top of the mount to the city, and thence through the whole city to the Anastasis, going very slowly lest the people should be wearied; and thus they arrive at the Anastasis at a late hour. And on arriving, although it is late, lucernare takes place, with prayer at the Cross; after which the people are dismissed.

As you can see, the procession in Jerusalem was stational; it moved from place to place on the way to the Church of the Resurrection (called "the Anastasis" by Egeria) many hours later.  This was also the case in the Chartres procession; in fact, the route of the procession was laid out to recall the geography of Jerusalem itself.  Again according to "The Palm Sunday Procession in Medieval Chartres," and moving back to the beginning of the procession as it leaves the cathedral:
To the sounds of now a great general pealing, they exited [the cathedral] through the royal west door, preceded by crosses, Gospel books for the clergy of each church, and feretories bearing the relics of saints.  The succentor soon sang forth the incipit of the first of the responsoria de historia, the succession of nine great responsories that tell the story of Christ's triumphant entry into Jerusalem.  This cycle had already been sung at the cathedral that morning at Matins and now was chanted again as the procession made its way through the streets of Chartres.  Moving towards the east, the assembly passed beyond the walls of the city and to the first station, a cemetery outside the priory of Saint-Barthélemy, where it was joined by processions coming from other churches.  The route of the procession had obviously been chosen so as to traverse a topography reminiscent of that of ancient Jerusalem.  The cemetery at Saint-Barthélemy corresponds to Golgotha, the site of Christ's crucifixion to the east and beyond the walls of Jerusalem.  From there the procession of Chartres ascended a hill to the abbey church of Saint-Cheron.  Again, the topography was perfectly chosen.  Saint-Cheron, then as now, sits atop a hill, a substitute Mount of Olives, whence one can see the celestial Jerusalem of Chartres some four kilometers distant to the west.


At the great cross in the cemetery the clergy and populace stopped in station and divided themselves into two distinct performing groups.  The bishop, cantor, priests, and deacons, and the multitude of townsfolk (populus multus) remained on the est side of the cross looking west.  The succentor, subdeacons, and choir-boys, all in a prearranged order, moved to their customary place (consuetus locus) on the west side and faced the other group to the east.  With the choirboys singing the verses and the bishop's group and succentor's group alternating with the refrain, the chanted the ninth-century processional hymn Gloria laus et honor [Palm Sunday: Gloria, laus et honor tibi ("All Glory, Laud, and Honor")].  This antiphonal singing of the Gloria laus was a musical and dramatic high point of the ceremony.

Sounds great!  And this was followed by an "Adoration of the Cross," including prostrations, to the singing of antiphons.

Here's another chant version of the responsory, sung by Giovanni Viannini:

And here's a polyphonic setting by Pandolfo Zallamella (1551 - 1591), sung by the Czech group Dyškanti: "Sacred Music from the Rosenberg Library," 14 May 2011 at the Church of the Virgin Mary in Ceské Budejovice: has all the chant propers for today, sung by the Sao Paolo Benedictines:
Hebdomada SanctaDominica in Palmis de Passione Domini

Antiphona: Hosanna filio David (34.9s - 548 kb) score

Ad processionem
Procedamus (8.3s - 133 kb) score
Antiphona: Pueri... portantes (2m24.9s - 2266 kb) score
Antiphona: Pueri... vestimenta (1m18.4s - 1228 kb) score
Hymnus ad Christum Regem: Gloria, laus (2m43.7s - 2558 kb) score
Responsorium: Ingrediente Domino (3m34.2s - 3350 kb) score

Ad Missam

Tractus: Ps. 21, 2- Deus, Deus meus (1m54.7s - 1794 kb) score
Graduale: Phil. 2, 8. V. 9 Christus factus est (2m19.3s - 2178 kb) score
Offertorium: Ps. 68, 21.22 Improperium... et dederunt (2m40.2s - 2504 kb) score
Communio: Mt. 26, 42 Pater, si non potest (3m28.0s - 3252 kb) score

And here are Chantblog posts on some of these:

Tuesday, April 08, 2014

J.S. Bach - St. John Passion, BWV 245

From the YouTube page:
Masaaki Suzuki conducts the Bach Collegium Japan in a performance of Bach's St. John Passion BWV 245 at the Suntory Hall in Tokyo on July 28, 2000.

Midori Suzuki, soprano; Robin Blaze, countertenor; Gerd Türk, tenor; Chiyuki Urano, bass baritone, Stephan MacLeod, bass; Bach Collegium Japan; Masaaki Suzuki, conductor; Shokichi Amano, director; Akira Sugiura, producer for NHK; Paul Smaczny, producer for EuroArts Music International

Friday, April 04, 2014

The Lent 5 Communion Song: Videns Dominus

In year A, the song at Communion for the Fifth Sunday in Lent is Videns Dominus.  Here's a nice, briskly-paced version of it (only 52 seconds long!):

This text is from the portion of John's Gospel read on the day:  the raising of Lazarus.  Here's a translation from CCWatershed, and their chant score is below:
When the Lord saw the sisters of Lazarus in tears near the tomb, he wept in the presence of the Jews and cried:  "Lazarus, come forth."  And out he came, hands and feet bound, the man who had been dead for four days.

Here's the Simple English Propers Communion chant, which includes a verse from Psalm 130:

This is another of those cases when the Communion song varies by year (see below), but all the other chants are the same between the Ordinary and Extraordinary forms.

This adjustment to the Communio could be because in the old form, today was called "Passion Sunday," and the Communion Song was Hoc Corpus.  Here's a video of that one, from the Institute of Christ The King Sovereign Priest:

CCWatershed's translation is this:
This is my body which shall be delivered for you:  this is the chalice of the new Testament in my blood, saith the Lord:  do this as often as you receive it, in commemoration of me.

More about the old "Passion Sunday" designation for Lent 5:
Until 1959, the fifth Sunday of Lent was known as Passion Sunday.[7] It marked the beginning of a two-week-long period known as Passiontide, which is still observed by various denominations in Protestantism and by some traditionalist Catholics. In 1960, Pope John XXIII's Code of Rubrics changed the name for that Sunday to "First Sunday of the Passion"[8] bringing the name into harmony with the name that Pope Pius XII gave, five years earlier, to the sixth Sunday of Lent, "Second Sunday of the Passion or Palm Sunday".

Pope Paul VI's revision in 1969 removed a distinction that existed (although with overlap) between Lent and Passiontide, which began with the fifth Sunday of Lent. The distinction, explicit in the 1960 Code of Rubrics,[9] predates it.[10] He removed from the fifth Sunday of Lent the reference to the Passion.

Although Passiontide as a distinct liturgical season was thus abolished, the Roman Rite liturgy continues to bring the Passion of Christ to mind, from Monday of the fifth week of Lent onward, through the choice of hymns, the use on the weekdays of the fifth week of Lent of Preface I of the Passion of the Lord, with Preface II of the Passion of the Lord being used on the first three weekdays of Holy Week, and the authorization of the practice of covering crosses and images from the fifth Sunday of Lent onward, if the Conference of Bishops so decides. Where this practice is followed, crucifixes remain covered until the end of the Good Friday celebration of the Lord's Passion; statues remain covered until the beginning of the Easter Vigil.[11]

It seems that with that change, Hoc corpus was, perhaps, felt to be not as relevant to the day, and was dropped in favor of the three varying Communio chants.  And Hoc corpus is now the Communion Song for the Maundy Thursday mass, and is also sung on Good Friday. provides the full complement of propers, sung by the Sao Paulo Benedictines;  note that the Communio again depends on the Gospel for the day.
Hebdomada quinta quadragesimæ  Dominica
Introitus: Ps. 42, 1.2.3 Iudica me, Deus (3m09.1s - 1293 kb) chant score
Graduale: Ps. 142, 9.10. V. Ps. 17, 48.49 Eripe me, Domine (3m49.9s - 1572 kb) chant score
Tractus: Ps. 128, 1-4 Sæpe expugnaverunt (1m50.9s - 759 kb) chant score
Offertorium: Ps. 118, Confitebor tibi, Domine (1m41.8s - 697 kb) chant score
                 quando legitur Evangelium de Lazaro:
                 Io. 11, Videns Dominus (3m43.2s - 1526 kb)

                 quando legitur Evangelium de muliere adultera:
                 Io. 8, 10.11 Nemo te condemnavit (2m35.9s - 1213 kb)

                 quando legitur aliud Evangelium:
                 Io. 12, 26 Qui mihi ministrat (49.0s - 382 kb)

Here are posts on Chantblog about some of the other propers:

Tuesday, April 01, 2014

"Listen to services | King's College, Cambridge"

King's College, Cambridge has begun webcasting their sung services.
From October 2013 King's College is providing regular recordings of
choral services in the Chapel. For the first time in 500 years, these
services are available on demand thanks to a new recording system. For
information about forthcoming services, see the Chapel services page.

They also released this video, "King's College Choir announces major change," today:

Sunday, March 30, 2014

Seen and heard today at Divine Service, Lent 4 (3/30/14)

The choir sang this Bobby McFerrin composition - a piece he dedicated to his mother - at the Psalm today:

The Lord is my Shepherd, I have all I need,
She makes me lie down in green meadows,
Beside the still waters, She will lead.

She restores my soul, She rights my wrongs,
She leads me in a path of good things,
And fills my heart with songs.

Even though I walk through a dark and dreary land,
There is nothing that can shake me,
She has said She won't forsake me,
I'm in her hand.

She sets a table before me, in the presence of my foes,
She anoints my head with oil,
And my cup overflows.

Surely, surely goodness and kindness will follow me
All the days of my life,
And I will live in her house,
Forever, forever and ever.

Glory be to our Mother and Daughter,
And to the Holy of Holies,
As it was in the beginning, is now and ever shall be,
World, without end. Amen

After the service I asked the choirmaster if Bobby McFerrin had written the piece this way, or if she had messed around and Anglican Chantified it herself.   She said no, that McFerrin had written it this way, and that he had grown up Episcopalian - which pretty much explains everything.

And we had this great hymn, here sung at the Washington National Cathedral:

This hymn goes very well with the theme of "light" on the day; both the Gospel and Epistle readings are about light.

I especially like the refrain, and the line "The Lamb is the light of the city of God."   That's an interesting mix of metaphors, there!  And we almost never get to sing about "the city of God," do we?
I want to walk as a child of the light;
I want to follow Jesus.
God set the stars to give light to the world;
The star of my life is Jesus.

In him there is no darkness at all;
The night and the day are both alike.
The Lamb is the light of the city of God.
Shine in my heart, Lord Jesus.

I want to see the brightness of God;
I want to look at Jesus.
Clear Sun of Righteousness, shine on my path
And show me the way to the Father. [Refrain]

I’m looking for the coming of Christ;
I want to be with Jesus.
When we have run with patience the race,
We shall know the joy of Jesus. [Refrain]

Later I did listen to the webcast from St.Thomas - which means I can include some of their stuff in this post, too.    (Go listen, yourself, to New York Polyphony sing the mass, the anthem, and the motet.  Yes!)  They had the splendid hymn "O Love, how deep, how broad, how high" (this video, though, comes from St. Bart's on Park Avenue):

What a terrific text!

O love, how deep, how broad, how high,
how passing thought and fantasy,
that God, the Son of God, should take
our mortal form for mortals' sake!

For us baptized, for us he bore
his holy fast and hungered sore;
for us temptations sharp he knew;
for us the tempter overthrew.

For us he prayed; for us he taught;
for us his daily works he wrought:
by words and signs and actions, thus
still seeking not himself, but us.

For us to wicked hands betrayed,
scourged, mocked, in purple robe arrayed,
he bore the shameful cross and death;
for us gave up his dying breath.

For us he rose from death again;
for us he went on high to reign;
for us he sent his Spirit here
to guide, to strengthen, and to cheer.

All glory to our Lord and God
for love so deep, so high, so broad;
the Trinity whom we adore
forever and forevermore.

The hymn tune for "O Love, how deep, how broad, how high" is Deus Tuorum Militum; it's found in the 1753 Grenoble Antiphoner.   I can't seem to find a scan of this anywhere online, or in fact much of anything about it; I would love to know more.   Here's a score of the melody from The Harvard University Hymn-Book.

The interesting thing, to me, is that Deus Tuorum Militum was originally a hymn sung on martyr's feasts; here's the Lutheran Liturgical Prayer Brotherhood's version (mp3), which they call "O God, Thy Soldier's Crown and Guard."

According to The Hymnal 1982 Companion, there are "seventeen different Latin hymn melodies set to the present text."   Sometime I'll put together a post of all of these!

Getting back to "O love, how deep," though:  the Hymnal 1982 Companion does talk a bit about the possible provenance of the hymn tune, and about some of its characteristics:
The melody appears to date from the middle to the late eighteenth century and may be categorized as a French church melody.  The tune's opening outlines a major-key tonic chord, and the remainder of the melody establishes the tonal nature of its construction.  Its distinct triple-metre rhythmic setting also emphasizes the dating of the tune from the common practice era*.  The metre of the text reflects the standard practice of most eighteenth-century French church melodies, which are eithe rset in the Sapphic* design of or in Long Metre in triple time; DEUS TUORUM MILITUM is of the latter type.  The harmonization is after a setting by Basil Harwood as found in H40.

This hymn text is, amazingly to me, "attributed  to Thomas à Kempis"; the translation is definitely by Benjamin Webb.  Some of the images are certainly great:
How passing thought and fantasy,
that God, the Son of God, should take
our mortal form for mortals' sake!
And especially:
For us baptized, for us he bore
his holy fast and hungered sore;
for us temptations sharp he knew;
for us the tempter overthrew.
I'd like to see the original of this; it's great in translation. has this about Thomas à Kempis:
Thomas of Kempen, commonly known as Thomas à Kempis, was born at Kempen, about fifteen miles northwest of Düsseldorf, in 1379 or 1380. His family name was Hammerken. His father was a peasant, whilst his mother kept a dame's school for the younger children of Kempen. When about twelve years old he became an inmate of the poor-scholars' house which was connected with a "Brother-House" of the Brethren of the Common Life at Deventer, where he was known as Thomas from Kempen, and hence his well-known name. There he remained for six years, and then, in 1398, he was received into the Brotherhood. A year later he entered the new religious house at Mount St. Agnes, near Zwolle. After due preparation he took the vows in 1407, was priested in 1413, became Subprior in 1425, and died according to some authorities on July 26. and others on Aug. 8, 1471.
Much of his time was occupied in copying Missals, Breviaries, and other devotional and religious works. His original writings included a chronicle of the monastery of St. Agnes, several biographies, tracts and hymns, and, but not without some doubt as to his authorship the immortalImitatio Christi, which has been translated into more languages than any other book, the Bible alone excepted. His collected works have been repeatedly published, the best editions being Nürnberg, 1494, Antwerp in 1607 (Thomae Malleoli à Kempis . . . Opera omnia), and Paris in 1649. An exhaustive work on St. Thomas is Thomas à Kempis and the Brothers of the Common Life, by S. W. Kettlewell, in 2 vols., Lond., 1882. In this work the following of his hymns are translated by the Rev. S. J. Stone:—

i. From his Vita Boni Monachi, ii.:—
1. Vitam Jesu ChristiImitation of Christ. Be the life of Christ thy Saviour.
2. Apprehende annaChristian Armour. Take thy weapons, take thy shield.
3. Sustine doloresResignation. Bear thy sorrows with Laurentius.

ii. From his Cantica Spiritualia:—
4. 0 dulcissime JesuJesus the most Dear. 0 [Child] Christ Jesu, closest, dearest.
5. 0 Vera summa TrinitasHoly Trinity. Most true, most High, 0 Trinity.
6. Ad versa mundi toleraResignation. Bear the troubles of thy life.
7. 0 qualis quantaque laetitiaEternal Life. 0 joy the purest, noblest.

Of these translations Mr. Stone has repeated Nos. 5, 6, and 7 in his Hymns, 1886, and No. 4 in a rewritten form as "Jesus, to my heart most precious," in the same. Pastor O. A. Spitzen has recently published from a manuscript circa 1480, ten additional hymns by Thomas, in his “Nalezing op mijn Thomas à Kempis," Utrecht, 1881. Six of these had previously been printed anonymously by Mone. The best known are "Jerusalem gloriosa", and "Nec quisquam oculis vidit". We may add that Thomas's hymnwriting is not regarded as being of the highest standard, and that the modern use of his hymns in any form is very limited.

-- John Julian, Dictionary of Hymnology (1907)

And this is from their entry on Webb:
Webb, Benjamin, M.A., was born in London in 1820, and was educated in St. Paul's School; whence he passed to Trinity College, Cambridge, in 1838, B.A. 1842, M.A. 1845. Ordained by the Bishop [Monk] of Gloucester and Bristol he was Assistant Curate of Kemeston in Gloucestershire, 1843-44; of Christ Church, St. Pancras, 1847-49; and of Brasted, Kent, 1849-51; at which date he was presented to the P. C. of Sheen in Staffordshire, which he held until 1862, when he became Vicar of St. Andrews, Wells Street, London. In 1881 the Bishop [Jackson] of London collated him to the Prebend of Portpool in St. Paul's Cathedral. Mr. Webb was one of the Founders of the Cambridge Camden, afterwards the Ecclesiological Society; and the Editor of the Ecclesiologist from 1842 to 1868, as well as the General Editor of the Society's publications. His first appearance in print was as joint editor of Bishop Montague's Articles of Inquiry in 184; in 1843 he was joined with Mr. J. M. Neale in An Essay on Symbolism, and A Translation of Durandus; in 1847 he put forth his valuable work on Continental Ecclesiology; in 1848 he was joint editor with Dr. Mill of Frank’s Sermons, for the Anglo-Catholic Library, and with the Rev. J. Fuller-Russell of Hierurgia Anglicana. After the decease of his father-in-law (Dr. Mill), he edited Dr. Mill's Catechetical Lectures, 1856; a second edition of Dr. Mill's Christian Advocates Publications on the Mythical Interpretation of the Gospels, 1861; and of Dr. Mill's Sermons on our Lord's Temptation, 1873. He was also one of the editors of the Burntisland reprint of the Sarum Missal. One of his most valuable works is Instructions and Prayers for Candidates for Confirmation, of which the third edition was published in 1882. Mr. Webb was one of the original editors of the Hymnal Noted, and of the sub-Committee of the Ecclesiological Society, appointed to arrange the words and the music of that book; and was also the translator of some of the hymns. In conjunction with the Rev. Canon W. Cooke he was editor of the Hymnary, 1872, for which office his habitual reconstruction and composition of the words of the anthems used at St. Andrew's, Wells Street, as well as his connection with theHymnal Noted, eminently qualified him. His original hymns contributed to the Hymnary, 1871 and 1872, were:--
1. Assessor to thy KingSt. Bartholomew. In the Hymnary, 1872.
2. Behold He comes, thy King most holyAdvent. Originally written to be sung in St. Andrew's Church, Wells Street, as an anthem to the music of Schumann'sAdvent-lied, and afterwards published in the Hymnary, 1872.
3. Praise God, the Holy TrinityHymn of Faith. Originally written for use in St. Andrew's, Wells Street, and subsequently in the Hymnary, 1872.
4. Praise the Rock of our salvationDedication of a Church. Published in the Hymnary, 1872. Mr. Webb's authorised text is in the Westminster Abbey Hymn Book, 1883.
5. Ye angel hosts aboveUniversal Praise to God. In the Hymnary, 1872.
He died in London, Nov. 27, 1885. [Rev. William Cooke, M.A.]

-- John Julian, Dictionary of Hymnology (1907)


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