Here is an opportunity to hear Vespers from the London Oratory. It was broadcast on BBC Radio 3 broadcast live and is available online to listen to until Wednesday April 17th. You can listen to the recording here.![]()
Choral Vespers from the London Oratory
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Triduum in Toledo, Spain
From the Fraternity of Christ the Priest and Saint Mary the Queen in their church of the Saviour.
Holy Thursday:
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Good Friday:
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Easter Vigil:
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Easter Sunday:
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Pictures reprinted with permission.![]()
Good Friday:
Easter Vigil:
Easter Sunday:
Pictures reprinted with permission.
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The Friends of the Wardour Chapel Need Your Support
On a few occasions, NLM has published some images of Masses in the usus antiquior celebrated in the beautiful Wardour Chapel (All Saints Chapel) which is located within New Wardour Castle, the historic home of the Arundell family. Here are some photos to refresh your memories:
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Recently "The Friends of Wardour Chapel" has been launched in order to raise some much needed funds for the preservation of this great historical chapel. (Incidentally, for our American readers I am told there is an interesting link between Wardour and the United States: Lord Baltimore, who founded the state of Maryland as a haven for English Catholics in the 1600s, was married to Anne Arundell, daughter of Lord Arundell of Wardour.)
Here is some information:
Here is a form you can use if you are interested in becoming one of the "Friends of Wardour Chapel."
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Recently "The Friends of Wardour Chapel" has been launched in order to raise some much needed funds for the preservation of this great historical chapel. (Incidentally, for our American readers I am told there is an interesting link between Wardour and the United States: Lord Baltimore, who founded the state of Maryland as a haven for English Catholics in the 1600s, was married to Anne Arundell, daughter of Lord Arundell of Wardour.)
Here is some information:
Here is a form you can use if you are interested in becoming one of the "Friends of Wardour Chapel."
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Santa Maria Assunta, Torcello, Italy
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First Mass (OF) in the Oratorian Parish of Vienna
Fr Johannes Paul Chavanne OCist, one of the two priests recently ordained at Heiligenkreuz Abbey, is from Vienna's Oratorian parish of St. Rochus. This Sunday he celebrated his First Mass at his home parish (Heimatprimiz). Mass in the Ordinary Form was sung - as is usual at St. Rochus - ad orientem, and - except for the readings and intercessions - in Latin.
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(Open the picture above in a new window for a very large version.)
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You can read more about it at Sancrucensis, a blog written by one of the monks of Heiligenkreuz Abbey. All pictures shown here copyright cross-press.net.
You can read more about it at Sancrucensis, a blog written by one of the monks of Heiligenkreuz Abbey. All pictures shown here copyright cross-press.net.
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"An Icon of the Kingdom of God: The Integrated Expression of all the Liturgical Arts – Part 8: Vestments"
A few readers have sent in links to this particular article written by Andrew Gould and found on the Orthodox Arts Journal. The article -- part of a larger series on the "the integrated expression of all the liturgical arts" -- relates to vestments. Some readers might find it rather refreshing that, while there is some discussion about artistic particulars -- such as particular colour qualities for instance -- there is no sense here of needing to justify the use of ornate liturgical vestments themselves; in fact, I do not think I extend the argument too much to say that it is essentially a given. Here is an excerpt:
You can read the entire article over there, but I did want to conclude by sharing this Russian phelonion dated to 1652.
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Russian Phelonion, 17th century, Ottoman fabric
In the New Jerusalem, there is no distinction between indoors and outdoors. It is a city as well as a garden. The sun does not shine by day, nor the moon by night, for the Lamb is the light of the city of God. (Rev 21) Therefore, the church can also be compared to a natural landscape. The architecture comprises the trees and stones, the lamps the stars in the sky, or perhaps fireflies nearer the ground. The word ‘choros’, which now refers to the liturgical space under the dome, comes from a usage in ancient Greek poetry to refer to a forest clearing where lovers meet for trysts. The space under the dome is indeed a bright clearing, a meadow for love trysts between God and man. In a forest meadow, beauty of a special sort can be seen. There are flowers, butterflies, and songbirds. These creatures exhibit a brightness of color and iridescence unique in the landscape. God in His wisdom saw fit to bestow this beauty only upon the most delicate, fleeting, and short-lived creatures, perhaps so they do not overpower the more subtle coloration and patterns of His wider creation.
The aesthetic qualities of vestments are closely akin to these delicate creatures. The bright colors, satin luster, and energetic patterns of fine vestments can indeed rival the wings of a butterfly or the petals of a flower. How appropriate, therefore, that vestments are also the most fleeting of liturgical arts. Fine vestments are so costly to make, so easy to damage, so soon to wear out. And they are never meant as permanent elements in the design of a church, but come and go like flying birds. Vestments cannot be admired hanging still. They must be worn to reveal their beauty. As a vested priest moves about the church, through sunbeams and candlelight, he shines with a scintillating light, different from every moment to the next. What an astonishing metamorphosis! A priest in a black cassock always looks the same. The cassock reflects no light and reveals no movement. It is a garment designed for the dignity and constancy of the priestly office. But fully vested, the priest emerges from the iconostasis like the New Adam, a vision of mankind transfigured.
Sakkos of Patriarch Nikon, 1653, Ottoman Fabric
It is hard for us today to imagine the beauty of medieval Orthodox vestments. A few Byzantine vestments survive in museums, and they are astonishingly unlike the monochrome vestments in use today. The richest Byzantine vestments were primarily peacock-blue in color, and completely embroidered with radiant icons in thread wound with silver and gold. Many more examples of 16th and 17th-century Russian vestments survive. They were made of spectacular damask imported from the Ottoman Empire or from Italy. The Russians chose these damasks because they were the richest fabrics the world had ever seen...
You can read the entire article over there, but I did want to conclude by sharing this Russian phelonion dated to 1652.
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Fota Liturgical Conference Speakers and Papers
St. Colman’s Society for Catholic Liturgy is pleased to announce the provisional list of speakers who will participate at the Sixth Fota International Liturgy Conference to be held in Cork, Ireland, 6-8 July 2013:
1. Robert Abyneiko O Cist.
“All lawfully acknowledged rites are to be of equal right and dignity” (SC 4): The Anaphora of Addai and Mari.
2. Mariusz Biliniewicz
Fifty years of Sacrosanctum Concilium: A review of the theological critique
3. Raymond Leo Cardinal Burke
Liturgical Law in Sacrosanctum Concilium and Its Implementation
4. Carmina Chapp
Sacrosanctum Concilium on the Centrality of Liturgy in the Apostolic Life of the Church
5. Sven Conrad FSSP
Liturgical Act or Liturgical Celebration? Some Considerations in the Light of Sacrosacntum Concilium and Presbyterorum Ordinis
6. Prof. Robert Fastiggi
The Mass as the Sacrifice of Christ and the Church according to Sacrosanctum Concilium.
7. Dom Paul Gunter OSB
"Per ritus et preces" and "fideles scienter": A study of these directing characteristics for active participation in the reform and promotion of the Liturgy of the Second Vatican Council.
8. Prof. Dr. Manfred Hauke
The dogmatic discussion on Concelebration from Sacrosanctum Concilium to the Present (SC 57)
9. Prof. Dr. Helmut Hoping
What Reform? The Hermeneutics of Sacrosanctum Concilium and the Liturgical Renewal
10. Padre Serafino Lanzetta F.I.
Sacrosanctum Concilium in the Light of the Liturgical Reform
11. Vincent Twomey
Introduction to Sacrosanctum Concilium
12. Ralf van Bühren
Sacrosanctum Concilium – Sources and post-conciliar reception of the liturgical constitution
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Compendium of the 1961 Revision of the Pontificale Romanum - Part 4.2: The Blessing of a Cemetery (1961)
For a description of this ceremony in the Pontifical of Clement VIII, click here.
In the revised blessing of a cemetery of 1961, a single cross is set up at the far end of the cemetery, opposite the entrance, instead of the traditional five crosses. The color of the vestments worn by the bishop and major ministers is changed from white to violet. The bishop wears the mitre called “auryphrigiata” in Latin, the less ornate kind used in Advent and Lent, rather than the simple mitre with no ornamentation.
The ceremony begins with “Deus in adjutorium” and “Gloria Patri”, like the hours of the Divine Office, but without Alleluia. The opening prayer of the 1595 version is suppressed. The Litany of the Saints formerly sung immediately after it is suppressed, and with it, the proper invocations made by the bishop over the cemetery during the Litany. The blessing of holy water is done before the ceremony, rather than within it.
The bishop therefore begins immediately to sprinkle holy water around the cemetery, going from right to left, and saying nothing. As he does this, the choir sings the antiphon “Thou shalt sprinkle me, o Lord, with hyssop, and I shall be cleansed: Thou shalt wash me, and I shall be made whiter than snow,” and repeats it after every two verses of the Psalm 50 Miserere; at the end, Gloria Patri is not said. The antiphon is no longer intoned by the bishop. If the bishop returns to the cross before the choir has reached the end of the psalm, they cease the chant, even if they have not finished the psalm.
On returning to the cross, the bishop turns away from it and faces the cemetery (and hence also the people present,) and says the following prayer, preceded by “Dominus vobiscum.” This prayer was formerly said before the bishop incensed the third cross, the one on the right end of the cemetery.
He now sprinkles holy water though the cemetery, going from the back, where the cross is, to the entrance, and then across the middle from left to right. As he does this, the choir sings the antiphon “For Thy name’s sake, o Lord, Thou shalt give me life in Thy justice,” and repeats it after every two verses of Psalm 142 Domine exaudi orationem; at the end, Gloria Patri is not said. The antiphon, which is taken from ferial Lauds of Friday in the Breviary of St. Pius X, is not intoned by the bishop. (No antiphon was sung at the corresponding point of the previous version of this blessing.) If the bishop returns to the cross before the choir has reached the end of the psalm, they cease the chant, even if they have not finished the psalm.
On returning to the cross, the bishop turns away from it and faces the cemetery again, and says the following prayer, preceded by “Dominus vobiscum.” This prayer was formerly said before the bishop incensed the first cross, the one in the middle of the cemetery.
To sum up, in the Pontifical of Clement VIII, the cemetery is blessed not only by the sprinkling of holy water throughout, but also by the incensation of the five crosses and the fixing of candles upon them. In the 1961 revision, the latter is entirely removed; the single cross is not incensed, nor are candles placed upon it. Along with the Litany of the Saints, five prayers are suppressed: the prayer with which the blessing began in the prior version, those said before the incensation of the second and fourth crosses, the prayer which formerly preceded the preface, and the prayer said after the incensation of the fifth cross. The seven Penitential Psalms as a group are no longer part of the blessing.
The Mass which follows the blessing is now optional, where it was formerly required. (“…juxta opportunitatem, Pontifex vel alius sacerdos Missam celebrat.”) As previously, the bishop may say the Mass himself, or he may delegate another priest to say it in his stead. The proper prayers to be added to the Mass of the day for the occasion are no longer included in the text of the Pontifical, and are now found in the 1961 edition of the Missal itself.
A new set of rubrics concerning the Mass itself is added, which says that the Introit is sung “juxta opportunitatem – according to convenience, fitness, opportunity”, as the celebrant approaches the altar. This seems to imply that it may be omitted, but is quite vague. All the prayers before the altar are to be omitted, and the Mass begins with the celebrant kissing the altar and incensing it. The Last Gospel is omitted. This same rubric is added to other ceremonies of the Pontifical, as has already been mentioned apropos of the dedication of a church.
The ceremony begins with “Deus in adjutorium” and “Gloria Patri”, like the hours of the Divine Office, but without Alleluia. The opening prayer of the 1595 version is suppressed. The Litany of the Saints formerly sung immediately after it is suppressed, and with it, the proper invocations made by the bishop over the cemetery during the Litany. The blessing of holy water is done before the ceremony, rather than within it.
The bishop therefore begins immediately to sprinkle holy water around the cemetery, going from right to left, and saying nothing. As he does this, the choir sings the antiphon “Thou shalt sprinkle me, o Lord, with hyssop, and I shall be cleansed: Thou shalt wash me, and I shall be made whiter than snow,” and repeats it after every two verses of the Psalm 50 Miserere; at the end, Gloria Patri is not said. The antiphon is no longer intoned by the bishop. If the bishop returns to the cross before the choir has reached the end of the psalm, they cease the chant, even if they have not finished the psalm.
On returning to the cross, the bishop turns away from it and faces the cemetery (and hence also the people present,) and says the following prayer, preceded by “Dominus vobiscum.” This prayer was formerly said before the bishop incensed the third cross, the one on the right end of the cemetery.
Let us pray. Lord God, Father of eternal glory, light and honor of wisdom, keeper and force of prudence, health of the sick, strength of the mighty, consolation of the sorrowful, life of the just, glory of the humble; we humbly and earnestly entreat Thee, that Thou may deign to keep, purify and bless this cemetery of Thy servants from every sort of pollution and the snares of unclean spirits, and cease not to grant to the human bodies that come into this place everlasting purity; so that all who have received the Sacrament of Baptism, and have persevered in the Catholic Faith to the end of their lives, having passed their time in this present age, have given their bodies to rest in this cemetery, as the Angelic trumpets sound, in their souls and bodies together, may receive the eternal rewards of joy in heaven. Through Christ our Lord. R. Amen.The words shown here in italics are omitted from the previous version; the word ‘Father’ marked in bold is changed from ‘shepherd’. The bishop no longer blesses the cemetery with his hand at the words “bless this cemetery”.
He now sprinkles holy water though the cemetery, going from the back, where the cross is, to the entrance, and then across the middle from left to right. As he does this, the choir sings the antiphon “For Thy name’s sake, o Lord, Thou shalt give me life in Thy justice,” and repeats it after every two verses of Psalm 142 Domine exaudi orationem; at the end, Gloria Patri is not said. The antiphon, which is taken from ferial Lauds of Friday in the Breviary of St. Pius X, is not intoned by the bishop. (No antiphon was sung at the corresponding point of the previous version of this blessing.) If the bishop returns to the cross before the choir has reached the end of the psalm, they cease the chant, even if they have not finished the psalm.
On returning to the cross, the bishop turns away from it and faces the cemetery again, and says the following prayer, preceded by “Dominus vobiscum.” This prayer was formerly said before the bishop incensed the first cross, the one in the middle of the cemetery.
God, Who art the creator of the whole world, and redeemer of the human race, and perfectly arrayest all creatures visible and invisible, we entreat Thee with humble voice and pure heart, that Thou may deign to sanctify, cleanse, and bless this cemetery or tomb; in which the bodies of Thy servants and handmaids must rest after the passing courses of this life; and who through Thy great mercy didst grant remission of all sins to them that trust in Thee, impart Thou in abundance perpetual consolation also to the bodies of them that rest in this cemetery, and here await the trumpet of the first Archangel.The words shown here in italics are omitted from the previous version; the bishop no longer blesses the cemetery with his hand at the words “to cleanse, bless, and sanctify”, which are also re-ordered as noted above. The prayer ends with the long conclusion, which segues into the Preface Dialogue and the following Preface.
Truly it is fitting and just … through Christ our Lord. Who is the eternal day, the light unfailing, brightness everlasting. Who commanded His followers so to walk in the light, that they might escape from the darkness of eternal night, and happily come to the fatherland of light. Who in His assumed humanity, wept over Lazarus, by the power of His divinity restored him to life, and brought the human race, that was overwhelmed by the four-fold mass of sins. And through Him, o Lord, we humbly beseech Thee, that those who shall be buried in this cemetery, on the last day, when the trumpets of the Angels shall sound, released from the bonds of sin, and restored to eternal happiness, and numbered in the companies of the Saints, they may find Thee, who art eternal life, kindly and merciful, that they may praise Thee, the author of life, exulting with all the Saints.The word “cemetery” is changed from “tomb” in the previous version; a few other minor adjustments are made to the Latin text which do not alter the sense. The long conclusion is sung out loud as part of the preface, where it was previously said in a low voice. The final prayer is suppressed; the blessing concludes with “Dominus vobiscum” and “Benedicamus Domino”.
To sum up, in the Pontifical of Clement VIII, the cemetery is blessed not only by the sprinkling of holy water throughout, but also by the incensation of the five crosses and the fixing of candles upon them. In the 1961 revision, the latter is entirely removed; the single cross is not incensed, nor are candles placed upon it. Along with the Litany of the Saints, five prayers are suppressed: the prayer with which the blessing began in the prior version, those said before the incensation of the second and fourth crosses, the prayer which formerly preceded the preface, and the prayer said after the incensation of the fifth cross. The seven Penitential Psalms as a group are no longer part of the blessing.
The Mass which follows the blessing is now optional, where it was formerly required. (“…juxta opportunitatem, Pontifex vel alius sacerdos Missam celebrat.”) As previously, the bishop may say the Mass himself, or he may delegate another priest to say it in his stead. The proper prayers to be added to the Mass of the day for the occasion are no longer included in the text of the Pontifical, and are now found in the 1961 edition of the Missal itself.
A new set of rubrics concerning the Mass itself is added, which says that the Introit is sung “juxta opportunitatem – according to convenience, fitness, opportunity”, as the celebrant approaches the altar. This seems to imply that it may be omitted, but is quite vague. All the prayers before the altar are to be omitted, and the Mass begins with the celebrant kissing the altar and incensing it. The Last Gospel is omitted. This same rubric is added to other ceremonies of the Pontifical, as has already been mentioned apropos of the dedication of a church.
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| Two pages of a Pontifical according to the Use of Paris, ca. 1410. The left side contains the rubric for the placing of the five crosses in the cemetery, and the beginning of the blessing. The music on the bottom of the left side and the whole of the right are the special invocations added to the Litany of the Saints for the blessing of a cemetery; note that the words “bless”, “sanctify” and “consecrate” are each illuminated with a gold cross when they are said for the first time. |
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Votive Mass for Blessed Karl of Austria
On Friday, April 12, 2013 a one day Colloquium was held for Blessed Karl of the House of Austria at Saint Vincent Archabbey in Latrobe, Pennsylvania. The event culminated with a Votive Mass and veneration of the relic of Blessed Karl. The Colloquium and Mass were organized by Br. Nathan Cochran, O.S.B., a monk of Saint Vincent and USA/Canadian Delegate of the Kaiser-Karl Gebetsliga für den Völkerfrieden. In attendance were His Imperial and Royal Highness Georg Habsburg-Lothringen from Salzburg, Austria, a pilgrimage group from Detroit, MI, and members of the Saint Vincent community. Music was provided by the Saint Vincent Seminary Schola and a choir from the pilgrimage group.
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Papal Nuncio to Ireland at EF Good Friday Liturgy
This year's Good Friday liturgy of the Dublin Latin Mass Chaplaincy was attended in choir by the Apostolic Nuncio to Ireland, the Most Reverend Charles J. Brown.
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Photographs by John Briody reprinted with permission.
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Dino Marcantonio on Sacred Art and Architecture
In the Image and Likeness of God the Artist
Dino Marcantonio, architect and co-founder of the Catholic Artists Society speaks to Franciscan University students in his talk entitled “In the Image and Likeness of God the Artist,” as part of the Fine Arts Society’s John Paul the Great Fine Arts Lecture Series.
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Dom Cassian Folsom on Forms of Eucharistic Reservation
Bene et Firmiter: A Short History of Reservation of the Eucharist
by Cassian Folsom, OSB, appearing in Volume 22
For the purpose of trying to discern major shifts in the theory and practice of the reservation of the Blessed Sacrament, the history of the tabernacle can be divided into four sections: the patristic period until Carolingian times, the Carolingian period until the Council of Trent, the Council of Trent to Vatican II, and Vatican II to the present.
The Patristic Period until Carolingian Times
The evidence from this early period deals with two kinds of reservation of the Blessed Sacrament: 1) the private reservation of the Eucharist in the homes of the faithful, and 2) the reservation of the Eucharist in the church for the sake of giving Communion to the sick or the dying. In the first category, the homes of the faithful, there is very little information about how or where the Eucharist was reserved, although some sources indicate that it was reverently wrapped in a piece of white linen, or placed in a special chest or container. In the case of the reservation of the Blessed Sacrament in churches, the Apostolic Constitutions, c.VIII, no.13 indicate that the deacons should bring what was left over of the Eucharistic species consecrated during the Mass to a special room called the Pastoforio: in the Oriental churches, this was situated on the south side of the altar. In the West, it had the name secretarium or sacrarium. The deacon had the keys since the administration of the Eucharist was his special charge. In this room there was a special wardrobe or chest called a conditorium. An example of this can be seen in the fifth-century mosaics of the Galla Placidia mausoleum in Ravenna. In pre-Carolingian times, however, there is no evidence for the use of the altar as a place for the reservation of the Eucharist.
Conditorium depicted in Ravenna mosaic. Photo: Holly Hayes, Art History Images, flickr.com
From the ninth century onward, the reservation of the Blessed Sacrament in the church becomes the norm, while the practice of keeping the Eucharist in the homes of the faithful disappears. This is a one of those fundamental shifts which merits greater attention. Giambattista Rapisarda offers three reasons for such a significant change in Eucharistic practice: 1) the rise of major Eucharistic controversies about the nature of Christ’s presence, starting with Paschasius Radbertus (+859) and Ratramnus (+868); 2) the spread of a different spirituality reflected in the new genre of apologetic prayers which manifested enormous respect for the Eucharist and a sense of profound unworthiness before so great a mystery; and 3) the conversion of barbarian peoples en masse with the danger of profanation of the Eucharist on the one hand and superstition on the other.
The Carolingian Period until the Council of Trent
The six or seven centuries we are dealing with in this second period contain notable developments in Eucharistic theology and practice. Mention must be made of Berengarius (+1088) and the Eucharistic controversy that raged around him; the development of a new Eucharistic piety manifested in the desire to see the Host, with the resultant introduction of the elevation first of the Host, then of the Chalice at the Consecration of the Mass; the scholastic precisions about transubstantiation; the diffusion of the feast of Corpus Christi; the decline in the reception of Communion, and so on. Some of these factors contribute to new ways of reserving the Eucharist (the Sacrament-towers, for example). At other times, the force of custom results in the retention of more traditional forms. Righetti distinguishes five basic ways of reserving the Blessed Sacrament during this period:
1) Propitiatorium: a container or small chest which was placed on the altar; hence a kind of portable tabernacle. The Fourth Lateran Council (1215-1216) prescribed that it should be locked and kept secure. This system was rather widespread in Italy in the thirteenth and fourteenth centuries.
2) Sacristy: In many places, the Eucharist was kept in the sacristy, in some kind of special chest or cupboard. In many places, this practice continued until the Council of Trent.
3) Eucharistic dove: around the eleventh century this system was used: a metal dove (symbolizing the Holy Spirit), hollow, of modest proportions, which was suspended over the altar from the ciborium (if there was one), or on a small table next to the altar. This system was frequently used in France and England, but rarely in Italy.
Thirteenth century Eucharistic Dove from Limoges, France. Photo: The Walters Art Museum, Baltimore, MD
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You can read the remainder here.
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Usus Antiqiuor in Japan: A Latin-Japanese Missal
People are often very interested to see the usus antiquior within different cultural contexts than that of Western Europe and North America, and so I thought some readers might be interested to see a Latin-Japanese Mass book that Una Voce Japan has reprinted from an older, out of print Latin-Japanese Missal from the 1950's which had been published by the Society of St. Francis de Sales.
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It is great to see these kind of initiatives taking place throughout various countries and regions of the world.![]()
It is great to see these kind of initiatives taking place throughout various countries and regions of the world.
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Lalemant Propers: The Graduale Romanum in English
by Jeff Ostrowski
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The directives of the Second Vatican Council encourage Catholics to "sing the Mass" rather than replacing the Mass with non-liturgical texts. This practice is an outgrowth of a maxim attributed to Pope St. Pius X: "Don't pray at Mass, pray the Mass." However, those attempting to introduce the Mass Propers at their parishes realize absolute consistency is necessary. Therefore, what happens when a cantor gets sick or there is not adequate time for the choir to learn a chant from the Graduale Romanum or Simple English Propers? Or what about circumstances where a choir is not present, such as a 7:00am Sunday Mass, or (perhaps) a special Holy Day? What about the summer months, when some choirs do not meet? If the Propers are simply omitted, this causes considerable confusion for the congregation, which was previously told that each Mass has special Propers which ought to be sung. We know very well that the Liturgy is complex and must not constantly switch back and forth with changing texts, practices, and musical choices. Constant changes are quite disruptive to Liturgical prayer.
In an effort to make sure that the Mass Propers can always be sung at every Mass no matter what, I have created a 391-page book containing very simple musical arrangements of the Graduale in English:
* * Lalemant Propers Website (Graduale Romanum in English)
Visiting this website, one can freely download the entire 391-page book. One can also purchase a beautifully-bound hard copy.
* * Click here to download the 391-page book
* * Click here to purchase the 391-page book
* * Click here for Preface & Table of Contents
Below is a video example of a setting from the Lalemant Propers. This random selection is from Holy Saturday, so one can see this new collection contains much more than just antiphons (for instance, the Good Friday Reproaches, forty-five complete Psalms, Sequences, etc.).
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The collection is named in honor of St. Gabriel Lalemant, one of the bravest men ever to set foot in the New World. St. Lalemant worked alongside St. Isaac Jogues and the other Jesuit Martyrs of North America. Most of the Corpus Christi Watershed projects are dedicated to these Martyrs, as well as their colleagues who have not yet been canonized. For instance, if you visit the St. Charles Garnier Website, you will notice many Gospel Acclamations named in honor of French Jesuits. By pressing the «View Previous 2 Months» button, you will see names like Fr. François Bressani, William Couture, Fr. Simon Le Moyne, Fr. Paul Ragueneau, Fr. Pierre Chaumonot, Fr. Joseph Le Caron, Fr. Claude Dablon, Fr. Pierre Chastellain, Fr. Jérôme Lalemant, and Fr. Barthélemy Vimont.
I feel strongly called by God to help make the Jesuit Martyrs of North America better known. The first musical CD I ever produced (2001) was dedicated to them, and through the years we have done what we can. However, there is still so much more that needs to be accomplished to make their stories better known. Of course, it is not always possible to do as much as one would like, as the primary object of our organization must be to survive and continue providing resources for the Liturgy. However, I will continue to pray that the Lord will grant this request: that through the years, Corpus Christi Watershed can be a vehicle to let every person in North America know and honor the holy Jesuit Martyrs.
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The directives of the Second Vatican Council encourage Catholics to "sing the Mass" rather than replacing the Mass with non-liturgical texts. This practice is an outgrowth of a maxim attributed to Pope St. Pius X: "Don't pray at Mass, pray the Mass." However, those attempting to introduce the Mass Propers at their parishes realize absolute consistency is necessary. Therefore, what happens when a cantor gets sick or there is not adequate time for the choir to learn a chant from the Graduale Romanum or Simple English Propers? Or what about circumstances where a choir is not present, such as a 7:00am Sunday Mass, or (perhaps) a special Holy Day? What about the summer months, when some choirs do not meet? If the Propers are simply omitted, this causes considerable confusion for the congregation, which was previously told that each Mass has special Propers which ought to be sung. We know very well that the Liturgy is complex and must not constantly switch back and forth with changing texts, practices, and musical choices. Constant changes are quite disruptive to Liturgical prayer.In an effort to make sure that the Mass Propers can always be sung at every Mass no matter what, I have created a 391-page book containing very simple musical arrangements of the Graduale in English:
* * Lalemant Propers Website (Graduale Romanum in English)
Visiting this website, one can freely download the entire 391-page book. One can also purchase a beautifully-bound hard copy.
* * Click here to download the 391-page book
* * Click here to purchase the 391-page book
* * Click here for Preface & Table of Contents
Below is a video example of a setting from the Lalemant Propers. This random selection is from Holy Saturday, so one can see this new collection contains much more than just antiphons (for instance, the Good Friday Reproaches, forty-five complete Psalms, Sequences, etc.).
The collection is named in honor of St. Gabriel Lalemant, one of the bravest men ever to set foot in the New World. St. Lalemant worked alongside St. Isaac Jogues and the other Jesuit Martyrs of North America. Most of the Corpus Christi Watershed projects are dedicated to these Martyrs, as well as their colleagues who have not yet been canonized. For instance, if you visit the St. Charles Garnier Website, you will notice many Gospel Acclamations named in honor of French Jesuits. By pressing the «View Previous 2 Months» button, you will see names like Fr. François Bressani, William Couture, Fr. Simon Le Moyne, Fr. Paul Ragueneau, Fr. Pierre Chaumonot, Fr. Joseph Le Caron, Fr. Claude Dablon, Fr. Pierre Chastellain, Fr. Jérôme Lalemant, and Fr. Barthélemy Vimont.I feel strongly called by God to help make the Jesuit Martyrs of North America better known. The first musical CD I ever produced (2001) was dedicated to them, and through the years we have done what we can. However, there is still so much more that needs to be accomplished to make their stories better known. Of course, it is not always possible to do as much as one would like, as the primary object of our organization must be to survive and continue providing resources for the Liturgy. However, I will continue to pray that the Lord will grant this request: that through the years, Corpus Christi Watershed can be a vehicle to let every person in North America know and honor the holy Jesuit Martyrs.
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On the Seriousness of Liturgical Affairs
Dr. Peter Kwasniewski has been writing some articles over on Views from the Choir Loft and here is an excerpt from his most recent piece:
You can read the entire piece here.
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In my last blog, I talked about the phenomenon, quite common today, of those who would delay or oppose the correction of liturgical abuses or imperfections because they feel that people’s feelings will be hurt or that they will be confused by “more change.”
While I grant that too much change too fast would be a bad thing, and that all change should be accompanied by explanations, I maintain that it is morally necessary to change from bad practices to good ones and, to the extent possible, from inferior practices to superior ones. That is, it would be sinful to refuse to make such changes. (For example, if you currently have no one in the parish who knows how to sing Gregorian chant, you can’t very well insist that the next Mass will be a full-blown Missa Cantata; but you can send a couple of talented singers to a chant workshop, or invite a schola director to come and give a workshop. There are always steps that can be taken to improve the liturgical life of the community.)
Sometimes one finds even orthodox bishops voicing a certain despair: “Well, you are right, in principle—it would be better to discontinue the habitual use of extraordinary ministers of holy communion, and to have more chant, as Vatican II called for. But what’s the cost? Most of our people are trying their best to be good, many are involved in our parish ministries . . . I don’t want to discourage them by insisting too much on a severe liturgical regimen. After all, the Vatican permits X, Y, and Z, and who am I to change what even the Vatican isn’t changing? Are we supposed to be more Catholic than the pope?”
The serious problem with this kind of mentality is that it overlooks the serious long-term damage that is done by poor liturgy and poor custom...
You can read the entire piece here.
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Maryvale Offers Summer School Studying Catholic Traditions in Sacred Art at Buckfast Abbey in Devon, England
The Maryvale Institute has introduced a new series of short residential summer schools which include one that gives you the chance to study Catholic traditions in art. Called Teaching the Catholic Faith Through Art it is held at Buckfast Abbey in Devon. It is taught by Dr Caroline Farey and myself and those who attend have the option to deepen their studies afterwards by enrolling on the degree level diploma, Art, Inspiration and Beauty from a Catholic Perspective. The cost for the weekend including tuition and full board is just 275 GBP and the dates are August 15-18th.
Readers on the other side of the pond who might feel that its too far to go need not be discouraged: this course is also offered in the US also. The residential weekend is in July at the Maryvale Center at the Diocese of Kansas City, Kansas. As well as this course about art theory in Kansas they are offering a 5-day course in which students can learn to paint in the style of the illuminations of the English gothic psalters, such as the Westminster Psalter. Beginners and experienced artists welcome (I have mentioned this course before). Posters for all three are shown below, and from these you can get the contact details.
The Maryvale Institute is the only Higher Institute of Religious Sciences in the English speaking world that has full pontifical status.
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Readers on the other side of the pond who might feel that its too far to go need not be discouraged: this course is also offered in the US also. The residential weekend is in July at the Maryvale Center at the Diocese of Kansas City, Kansas. As well as this course about art theory in Kansas they are offering a 5-day course in which students can learn to paint in the style of the illuminations of the English gothic psalters, such as the Westminster Psalter. Beginners and experienced artists welcome (I have mentioned this course before). Posters for all three are shown below, and from these you can get the contact details.
The Maryvale Institute is the only Higher Institute of Religious Sciences in the English speaking world that has full pontifical status.
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Book Sale Listing
All of these titles are hardcovers unless specified otherwise as "SC". Where a dustjacket is included, I have noted it by "DJ". Prices do not include shipping. Bulk/lot purchases and offers are more than welcome -- and actually encouraged. For more information, email: stribe@newliturgicalmovement.org]
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First, the odd duck out of an otherwise liturgical batch:
Summa Theologica, St. Thomas Aquinas (3 vol Benziger Bros. ed. HC. Some neat, rulered underlining on a few pages in the first vol. English translation of the Fathers of the English Dominican Province.) - $200
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Liturgical Studies
A History of the Dominican Liturgy, W. Bonniwell (w/ DJ; extremely good copy) - $100.00
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The Origins of the Modern Roman Liturgy, S.J.P. van Dijk (HC w/ DJ) - $100.00
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The Eighth-Century Gelasian Sacramentary: A Study in Tradition, B. Moreton (Oxford Univ, Press w/ DJ) - $100.00
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Remarks on the Vocabulary of the Ancient Orations in the Missale Romanum, Sr. Mary Pierre Ellebracht (Latinitas Christianorum Primaeva) SC - $50.00
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The Saints of the Canon of the Mass, V.L. Kennedy (1963) (SC) - $50.00
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The Quam Oblationem of the Roman Canon, Willam Lallou (1943) (SC) - $40.00
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Four Lectures on the Offices and Ceremonies of Holy Week as performed in the Papal Chapels, Cardinal Wiseman (1839) - $50.00
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Christian Worship: Its Origin & Evolution, Mgr. Duchesne (5th ed.) - $20.00
Liturgical Prayer: Its History and Spirit, Dom F. Cabrol - $20.00
The Mass of the Western Rites, F. Cabrol - $25.00
Alcuin Club titles:
Cross and Crucifix in Christian Worship and Devotion, C.E. Pocknee (Alcuin Club w/ DJ) - $20.00
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Henry Bradshaw Society titles:
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A History of the Early Roman Liturgy, G.G. Willis (Henry Bradshaw Society - SC) - $60.00 (retails for over $90)
A Lost Work of Amalarius of Metz (Henry Bradshaw Society) - $65.00
The Royal Patronage of Liturgy in Frankish Gaul (Henry Bradshaw Society) - $75.00
The Liturgy of the Late Anglo-Saxon Church (Henry Bradshaw Society) - $65.00
Papal Ceremonial at Rome in the Twelfth Century, S. Twyman (SC) - $60.00 (retails for over $90)
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First, the odd duck out of an otherwise liturgical batch:
Summa Theologica, St. Thomas Aquinas (3 vol Benziger Bros. ed. HC. Some neat, rulered underlining on a few pages in the first vol. English translation of the Fathers of the English Dominican Province.) - $200
Liturgical Studies
A History of the Dominican Liturgy, W. Bonniwell (w/ DJ; extremely good copy) - $100.00
The Origins of the Modern Roman Liturgy, S.J.P. van Dijk (HC w/ DJ) - $100.00
The Eighth-Century Gelasian Sacramentary: A Study in Tradition, B. Moreton (Oxford Univ, Press w/ DJ) - $100.00
Remarks on the Vocabulary of the Ancient Orations in the Missale Romanum, Sr. Mary Pierre Ellebracht (Latinitas Christianorum Primaeva) SC - $50.00
The Saints of the Canon of the Mass, V.L. Kennedy (1963) (SC) - $50.00
The Quam Oblationem of the Roman Canon, Willam Lallou (1943) (SC) - $40.00
Four Lectures on the Offices and Ceremonies of Holy Week as performed in the Papal Chapels, Cardinal Wiseman (1839) - $50.00
Christian Worship: Its Origin & Evolution, Mgr. Duchesne (5th ed.) - $20.00
Liturgical Prayer: Its History and Spirit, Dom F. Cabrol - $20.00
The Mass of the Western Rites, F. Cabrol - $25.00
Alcuin Club titles:
Cross and Crucifix in Christian Worship and Devotion, C.E. Pocknee (Alcuin Club w/ DJ) - $20.00
Henry Bradshaw Society titles:
A History of the Early Roman Liturgy, G.G. Willis (Henry Bradshaw Society - SC) - $60.00 (retails for over $90)
A Lost Work of Amalarius of Metz (Henry Bradshaw Society) - $65.00
The Royal Patronage of Liturgy in Frankish Gaul (Henry Bradshaw Society) - $75.00
The Liturgy of the Late Anglo-Saxon Church (Henry Bradshaw Society) - $65.00
Papal Ceremonial at Rome in the Twelfth Century, S. Twyman (SC) - $60.00 (retails for over $90)
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Liturgical Guidelines for the Personal Ordinariate of Our Lady of Walsingham
The Personal Ordinariate of Our Lady of Walsinghma recently released their Guidelines for the celebration of the Holy Eucharist.
Here are some of the interesting points. First, from the section "Introduction and Norms":
"2. Rite One from the Book of Divine Worship may be used by clergy and faithful of the Personal Ordinariate of Our Lady of Walsingham. Rite Two is not permitted for use by clergy and faithful of the Personal Ordinariate of Our Lady of Walsingham."
(For the sake of those who do not know, "rite one" is the hieratic English version, and "rite two" is a contemporary English version.)
"3. Liturgical celebrations should always take into account the desire of the Apostolic Constitution Anglicanorum coetibus, for the maintenance of the traditions of the Anglican Communion within the Catholic Church (cf. AC III). This should be evident in all aspects of liturgical celebration, whether according to the Book of Divine Worship or the Ordinary Form of the Roman Rite, not least in the choice of sacred music and vesture."
"5. Where the dynamic of the building allows it, the ancient practice of ad orientem celebration is commended.
"6. Where versus populum celebration of the sacred liturgy is necessary, the placing of a standing crucifix with the corpus turned towards the celebrant, in the centre of the altar, is commended."
"9. Where it is possible, Sundays, solemnities, and some feasts (e.g. Candlemas, Ash Wednesday, Annunciation, Visitation, Transfiguration, Holy Cross, Blessed John Henry Newman, All Souls) should be celebrated in a more solemn form, with the use of incense and music."
"10. The Roman Canon (Eucharistic Prayer I) is highly commended for use, not simply on Sundays or solemnities. This prayer is a particular sign of continuity with the Uses in force in the Church in England before the Reformation."
"12. The public and sung celebration of the Liturgy of the Hours according to the proper liturgical texts of the Personal Ordinariate, either before the celebration of Holy Mass or apart from Eucharistic celebrations, is commended."
From the section on "Sacred Music":
"15. The use of sacred music is integral to the celebration of the sacred liturgy. As such priority should be given to the liturgical texts as found in the liturgical books (cf. GIRM §48) and to the use of plainchant (cf. GIRM §41)"
"17. Well chosen hymns have a particular role in Anglican liturgical patrimony and in recent years have almost displaced the singing of the Propers. The Anglican Use Gradual, successor to the English Gradual, is a simple tool for the recovery of the singing of the Propers and is highly commended."
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Here are some of the interesting points. First, from the section "Introduction and Norms":
"2. Rite One from the Book of Divine Worship may be used by clergy and faithful of the Personal Ordinariate of Our Lady of Walsingham. Rite Two is not permitted for use by clergy and faithful of the Personal Ordinariate of Our Lady of Walsingham."
(For the sake of those who do not know, "rite one" is the hieratic English version, and "rite two" is a contemporary English version.)
"3. Liturgical celebrations should always take into account the desire of the Apostolic Constitution Anglicanorum coetibus, for the maintenance of the traditions of the Anglican Communion within the Catholic Church (cf. AC III). This should be evident in all aspects of liturgical celebration, whether according to the Book of Divine Worship or the Ordinary Form of the Roman Rite, not least in the choice of sacred music and vesture."
"5. Where the dynamic of the building allows it, the ancient practice of ad orientem celebration is commended.
"6. Where versus populum celebration of the sacred liturgy is necessary, the placing of a standing crucifix with the corpus turned towards the celebrant, in the centre of the altar, is commended."
"9. Where it is possible, Sundays, solemnities, and some feasts (e.g. Candlemas, Ash Wednesday, Annunciation, Visitation, Transfiguration, Holy Cross, Blessed John Henry Newman, All Souls) should be celebrated in a more solemn form, with the use of incense and music."
"10. The Roman Canon (Eucharistic Prayer I) is highly commended for use, not simply on Sundays or solemnities. This prayer is a particular sign of continuity with the Uses in force in the Church in England before the Reformation."
"12. The public and sung celebration of the Liturgy of the Hours according to the proper liturgical texts of the Personal Ordinariate, either before the celebration of Holy Mass or apart from Eucharistic celebrations, is commended."
From the section on "Sacred Music":
"15. The use of sacred music is integral to the celebration of the sacred liturgy. As such priority should be given to the liturgical texts as found in the liturgical books (cf. GIRM §48) and to the use of plainchant (cf. GIRM §41)"
"17. Well chosen hymns have a particular role in Anglican liturgical patrimony and in recent years have almost displaced the singing of the Propers. The Anglican Use Gradual, successor to the English Gradual, is a simple tool for the recovery of the singing of the Propers and is highly commended."
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News from Pittsfield, MA.
I thought I would share this story sent in by a reader, not the least of which to show you rather striking altarpiece of the chapel altar.
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On Sunday, April 14 at 2:00pm, a Missa lecta in the Extraordinary Form was celebrated in the chapel at St. Mark Church, Pittsfield, MA by Fr. Tomasz Parzynski, parochial vicar at St. Mark's. My schola, the St. Jean de Brébeuf Schola cantorum based in Williamstown, MA, led the Latin hymns. Attendance ran 35-40 persons. According to long-time residents of the city, this was the first public EF Mass celebrated in Pittsfield since the introduction of the 1970 Missal. Our current plan is to celebrate an EF Mass once a month, moving to a Missa cantata in June. This is the only regular EF Mass in the entire diocese of Springfield (MA).
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New Oratory-in-Formation coming for Brisbane, Australia
Congregation of the Oratory in formation to be established within Brisbane by 2016
For the last two years, a new initiative for the Church in Australia has been quietly and slowly developing behind the scenes. It has now reached a significant early milestone with this first public announcement released today.
With the permission and support of Archbishop Mark Coleridge, a Congregation of the Oratory in formation is to be established within the Archdiocese of Brisbane by early 2016 and perhaps earlier during 2015.
[...]
The Brisbane community in formation will comprise four experienced diocesan priests in good standing from different Australian Dioceses as well as two seminarians. These young men will begin their studies for the priesthood in an overseas Oratorian seminary in September this year.
The location of the Brisbane Oratory in formation and the ministries undertaken by the community are yet to be decided by the Archbishop. Further updates about the progress of this project , a first for the Church in Australia, will be provided in due course to keep everyone informed of developments.
Released by the Catholic Communications Office
April 12, 2013
Source: Archdiocese of Brisbane
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More Pages to Explore .....
