Epiphany Matins: Tria sunt munera ("Three are the gifts")

Tria sunt munera ("Three are the gifts") is the 6th Responsory of Mattins of Epiphany in the Sarum Breviary; it is also sung as a Responsory at Vespers.   



This is the text in Latin, with an English translation, from Divinum Officium:

R. Tria sunt munera pretiosa, quae obtulerunt Magi Domino in die ista, et habent in se divina mysteria:
* In auro, ut ostendatur Regis potentia: in thure, Sacerdotem magnum considera: et in myrrha, Dominicam sepulturam.
V. Salutis nostrae auctorem Magi venerati sunt in cunjibulis, et de thesauris suis mysticas ei munerum species obtulerunt.
R. In auro, ut ostendatur Regis potentia: in thure, Sacerodtem magnum considera: et in myrrha, Dominicam sepulturam.

R. There are three precious gifts which the wise men offered unto the Lord on this day, and they speak a mystery of the things of God,
* Gold, to show His kingly power; frankincense, for our Great High Priest; and myrrh, against the Lord's burying.
V. The wise men worshipped the Captain of our Salvation, as He lay in the manger, and when they had opened their treasures, they presented unto Him mystic gifts.
R. Gold, to show His kingly power; frankincense, for our Great High Priest; and myrrh, against the Lord's burying. 

Here's the score, from the wonderful McMaster University Sarum Chant site:

As you can see from the Latin / English text above, I also found this Responsory used on Epiphany at Divinum Officium - but only in the early, "pre-Trident monastic" listing for Epiphany Mattins and not in any other version.  (It was not, seemingly, used at Vespers in the pre-Trident Breviary, either.)  The Responsory apparently disappeared after Trent, and it would be interesting to compare the various versions to see what happened at that point.  Perhaps some other emphasis became more important at the Feast of the Epiphany; I will see what I can find in that regard.

Here's a video of Juan Esquivel Barahona's (ca.1563 — after 1613) setting of a much shorter section of the text; it's only the first section of the first line, ending with the word "Domino."  The excellent singers are the Ensemble Corund.




I'm interested, too, in the idea of the three "mystic gifts" as symbols, an idea found explicitly stated in the Responsory:  "Gold, to show His kingly power; frankincense, for our Great High Priest; and myrrh, against the Lord's burying."  This, too, is obviously an old idea - one whose lineage I'd like to trace!  Will give a try, and will come back to edit this depending on what I find.

You find this idea expressed in the hymn "We Three Kings," of course, although less explicitly - and  I'd never really understood those words anyway.   Perhaps the song was too familiar - or perhaps nobody ever sang the "myrrh" verse!  Then a few years ago I heard Peter Warlock's Christmas carol, "Bethlehem Down," where it's much more explicit, and I was really struck by the thought.   Here's that one, sung by The Choir of Westminster Cathedral:



The text:

"When He is King we will give Him the King's gifts:
Myrrh for its sweetness, and gold for a crown,
Beautiful robes," said the young girl to Joseph,
Fair with her first-born on Bethlehem Down.

Bethlehem Down is full of the starlight,
Winds for the spices, and stars for the gold,
Mary for sleep, and for lullaby music,
Songs of a shepherd by Bethlehem fold.

When He is King, they will clothe Him in grave-sheets,
Myrrh for embalming, and wood for a crown,
He that lies now in the white arms of Mary,
Sleeping so lightly on Bethlehem Down.

Here He has peace and a short while for dreaming,
Close-huddled oxen to keep him from cold,
Mary for love, and for lullaby music,
Songs of a shepherd by Bethlehem Down.

Here's something pretty interesting that I've never seen before.  It's labeled "Adoration of the Magi. Panel from a Roman sarcophagus, 4th century CE. From the cemetery of St. Agnes in Rome."  (Photo credit: Jastrow.)

Reminds me quite a lot of this later work, labeled 'Basilica of Sant'Apollinare Nuovo in Ravenna, Italy: The Three Wise Men" (named Balthasar, Melchior, and Gaspar). Detail from: "Mary and Child, surrounded by angels", mosaic of a Ravennate italian-byzantine workshop, completed within 526 AD by the so-called "Master of Sant'Apollinare".'  (Photo credit:  Nina-no.)

Blessed Feast of the Epiphany.

A Lauds antiphon for the Vigil of the Epiphany: O Admirabile Commercium ("O Wondrous Exchange")

This is a recording of the single - in the Sarum breviary, anyway - Psalm antiphon at Lauds of the Vigil of Epiphany, which is today.  It's very beautiful, and sung here by the Schola Gregoriana Del Coro Paer:



The text, from CPDL, is this:

O admirabile commercium!
Creator generis humani,
animatum corpus sumens,
de Virgine nasci dignatus est:
et procedens homo sine semine,
largitus est nobis suam Deitatem.

O admirable exchange:
the creator of human-kind,
taking on a living body
was worthy to be born of a virgin,
and, coming forth as a human without seed,
has given us his deity in abundance.

Here's the chant score:

The Psalm sung on the recording is not the one for Lauds of the Vigil of Epiphany; it's instead the first Psalm at 2nd Vespers of the Circumcision: Psalm 110, Dixit Dominus.  That's because this antiphon is used on that day for that Psalm in the Roman Breviary.  In the Sarum, however, the Psalm prescribed to follow this antiphon is Psalm 93, Dominus Regnavit ("The Lord is King").

Many of the days of the Twelve Days of Christmas are also feasts in their own right:  December 26 is St. Stephen; December 27th is Holy Innocents; December 28th is St. John Evangelist, and so on.   As a result, there are numerous Octave days within the Twelve Days as well - and sometimes the Octave Days are feasts in their own right, too!  For example. Circumcision (also called Holy Name) is the Octave of Christmas - a big day.  (Octave days are the days eight days after a major feast, and bring that feast's eight-day "season" or celebration to a close.)

So there are numerous overlaps and recapitulations going on in the Breviary; chants are often repeated on the octave days of their feasts, and there are many intertwining themes happening in this period.   The Vigil of Epiphany seems to be celebrated as kind of a mini-octave of Circumcision in the Sarum Breviary.  For instance, the first three Matins Responsories on Circumcision are repeated at the Vigil of Epiphany, but at the tail end of Matins (in, more or less, the last three spots). 

And this antiphon, and its Psalm, are sung exactly in the same way at Lauds of Circumcision.


This is very interesting to me, and at some point I'll have to go through the Breviary to see exactly where the duplications occur - there are many! - and see what patterns may exist.

Meantime, here is Thomas Stolzer's (c.1480–1526) gorgeous setting of the chant text; I'd never heard it before today.   It's sung expertly and beautifully by the choir of Christ Church, New Haven CT.




Epiphany tomorrow!  Here's Full Homely Divinity's Epiphany page, which you really should not miss:  20 + C + M + B + 16.

Chistmas Day Matins: Sancta et immaculata virginitas ("Holy and spotless Virgin")

Sancta et immaculata virginitas is the sixth responsory of Christmas Matins, but as CPDL notes, it is "frequently used for Marian feasts as well."  It's sung here by Ensemble Officium:



Here's the text in Latin and English, from Divinum Officium:

R. Sancta et immaculata virginitas, quibus te laudibus efferam nescio: * Quia quem coeli capere non poterant, tuo gremio contulisti. V. Benedicta tu in mulieribus, et benedictus fructus ventris tui. R. Quia quem coeli capere non poterant, tuo gremio contulisti. V. Glória Patri, et Fílio, * et Spirítui Sancto. R. Quia quem coeli capere non poterant, tuo gremio contulisti.

R. O Mary, how holy and how spotless is thy virginity! I am too dull to praise thee! * For thou hast borne in thy breast Him Whom the heavens cannot contain. V. Blessed art thou among women, and blessed is the fruit of thy womb. R. For thou hast borne in thy breast Him Whom the heavens cannot contain. V. Glory be to the Father, and to the Son, * and to the Holy Ghost. R. For thou hast borne in thy breast Him Whom the heavens cannot contain.

See it here, too, in the Bute translation-Winter edition of the Roman Breviary (1908).

And sure enough, you find the same text as the Responsory after the first reading of "Matins of the Virgin," at medirvalist.net's Hypertext Book of Hours.

Here's the chant score, from the Liber Usualis 1961:

This Responsory contains one of those rare extra-Biblical citations; I'm trying to find the origin of the notion that "The highest heavens cannot contain God whom you carried in your womb"; that is an old idea.  But I haven't been able to pin down the coiner of that phrase so far; will return to edit this when I do.  It's a quite beautiful thought, and one of the reasons I wanted to post on this chant today.

[EDIT:  This cite may belong to Augustine, who said in Sermon 184, on the Nativity:  “He who sustains the world lay in a manger, a wordless Child, yet the Word of God. Him whom the heavens do not contain the bosom of one woman bore.  She ruled our King; she carried Him in whom we exist; she fed our Bread.” And in fact, it's not totally extra-biblical anyway;  Auggie was clearly riffing on 1 Kings 8:27 (or its clone, 2 Chronicles 6:18):  "But will God indeed dwell on the earth? Behold, heaven and the highest heaven cannot contain you...." ]

Several other composers have set this text; here's Gabrieli's:




A blessed Christmas to all.

Aspiciens a longe ("I look from afar")

Aspiciens a longe is the First Mattins Responsory for the first Sunday in Advent.   Here's a beautiful chant version sung by "Ensemble Officium."



Here are the words, in Latin and English, from the CPDL page about this piece:

Use of Sarum, Latin text

R Aspiciens a longe,

ecce video Dei potentiam venientem:
et nebulam totam terram regentem.
† Ite obviam ei et dicite
‡ nuncia nobis si tu es ipse
†† qui regnaturus es
‡‡ in populo Israel.
V Quique terrigene et filii hominum: simul in unum dives et pauper. †
V Qui regis Israel intende: qui deducis velut ovem Joseph. ‡
V Excita Domine Potentiam tuam et veni: ut salvos factias nos. ††
V Gloria Patri et Filio: et Spiritui Sancto. ‡‡ R
 

As used in Carols for Choirs 2, English text

R I look from afar:
and lo, I see the power of God coming,
and a cloud covering the whole earth.
† Go ye out to meet him and say:
‡ Tell us, art thou he that should come
†† to reign over thy people Israel?
V High and low, rich and poor, one with another. †
V Hear, O thou shepherd of Israel, thou that leadest Joseph like a sheep. ‡
V Stir up thy strength, O Lord, and come. ††
V Glory be to the Father, and to the Son, and to the Holy Ghost. R

Here's another chant recording, sung by the "Choeur des Moniales cisterciennes de Boulaur et Rieunette."  It's also quite beautiful:




This is "a setting in English, based on a Nunc dimittis by Palestrina," sung by the Choir of Kings' College Cambridge.  It's quite well-known and is used by many Anglican and Episcopal churches on the first Sunday in Advent:



Again, here are the words in Latin and English from that page:

Use of Sarum, Latin text

R Aspiciens a longe,

ecce video Dei potentiam venientem:
et nebulam totam terram regentem.
† Ite obviam ei et dicite
‡ nuncia nobis si tu es ipse
†† qui regnaturus es
‡‡ in populo Israel.
V Quique terrigene et filii hominum: simul in unum dives et pauper. †
V Qui regis Israel intende: qui deducis velut ovem Joseph. ‡
V Excita Domine Potentiam tuam et veni: ut salvos factias nos. ††
V Gloria Patri et Filio: et Spiritui Sancto. ‡‡ R
 

As used in Carols for Choirs 2, English text

R I look from afar:
and lo, I see the power of God coming,
and a cloud covering the whole earth.
† Go ye out to meet him and say:
‡ Tell us, art thou he that should come
†† to reign over thy people Israel?
V High and low, rich and poor, one with another. †
V Hear, O thou shepherd of Israel, thou that leadest Joseph like a sheep. ‡
V Stir up thy strength, O Lord, and come. ††
V Glory be to the Father, and to the Son, and to the Holy Ghost. R

Here's some stuff of interest from the Wikipedia entry for Responsory:

The most general definition of a responsory is any psalm, canticle, or other sacred musical work sung responsorially, that is, with a cantor or small group singing verses while the whole choir or congregation respond with a refrain. However, this article focuses on those chants of the western Christian tradition that have traditionally been designated by the term responsory. In the Roman Rite and rites strongly influenced by it, such as the pre-reformation English rite and the monastic rite of the Rule of St. Benedict, these chants ordinarily follow readings^[1]:61[2] at services of the Divine Office (also called the Liturgy of the Hours); however, they have also been used as processional chants.^[1]:91
A responsory has two parts: a respond (or refrain), and a verse.^{[3]:181–182,331} Methods of performance vary, but typically the respond will be begun by the cantor then taken up by the entire choir. The verse is then sung by a cantor or a small group; or the verse can be begun by the cantor and continued by the entire choir.^{[3]:196–198} The chant concludes with a repetition of all or part of the respond. Sometimes the second repetition of the respond is followed by a half-doxology, Gloria Patri et Filio et Spiritui Sancto, sung by the cantor, followed in turn by a third repetition of all or part of the respond.

That same article elaborates on Aspiciens a longe, as well:

Most responsories have a single verse, but a few have multiple verses.^{[3]:184–185} One of the most famous of the latter is the responsory Aspiciens a longe, sung on the first Sunday of Advent after the first reading in the night office of the Latin secular (non-monastic) rite. The version that was sung in the medieval rite of Salisbury cathedral was worded as follows:^[5]

Respond: Aspiciens a longe et ecce video Dei potentiam venientem et nebulam totam terram tegentem. Ite obviam ei et dicite, Nuntia nobis si tu es ipse qui regnaturus es in populo Israel. (I look from afar, and behold I see the power of God coming, and a cloud covering the whole earth. Go out to meet him and say, tell us if you are the one who is to reign over the people of Israel.)

1st verse (sung by a boy) Quique terrigenae et filii hominum simul in unum dives et pauper (Whoever are earth-born, the sons of men, together in one rich and poor)
Partial respond (sung by the choir) Ite obviam ei et dicite, Nuntia nobis si tu es ipse qui regnaturus es in populo Israel. (Go out to meet him and say, tell us if you are the one who is to reign over the people of Israel.)

2nd verse (sung by a boy) Qui regis Israel intende, qui deducis velut ovem Joseph (Hear, O shepherd of Israel, who leadest Joseph like a sheep)
Partial respond (sung by the choir) Nuntia nobis si tu es ipse qui regnaturus es in populo Israel. (Tell us if you are the one who is to reign over the people of Israel.)

3rd verse (sung by a boy) Excita Domine potentiam tuam et veni ut salvos facias nos (Stir up your power O Lord and come that you may save us)
Partial respond (sung by the choir) Qui regnaturus es in populo Israel. (O you who are to reign over the people of Israel.)

Half-doxology (sung by all three boys) Gloria Patri et Filio et Spiritui Sancto (Glory be to the Father and to the Son and to the Holy Ghost)
Partial respond (sung by the choir) In populo Israel. (In the people of Israel.)

The three boys then sang Aspiciens a longe whereupon the choir took up the full respond: et ecce video Dei potentian venientem et nebulam totam terram tegentem. Ite obviam ei et dicite, Nuntia nobis si tu es ipse qui regnaturus es in populo Israel. (I look from afar, and behold I see the power of God coming, and a cloud covering the whole earth. Go out to meet him and say, tell us if you are the one who is to reign over the people of Israel.)

This responsory, Aspiciens a longe, has become familiar in the English-speaking world in an arrangement published in the second volume of Carols for Choirs edited by David Willcocks and John Rutter,^[6] where it is given the title "Matin Responsory", and is set to music adapted from a setting by Giovanni Pierluigi da Palestrina of the Nunc dimittis (free score of the Nunc dimittis here on CPDL) - and not of the Magnificat as stated by the editors. The structure of the Willcocks/Rutter arrangement, however, differs somewhat from what is shown above since it does not repeat the refrain after each verse in the traditional English way. For example, in the traditional English form (shown above) after the first verse, the choir sings all the words of the refrain from ite obviam ei to the end. In the Willcocks/Rutter arrangement, on the other hand, after the first verse the choir sings (in English translation) only the portion of the refrain corresponding to the Latin words ite obviam ei et dicite.

And this is from the services of Mattins itself for the first Sunday in Advent, and from the "Trident 1570" version at Divinum Officium:

R. Aspíciens a longe, ecce video Dei poténtiam veniéntem, et nébulam totam terram tegéntem. * Ite obviam ei, et dícite: * Núntia nobis, si tu es ipse, * Qui regnatúrus es in pópulo Israël.
V. Quique terrígenæ, et fílii hóminum, simul in unum dives et pauper. Ite obviam et, et dícite.
V. Qui regis Israël, inténde, qui dedúcis velut ovem Joseph. Núntia nobis, si tu es ipse.
V. Tóllite portas, príncipes, vestras, et elevámini portæ æternáles, et introíbit Rex glóriæ. Qui regnatúrus es in pópulo Israël.
V. Glória Patri, et Fílio, * et Spirítui Sancto.
R. Aspíciens a longe, ecce video Dei poténtiam veniéntem, et nébulam totam terram tegéntem. * Ite obviam ei, et dícite: * Núntia nobis, si tu es ipse, * Qui regnatúrus es in pópulo Israël.

 R. I look from afar, and behold I see the Power of God, coming like as a cloud to cover the land with the hosts of his People: * Go ye out to meet him and say: * Tell us if thou art he, * That shalt reign over God's people Israel.
V. All ye that dwell in the world, all ye children of men, high and low, rich and poor, one with another. Go ye out to meet him and say.
V. Hear, O thou Shepherd of Israel, thou that leadest Joseph like a sheep. Tell us if thou art he.
V. Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in. That shalt reign over God's people Israel.
V. Glory be to the Father, and to the Son, * and to the Holy Ghost.
R. I look from afar, and behold I see the Power of God, coming like as a cloud to cover the land with the hosts of his People: * Go ye out to meet him and say: * Tell us if thou art he, * That shalt reign over God's people Israel.

I haven't found a chant score for this so far; still looking.  EDIT:  I did finally find it, in the Liber Hymnarius:

Here are all the mass chants for the day, from ChristusRex.org:

Hebdomada Prima Adventus
Dominica Introitus: Ps. 24, 1-4 Ad te levavi (3m29.7s - 3275 kb) score
Graduale: Ps. 24, 3. V. 4 Universi, qui te exspectant (2m00.6s - 1887 kb) score
Alleluia: Ps. 84, 8 Ostende nobis (2m41.5s - 2525 kb) score
Offertorium: Ps. 24, 1-3 Ad te, Domine, levavi (1m41.0s - 1579 kb) score
Communio: Ps. 84, 13 Dominus dabit benignitatem (51.2s - 801 kb) score

And these are posts on Chantblog for the Advent 1 propers:

• The Introit: Ad Te Levavi Animam Meam
• The Gradual: Universi, qui te exspectant
• The Advent I Alleluia: Ostende nobis Domine ("Show us thy mercy, O Lord")
• The Offertory: Ad te, Domine, levavi
• The Communio:  Dominus Dabit
• The Advent Office
• Aspiciens a longe ("I look from afar")

Blessed Advent to all!

The Introit for the Solemnity of Christ the King: Dignus Est Agnus ("Worthy is the Lamb")

Sung here by the Schola of the Vienna Hofburgkapelle:




The text is taken from Revelation 5, vv 12, 1, and 6; the Psalm verse comes from Psalm (71/)72.  Here's the Latin and an English translation:

Dignus est Agnus,
qui occísus est accípere virtútem,
et divinitátem, et sapiéntiam, et fortitúdinem, et honórem. 
Ipsi glória et impérium in saécula saeculórum.   
Ps:  Déus, judícium túum Régida: et justítiam túam Fílio Régis.

The Lamb that was slain
is worthy to receive power
and divinity and wisdom and strength and honour;
to Him be glory and empire for ever and ever. 
Ps:  Give to the King, O God, Thy justice, and to the King's Son Thy judgment.

Here's the chant score:

I'm interested to know where this chant has come from, since Christ the King is a new feast day, instituted in 1925 by Pope Pius XI  in his encyclical Quas primas.   Will investigate a bit and return to post what I find.

Although Anglicans do not officially celebrate the Feast of Christ the King this Sunday (on our Calendar, it's simply "The Last Sunday After Pentecost"), many of us do observe it anyway - and the Collect for the day is a breathtakingly beautiful and Kingly one:

Almighty and everlasting God, whose will it is to restore all things in your well-beloved Son, the King of kings and Lord of lords: Mercifully grant that the peoples of the earth, divided and enslaved by sin, may be freed and brought together under his most gracious rule; who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen.

And the readings for today, Year B in the 3-year Calendar, are absolutely wonderful - kingly, too, and spooky and apocalyptic (as befits this time of year): 

Daniel 7:9-10, 13-14

As I watched,

thrones were set in place,

and an Ancient One took his throne,

his clothing was white as snow,

and the hair of his head like pure wool;

his throne was fiery flames,

and its wheels were burning fire.

A stream of fire issued

and flowed out from his presence.

A thousand thousands served him,

and ten thousand times ten thousand stood attending him.

The court sat in judgment,

and the books were opened.

As I watched in the night visions,

I saw one like a human being

coming with the clouds of heaven.

And he came to the Ancient One

and was presented before him.

To him was given dominion

and glory and kingship,

that all peoples, nations, and languages

should serve him.

His dominion is an everlasting dominion

that shall not pass away,

and his kingship is one

that shall never be destroyed. 

Psalm 93     Page 722, BCP
Dominus regnavit

1 The LORD is King;
he has put on splendid apparel; *
the LORD has put on his apparel
and girded himself with strength.

2 He has made the whole world so sure *
that it cannot be moved;

3 Ever since the world began, your throne has been established; *
you are from everlasting. \

4 The waters have lifted up, O LORD,
the waters have lifted up their voice; *
the waters have lifted up their pounding waves.

5 Mightier than the sound of many waters,
mightier than the breakers of the sea, *
mightier is the LORD who dwells on high.

6 Your testimonies are very sure, *
and holiness adorns your house, O LORD,
for ever and for evermore.


Revelation 1:4b-8

Grace to you and peace from him who is and who was and who is to come, and from the seven spirits who are before his throne, and from Jesus Christ, the faithful witness, the firstborn of the dead, and the ruler of the kings of the earth.
To him who loves us and freed us from our sins by his blood, and made us to be a kingdom, priests serving his God and Father, to him be glory and dominion forever and ever. Amen.

Look! He is coming with the clouds;

every eye will see him,

even those who pierced him;

and on his account all the tribes of the earth will wail.

So it is to be. Amen.
"I am the Alpha and the Omega," says the Lord God, who is and who was and who is to come, the Almighty."


John 18:33-37

Pilate entered the headquarters again, summoned Jesus, and asked him, "Are you the King of the Jews?" Jesus answered, "Do you ask this on your own, or did others tell you about me?" Pilate replied, "I am not a Jew, am I? Your own nation and the chief priests have handed you over to me. What have you done?" Jesus answered, "My kingdom is not from this world. If my kingdom were from this world, my followers would be fighting to keep me from being handed over to the Jews. But as it is, my kingdom is not from here." Pilate asked him, "So you are a king?" Jesus answered, "You say that I am a king. For this I was born, and for this I came into the world, to testify to the truth. Everyone who belongs to the truth listens to my voice."

(It's not really so strange, then, that this Sunday - the last before Advent - has been referred to in the Evangelical Church of Sweden as "the Sunday of Doom"!)

There is no set of historic lectionary readings for today, because this is a new feast.  However, according to this page, the historic Lutheran lectionary for today ("the last Sunday") consists of these readings, which are mostly about the Last Things as well:  Isaiah's "New Creation," Thessalonians 5 ("For you yourselves know very well that the day of the Lord will come like a thief in the night."), and the Parable of the Ten Bridesmaids.   (It appears that the old Catholic and Anglican lectionaries did not provide for "the Last Sunday," but merely used the readings for the appropriate Sunday After Trinity.  I must say I like the Lutheran and current "Christ the King Sunday" arrangement better.)

Because truly, this is one of my favorite Sundays of the year.  Here's the opening hymn we had today:



That video is from an Eastertide Service in Wales; we naturally didn't have a cast of thousands or cymbals or a trumpet section this morning. But take a look at these words for an idea of how really great this hymn is:

1 Crown him with many crowns,
the Lamb upon his throne;
Hark! how the heavenly anthem drowns
all music but its own;
awake, my soul, and sing of him
who died for thee,
and hail him as thy matchless King
through all eternity.

2 Crown him the Son of God
before the worlds began,
and ye, who tread where he hath trod,
crown him the Son of man;
who every grief hath known
that wrings the human breast,
and takes and bears them for his own,
that all in him may rest.

3 Crown him the Lord of life,
who triumphed over the grave,
and rose victorious in the strife
for those he came to save;
his glories now we sing,
who died, and rose on high,
who died, eternal life to bring,
and lives that death may die.

4 Crown him of lords the Lord,
who over all doth reign,
who once on earth, the incarnate Word,
for ransomed sinners slain,
now lives in realms of light,
where saints with angels sing
their songs before him day and night,
their God, Redeemer, King.

5 Crown him the Lord of heaven,
enthroned in worlds above;
crown him the King,to whom is given,
the wondrous name of Love.
Crown him with many crowns,
as thrones before him fall,
crown him, ye kings, with many crowns,
for he is King of all.

We had two other great Kingly hymns, today, too - one I'd never heard before.  Will come back later to post on them.

Here's a list of all the chant propers for this day, from ChristusRex.org:

Sollemnitatis
Domini Nostri Iesu Christi
Universorum Regis
Introitus: Apoc. 5, 12 et 1, 6; Ps. 71 Dignus est Agnus (3m34.5s - 3355 kb) score
Graduale: Ps. 71, 8. V. 11 Dominabitur (2m33.3s - 2399 kb) score
Alleluia: Dan. 7, 14 Potestas eius (3m10.7s - 2983 kb) score
Offertorium: Ps. 2, 8 Postula a me (1m20.3s - 1259 kb) score
Communio:
                   (anno A) Mt. 25, 40.34 Amen dico vobis: quod uni (not yet available)
                    Ps. 28, 10b.11b Sedebit Dominus (43.5s - 683 kb) score

 Other Chantblog posts for this day include:

• The Introit for the Solemnity of Christ the King: Dignus Est Agnus ("Worthy is the Lamb")...
• The Gradual for the Feast of Christ the King: Dominabitur A Mari Usque Ad Mare

Here's "Worthy is the Lamb" and "Amen" - the last two movements - from Handel's Messiah:



This is the central figure from Van Eyck's Ghent Altarpiece:

For the Feast of St. Martin of Tours: Ecce Sacerdos Magnus ("Behold the Great Priest")

Today is the Feast of St. Martin of Tours, and this is the beautiful Gradual at the Mass for Feasts of Confessor Bishops:



These are the words for the Gradual:

Ecce sacerdos magnus, qui in diebus suis, placuit Deo;
Non est inventus similis illi, qui conservaret legem excelsi.

Behold the great priest, who in his days, pleased God;
No one has been found to be like him in the keeping of the laws of the Most High.

Here's the chant score:

Ecce Sacerdos Magnus is or can be used several times on these Feast days:  it's a "Responsory for the reception of a Bishop"; it's, as here, the Gradual at the mass; and it's the first Psalm antiphon at 2nd Vespers.   For each of these, a different text is used.

The odd thing, to me, is that the Mass Epistle reading is given as Ecce sacerdos magnus, too, noted as taken from "Ecclesiasticus 44:16-27; 45:3-20."  I've seen this not only at Divinum Officium, but in several other places as well - including the Liber Usualis.    The only problem is that, as far as I can tell, the reading itself takes extreme liberties with the actual verses from Scripture!


Here's Divinum Officium, 11-11-2015, Rubrics 1960 for the Sancta Missa:

Lectio
Léctio libri Sapiéntiæ.
Eccli 44:16-27; 45:3-20
Ecce sacérdos magnus, qui in diébus suis plácuit Deo, et invéntus est iustus: et in témpore iracúndiæ factus est reconciliátio. Non est inventus símilis illi, qui conservávit legem Excélsi. Ideo iureiurándo fecit illum Dóminus créscere in plebem suam. Benedictiónem ómnium géntium dedit illi, et testaméntum suum confirmávit super caput eius. Agnóvit eum in benedictiónibus suis: conservávit illi misericórdiam suam: et invénit grátiam coram óculis Dómini. Magnificávit eum in conspéctu regum: et dedit illi corónam glóriæ. Státuit illi testaméntum ætérnum, et dedit illi sacerdótium magnum: et beatificávit illum in glória. Fungi sacerdótio, et habére laudem in nómine ipsíus, et offérre illi incénsum dignum in odórem suavitátis.
R. Deo gratias.

Lesson
Lesson from the book of Ecclesiasticus
Sir 44:16-27: 45:3-20
Behold, a great priest, who in his days pleased God, and was found just; and in the time of wrath he was made a reconciliation. There was not found the like to him, who kept the law of the Most High. Therefore, by an oath, the Lord made him to increase among his people. He gave him the blessing of all nations, and confirmed His covenant upon his head. He acknowledged him in His blessings; He preserved for him His mercy; and he found grace before the eyes of the Lord. He glorified him in the sight of kings, and gave him a crown of glory. He made an everlasting covenant with him, and gave him a great priesthood; and made him blessed in glory. To execute the office of the priesthood, and to have praise in His name, and to offer Him a worthy incense for an odor of sweetness.
R. Thanks be to God.

And here are those actual verses taken directly from the Douay-Rheims:

[16] Henoch pleased God, and was translated into paradise, that he may give repentance to the nations. [17] Noe was found perfect, just, and in the time of wrath he was made a reconciliation. [18] Therefore was there a remnant left to the earth, when the flood came. [19] The covenants of the world were made with him, that all flesh should no more be destroyed with the flood. [20] Abraham was the great father of a multitude of nations, and there was not found the like to him in glory, who kept the law of the most High, and was in covenant with him.
[21] In his flesh he established the covenant, and in temptation he was found faithful. [22] Therefore by an oath he gave him glory in his posterity, that he should increase as the dust of the earth, [23] And that he would exalt his seed as the stars, and they should inherit from sea to sea, and from the river to the ends of the earth. [24] And he did in like manner with Isaac for the sake of Abraham his father. [25] The Lord gave him the blessing of all nations, and confirmed his covenant upon the head of Jacob.
[26] He acknowledged him in his blessings, and gave him an inheritance, and divided him his portion in twelve tribes. [27] And he preserved for him men of mercy, that found grace in the eyes of all flesh.

[3] He glorified him in the sight of kings, and gave him commandments in the sight of his people, and shewed him his glory. [4] He sanctified him in his faith, and meekness, and chose him out of all flesh. [5] For he heard him, and his voice, and brought him into a cloud.
[6] And he gave him commandments before his face, and a law of life and instruction, that he might teach Jacob his covenant, and Israel his judgments. [7] He exalted Aaron his brother, and like to himself of the tribe of Levi: [8] He made an everlasting covenant with him, and gave him the priesthood of the nation, and made him blessed in glory, [9] And he girded him about with a glorious girdle, and clothed him with a robe of glory, and crowned him with majestic attire. [10] He put upon him a garment to the feet, and breeches, and as ephod, and he compassed him with many little bells of gold all round about,
[11] That as he went there might be a sound, and a noise made that might be heard in the temple, for a memorial to the children of his people. [12] He gave him a holy robe of gold, and blue, and purple, a woven work of a wise man, endued with judgment and truth: [13] Of twisted scarlet the work of an artist, with precious stones cut and set in gold, and graven by the work of a lapidary for a memorial, according to the number of the tribes of Israel. [14] And a crown of gold upon his mitre wherein was engraved Holiness, an ornament of honour: a work of power, and delightful to the eyes for its beauty. [15] Before him there were none so beautiful, even from the beginning.
[16] No stranger was ever clothed with them, but only his children alone, and his grandchildren for ever. [17] His sacrifices were consumed with fire every day. [18] Moses filled his hands and anointed him with holy oil. [19] This was made to him for an everlasting testament, and to his seed as the days of heaven, to execute the office of the priesthood, and to have praise, and to glorify his people in his name. [20] He chose him out of all men living, to offer sacrifice to God, incense, and a good savour, for a memorial to make reconciliation for his people:

Truly strange!  This oddity goes back awhile, too; I found the same thing in the Tridentine Sancta Missa.  I have no explanation at all for this; will post again here if I find one!


Many composers have set Ecce Sacerdos Magnus; here's Bruckner's setting (he's using the text from the Responsory):




The words here are:

Ecce sacerdos magnus, qui in diébus suis plácuit Deo: Ideo jure jurando fecit illum Dóminus crescere in plebem suam.

Benedictiónem ómnium géntium dedit illi, et testaméntum suum confirmávit super caput ejus. Ideo jure jurando fecit illum Dóminus crescere in plebem suam.

Gloria patri et filio et spiritui sancto. . .

Behold a great priest who in his days pleased God: Therefore by an oath the Lord made him to increase among his people.

To him He gave the blessing of all nations, and confirmed His covenant upon his head. Therefore by an oath the Lord made him to increase among his people.

Glory to the Father and to the Son and to the Holy Spirit. . .

You can read at Wikipedia for more about Martin of Tours.  But I'll quote a bit from Full Homely Divinity's "Saints of Advent" page:

St. Martin was born about 316 in Pannonia (modern Hungary). At the age of 10 he became a catechumen and at 15 he joined the army, serving under the emperors Constantius and Julian. The most famous story about Martin tells how on a cold day he met a beggar who asked for alms. Having nothing else to give, Martin drew his sword and cut his cloak in two, giving half to the beggar. Christ appeared to him in a dream the following night, clothed in half a cloak, and said, "Martin, the catechumen, has clothed me with this mantle!" At the age of 18, he was baptized and wished to leave the military, but stayed for two more years at the request of his commander. Following a successful campaign against the Teutons, he went before the emperor who was distributing rewards to his men. Martin, however, declined the bounty and asked instead that he be released from military service. He said, "Up to now, I have served you as a soldier; allow me henceforth to serve Christ. Give the bounty to these others who are going out to battle. I am a soldier of Christ and it is not lawful for me to fight." Julian accused him of cowardice and imprisoned him for a time. When he was released, Martin sought out the saintly Bishop Hilary of Poitiers, under whose direction Martin lived a solitary life for a time, until he was joined by others and founded a Benedictine monastery at Ligugé.

Martin became famous for his holiness of life, his preaching, and for his gifts of healing and spiritual discernment. People often sought him out for help and when the bishop of Tours died, they chose Martin to be their new bishop. He declined the honor and responsibility and hid from the people when they came looking for him. However, a goose revealed his whereabouts with her honking and Martin was unable to resist the will of the Church that he become a bishop. The goose is one of Martin's symbols. It is also a popular food on his feast day. Martinmas is the last day before the traditional 40 day fast before Christmas (St. Martin's Lent). The new wine is usually ready to drink on Martinmas, which is also the traditional day for slaughtering livestock for the winter, so it is a kind of harvest festival and a late fall Mardi Gras all rolled into one.

St. Martin was an exemplary bishop, and much loved by his people. He visited every church in his diocese once a year and founded several more religious communities, including the monastery of Marmoutier near Tours, where he lived with 80 monks. He lived to the great old age of 81 and was so renowned that he came to be known as the "Glory of Gaul." The hymn Iste confessor was composed in honor of St. Martin in the eighth century, and was later appointed to be sung as the Office Hymn on the feasts of confessors. Click here for an English translation by Laurence Housman, set to a metrical tune.

For a modern observance of the feast, this would be a good day to sort through drawers and closets to gather good used clothing that could be donated to a local ministry to the needy, or to a thrift shop. Contributions to a food pantry or soup kitchen would be in order, as well. In many communities in the U.S., churches or other service organizations provide a free Thanksgiving dinner to any and all. Martinmas would be a good day to find out if there is such a meal served in your community and to sign up to help or to contribute money or food to the effort. If you are keeping St. Martin's Day at home, roast goose and a bottle of this year's Nouveau Beaujolais might top the menu, especially if you will be starting the St. Martin's Lent fast the next day.

This comes from the site AllesGerman:

St. Martin’s Day or Martinstag is one of the most popular saint’s days in Germany, particularly celebrated by children and young people.

Martin of Tours was born in the 4th Century and started out as a Roman soldier, later becoming a monk, and because of his exemplary way of life was later appointed Bishop of Tours. Many legends surround his life, the most famous of which tells how he cut his cloak in half to share with a beggar who was dying in the cold.

Taking place on November 11th, the day is particularly popular with children, with many German schools celebrating the life of the Saint through reenactments and plays. Later in the evening children carry candle-lit lanterns (usually homemade) and sing “lantern songs” in celebration of St. Martin’s Day, as they walk around the streets in a procession after darkness falls. The procession often ends with a bonfire after which they may go from door to door singing songs. Much like trick or treating in the USA, the children are given gingerbread men, money and other goodies as a reward for their singing and the beauty of their homemade or purchased lanterns.

One of the most popular St. Martin’s Day children songs is “Ich geh’ mit meiner Laterne” or “I walk with my lantern”:

“Ich geh’ mit meiner Laterne
Und meine Laterne mit mir.
Dort oben leuchten die Sterne,
Hier unten, da leuchten wir.
Mein Licht ist aus,
Wir geh’n nach Haus,
Rabimmel, rabammel, rabum.

English Translation

I walk with my lantern
And my lantern goes with me.
Up above the stars are glowing,
And glowing, too, are we.
My light is out,
We’re going home,
Rabimmel, rabammel, rabum.”

Here is an image, from the same site, of German kids with their lanterns:

Here's a colorful painting called "St. Martin and the Beggar"; Wikipedia says that it's from an "Unknown Master, Hungarian (active around 1490)."  The painting hangs in the Hungarian National Gallery in Budapest.   As in almost every representation of the saint, Martin is cutting his cloak in two, to give half to the beggar, as described above.

The Offertory for the Feast of All Saints: Justorum animae ("The souls of the righteous")

Justorum animae is the Offertory for the Feast of All Saints - one of my favorite feast days of the year.  And as with so much else on this day, the chant is beautiful:



(Not sure who the singers are there; there's nothing at the YouTube page about them.)

The words, too, are very beautiful; they come from Wisdom 3:1-2a, 3b:

Justorum animae in manu Dei sunt,
et non tanget illos tormentum mortis.
Visi sunt oculis insipientium mori,
illi autem sunt in pace.

The souls of the just are in the hand of God,
and the torment of death shall not touch them.
In the sight of the unwise they seemed to die;
but they are in peace.

Translation by St Ann choir

Here's the chant score:

In his Chants of the Vatican Gradual (1934), Dom Dominic Johner points out that this melody was, in the Tridentine mass, also used for the Offertory for the Feast of St. Michael, Stetit Angelus ("An angel stood near the altar of the temple").  In his explication of Stetit Angelus, Johner discusses the melody in detail, and finally notes that:

This melody is also sung on the feast of All Saints to the text Justorum Animae, and, with the same text, in the third Mass for several Martyrs; likewise in the Mass for Deliverance in Time of Pestilence to the text Stetit pontifex, and its first half on the feast of St. Peter's Chair at Rome (January 18) to the text Tu es Petrus. In some places it is sung on the feast of St. Vincent de Paul (July 19) to the text Inclinet.

In his discussion of this proper, Justorum Animae, John says:

The melody was explained on the feast of St. Michael. The happy  adaptation of this text was accomplished in the twelfth century. We are  tempted to ask why the small word autem was favored with such florid  neums. In the original we find them over ascendit, which easily lends  itself to tone-painting. But we must take into consideration not so much  the word as the entire thought. This part, with its jubilant melody,  forms a magnificent contrast to mori ("to die") with its low pitch in the  preceding phrase. Individually, the phrases, according to their text, are  shorter than those of the original. This might explain the omission of  the descent to the fourth below the tonic which we find there at the end  of the second, third, and fourth phrases.  

"The priest offers up pure sacrificial gifts in the sight of God. With  these gifts also the earthly sufferings and heavenly joys of the saints  ascend to the throne of God. A most mysterious and most intimate connection is thus forged between their lives and the life and death of  Christ. Their lives are woven into His sacrifice, and together with the  Eucharistic Sacrifice they are immolated to God. The singer recognizes  this; he would also have his song ascend to heaven bright and clear as  the clouds of incense which he sees rising from the altar" (C. 0., 50, 151).

Orlando di Lasso wrote a beautiful setting for this proper:

   

Surprisingly, to me at least, Camille Saint-Saens set it, too; that piece doesn't seem to be online, though.  Gabriel Jackson's beautiful setting is, though; lucky for us!



The YouTube page says, about the video above, that it's:

A recording of a live television broadcast on the 3rd of November 2013. Sung by the Cappella Nicolai, conducted by Michael Hedley.

http://www.cappellanicolai.nl http://www.muziekindenicolaas.nl

That's a Dutch choir, evidently.

Gabriel Jackson seems to enjoy writing settings for some of the old chant propers (for instance, see his setting of the Advent Sequence, Salus Aeterna), so I'm always interested when I discover another. 

Here are mp3 files for all the propers on the day, from ChristusRex.org:

Die 1 novembris
Omnium Sanctorum Introitus: Ps. 32 Gaudeamus... Sanctorum omnium (3m09.8s - 2969 kb) score
Graduale: Ps. 33, 10. V. 11b Timete Dominum (2m33.1s - 2395 kb) score
Alleluia: Mt. 11, 28 Venite ad me (3m34.5s - 3355 kb) score
Offertorium: Sap. 3, 1.2.3 Iustorum animæ (2m25.8s - 2281 kb) score
Communio: Mt. 5, 8.9.10 Beati mundo corde (1m29.8s - 1408 kb) score

And here are posts about these on Chantblog:

• The Introit for the Solemnity of All Saints: Gaudeamus Omnes ("Let us all rejoice")
• The Gradual for the Solemnity of All Saints: Timete Dominum omnes sancti ejus ("Fear the Lord, all ye his saints").
• The Communion Song for the Solemnity of All Saints: Beati Mundo Corde  ("Blessed are the pure in heart")
• The Office for November 1: The Feast of All Saints, and All Saints' Day: The Complete Office

This is a photograph (by user Silar) of Central Cemetery in Sanok, Poland, on All Saints' Day:

"Festival Te Deum in E": Benjamin Britten

In honor of the Sunday of the Trinity, here's the Guildford Cathedral Choir singing this piece; pretty dramatic! 



Some parishes sing the Te Deum at the end of the mass on Trinity Sunday; at St. Mary's, two thurifers stand at each end of the altar and swing their thuribles throughout.   Always wonderful, and I highly recommend this to anybody.  The smoke swirls up, up, up....

In my new parish, we've been singing the Te Deum (#S205 in the 1982) in place of the Gloria all throughout Easter; I've never seen that done before, but I like it.

Here, apparently, is Arvo Pärt's Te Deum - and as with everything else I've heard of his, I find it extremely compelling and beautiful.  It's 32 minutes long!



The YouTuber writes that the performers are the Akademisk Kor and the Akademisk Orkester, with Nenia Zenana conducting and Marianne G. Nielsen, solist.  S/he also writes that:

Te Deum employs Pärt's signature tintinnabuli compositional style. Tintinnabuli is often described as a minimalistic compositional technique, as its harmonic logic departs from that of the tonal tradition of Western classical music, creating its own distinct harmonic system. Tintinnabulation is a process in which a chosen triad encircles a melody, manifesting itself in specific positions in relation to the melody according to a predetermined scheme of adjacency. In its most rudimentary form, Pärt's tintinnabuli music is composed of two main voices: one carries the usually stepwise melody (M-voice) while the other follows the trajectory of the melody but is limited to notes of a specific triad (T-voice.) In the case of Te Deum, it is a D triad that is featured in the T-voice, and as such provides the harmonic basis for the entire piece.

The work is scored for three choirs (women's choir, men's choir, and mixed choir), prepared piano, divisi strings, and wind harp. According to the Universal Edition full score, the piano part requires that four pitches be prepared with metal screws and calls for "as large a concert grand as possible" and "amplified." The wind harp is similar to the Aeolian Harp, its strings vibrating due to wind passing through the instrument. Manfred Eicher of ECM Records "recorded this 'wind music' on tape and processed it acoustically." The two notes (D and A) performed on the wind harp are to be played on two separate CD or DAT recordings. According to the score preface, the wind harp functions as a drone throughout the piece, fulfilling "a function comparable to that of the ison in Byzantine church music, a repeated note which does not change pitch."

Here's the Gregorian Chant version - the Solemn Te Deum - sung here by the monks at Solesmes:




Here are all the words, in Latin and English, from Wikipedia:

Latin text

Translation from the Book of Common Prayer

Te Deum laudámus: te Dominum confitémur. Te ætérnum Patrem omnis terra venerátur. Tibi omnes Angeli; tibi coeli et univérsae potestátes. Tibi Chérubim et Séraphim incessábili voce proclámant: Sanctus, Sanctus, Sanctus, Dóminus Deus Sábaoth. Pleni sunt coeli et terra majestátis glóriæ tuæ. Te gloriósus Apostolórum chorus; Te Prophetárum laudábilis númerus; Te Mártyrum candidátus laudat exércitus. Te per orbem terrárum sancta confitétur Ecclésia: Patrem imménsæ majestátis; Venerándum tuum verum et únicum Fílium; Sanctum quoque Paráclitum Spíritum. Tu Rex glóriæ, Christe. Tu Patris sempitérnus es Fílius. Tu ad liberándum susceptúrus hóminem, non horruísti Vírginis úterum. Tu, devícto mortis acúleo, aperuísti credéntibus regna coelórum. Tu ad déxteram Dei sedes, in glória Patris. Judex créderis esse ventúrus. Te ergo quǽsumus, tuis fámulis súbveni, quos pretióso sánguine redemísti. Ætérna fac cum sanctis tuis in glória numerári. [added later, mainly from Psalm verses:] Salvum fac pópulum tuum, Dómine, et bénedic hæreditáti tuæ. Et rege eos, et extólle illos usque in ætérnum. Per síngulos dies benedícimus te. Et laudámus nomen tuum in sǽculum, et in sǽculum sǽculi. Dignáre, Dómine, die isto sine peccáto nos custodíre. Miserére nostri, Dómine, miserére nostri. Fiat misericórdia tua, Dómine, super nos, quemádmodum sperávimus in te. In te, Dómine, sperávi: non confúndar in ætérnum.

We praise thee, O God :     we acknowledge thee to be the Lord. All the earth doth worship thee :     the Father everlasting. To thee all Angels cry aloud :     the Heavens, and all the Powers therein. To thee Cherubim and Seraphim :     continually do cry, Holy, Holy, Holy :     Lord God of Hosts; Heaven and earth are full of the Majesty :     of thy glory. The glorious company of the Apostles : praise thee. The goodly fellowship of the Prophets : praise thee. The noble army of Martyrs : praise thee. The holy Church throughout all the world :     doth acknowledge thee; The Father : of an infinite Majesty; Thine honourable, true : and only Son; Also the Holy Ghost : the Comforter. Thou art the King of Glory : O Christ. Thou art the everlasting Son : of the Father. When thou tookest upon thee to deliver man :     thou didst not abhor the Virgin's womb. When thou hadst overcome the sharpness of death :     thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God : in the glory of the Father. We believe that thou shalt come : to be our Judge. We therefore pray thee, help thy servants :     whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints : in glory everlasting. [added later, mainly from Psalm verses:] O Lord, save thy people :     and bless thine heritage. Govern them : and lift them up for ever. Day by day : we magnify thee; And we worship thy Name : ever world without end. Vouchsafe, O Lord : to keep us this day without sin. O Lord, have mercy upon us : have mercy upon us. O Lord, let thy mercy lighten upon us :     as our trust is in thee. O Lord, in thee have I trusted :     let me never be confounded.

The Communion Song for Pentecost: Factus est repente de caelo sonus ("Suddenly there came a sound from heaven")

The Communio for Pentecost is taken from the story from Acts 2 of the original day of Pentecost; no word on who the singers are here:




CPDL has the Latin text for this chant, plus an English translation by "the St. Ann choir":

Factus est repente de coelo sonus,
tamquam advenientis spiritus vehementis ubi erant sedentes,
alleluia;
et repleti sunt omnes Spiritu Sancto,
loquentes magnalia Dei,
alleluia, alleluia.

Suddenly there came a sound from heaven,
as of a mighty wind coming where they were sitting,
alleluia;
and they were all filled with the Holy Spirit,
speaking the wonderful works of God,
alleluia, alleluia.

Here's the full score:

Here's another video of this, sung in a bit of a different style; very pretty:



The video was uploaded by "La Mission de la Maison du Coeur" - about which I am trying to find more.  Not sure if the singers are somehow related to that group or not.


Here's a polyphonic version of the song; the composer is Gregor Aichinger, who lived during the 16th Century. The singers are the Ensemble Vocale di Venezia (dir: Gianandrea Pauletta).




Don't forget to read Full Homely Divinity's Pentecost entry!  And whatever you do, don't forget to sing The Pentecost Sequence (Veni, Sancte Spiritus) and "Come Down, O Love Divine".  And that's not even to mention Veni Creator Spiritus!  The Holy Spirit certainly inspires some spectacular music.

Here are links to all the propers on the day, from the Benedictines of Brazil:

Dominica Pentecostes ad Missam in die

Introitus:  Spiritus Domini (cum Gloria Patri)(5m07.0s - 4798 kb)  view score
Alleluia: Emitte Spiritum tuum (1m55.4s - 1806 kb)  view score
Alleluia: Veni, Sancte Spiritus (2m02.9s - 1922 kb)  view score
Sequentia: Veni, Sancte Spiritus (2m29.7s - 2341 kb)  view score
Offertorium: Confirma hoc, Deus (1m35.3s - 1491 kb)  view score
Communio: Factus est repente (1m16.3s - 1195 kb)  view score
Ad dimittendum populum: Ite missa est (28.7s - 451 kb)  view score

And here are Chantblog posts on the Pentecost propers:

• The Introit for the Day of Pentecost: Spiritus Domini ("The Spirit of the Lord")
• Alleluia, Emitte Spiritum Tuum ("Send forth Thy Spirit") - an Alleluia for Pentecost
• Alleluja, Veni Sancte Spiritus ("Come Holy Spirit"), the second Alleluia for Pentecost
• The Pentecost Sequence (Veni, Sancte Spiritus)
• The Communion Song for Pentecost:  Factus est repente de caelo sonus ("Suddenly there came a sound from heaven")
• The Sarum Pentecost Office

Here's a beautiful, delicate piece of Pentecost art I haven't seen before: it's "tempera and gold on parchment," from a "Bohemian Master (1400 - 1425)."  It currently resides in the Museum of Fine Arts (Budapest).

Veni, Sancte Spiritus....

Ash Wednesday: Miserere mei Deus secundum (Josquin Desprez)

This recording of Josquin's setting of Psalm 51 is sung by the Dufay Ensemble:



(Notes at YouTube read:  "2a parte - Auditui meo dabis gaudium" by Kiem, Eckehard (Google Play • eMusic • iTunes • AmazonMP3))

The words come from Psalm 51, which figures prominently in the Ash Wednesday liturgy; it is recited immediately following the imposition of ashes.  Here's the Latin of the Psalm (via CPDL) , followed by the English translation from the 1979 Book of Common Prayer:

Miserére mei, Deus: secúndum magnam misericórdiam tuam.
Et secúndum multitúdinem miseratiónum tuárum: dele iniquitátem meam.
Ámplius lava me ab iniquitáte mea: et a peccáto meo munda me.
Quóniam iniquitátem meam ego cognósco: et peccátum meum contra me est semper.
Tibi soli peccávi, et malum coram te feci: ut justificéris in sermónibus tuis, et vincas cum judicáris.
Ecce enim in iniquitátibus concéptus sum: et in peccátis concépit me mater mea.
Ecce enim veritátem dilexísti: incérta et occúlta sapiéntiæ tuæ manifestásti mihi.
Aspérges me hyssópo, et mundábor: lavábis me, et super nivem dealbábor.
Audítui meo dabis gáudium et lætítiam: et exsultábunt ossa humiliáta.
Avérte fáciem tuam a peccátis meis: et omnes iniquitátes meas dele.
Cor mundum crea in me, Deus: et spíritum rectum ínnova in viscéribus meis.
Ne projícias me a fácie tua: et spíritum sanctum tuum ne áuferas a me.
Redde mihi lætítiam salutáris tui: et spíritu principáli confírma me.
Docébo iníquos vias tuas: et ímpii ad te converténtur.
Líbera me de sangúinibus, Deus, Deus salútis meæ: et exsultábit lingua mea justítiam tuam.
Dómine, lábia mea apéries: et os meum annuntiábit laudem tuam.
Quóniam si voluísses sacrifícium, dedíssem utique: holocáustis non delectáberis.
Sacrifícium Deo spíritus contribulátus: cor contrítum et humiliátum, Deus, non despícies.
Benígne fac, Dómine, in bona voluntáte tua Sion: ut ædificéntur muri Jerúsalem.
Tunc acceptábis sacrifícium justítiæ, oblatiónes et holocáusta: tunc impónent super altáre tuum vítulos.

Psalm 51    Miserere mei, Deus

  1     Have mercy on me, O God, according to your
                                      loving-kindness; *
           in your great compassion blot out my offenses.

  2     Wash me through and through from my wickedness *
           and cleanse me from my sin.

  3     For I know my transgressions, *
           and my sin is ever before me.

  4     Against you only have I sinned *
           and done what is evil in your sight.

  5     And so you are justified when you speak *
           and upright in your judgment

  6     Indeed, I have been wicked from my birth, *
           a sinner from my mother's womb.

  7     For behold, you look for truth deep within me, *
           and will make me understand wisdom secretly.

  8     Purge me from my sin, and I shall be pure; *
           wash me, and I shall be clean indeed.

  9     Make me hear of joy and gladness, *
           that the body you have broken may rejoice.

10     Hide your face from my sins *
           and blot out all my iniquities.

11     Create in me a clean heart, O God, *
           and renew a right spirit within me.

12     Cast me not away from your presence *
           and take not your holy Spirit from me.

13     Give me the joy of your saving help again *
           and sustain me with your bountiful Spirit.

14     I shall teach your ways to the wicked, *
           and sinners shall return to you.

15     Deliver me from death, O God, *
           and my tongue shall sing of your righteousness,
           O God of my salvation.

16     Open my lips, O Lord, *
           and my mouth shall proclaim your praise.

17     Had you desired it, I would have offered sacrifice; *
           but you take no delight in burnt-offerings.

18     The sacrifice of God is a troubled spirit; *
           a broken and contrite heart, O God, you will not despise.

This is the very interesting Wikipedia entry for this piece, in its entirety:

The Miserere, by Josquin des Prez, is a motet setting of Psalm 51 (Psalm 50 in the Septuagint numbering) for five voices. He composed it while in the employ of Duke Ercole I d'Este in Ferrara, most likely in 1503 or 1504.^[1] It was one of the most famous settings of that psalm of the entire Renaissance, was hugely influential in subsequent settings of the Penitential Psalms, and was itself probably inspired by the recent suffering and execution of the reformer Girolamo Savonarola.^[2]

During the 1490s, the Duke of Ferrara, Ercole I d'Este, kept in close contact with Savonarola, who was also from Ferrara, and supported him in his efforts to reform the Roman Catholic Church. About a dozen letters between the two survive: the Duke sought advice both on spiritual and political matters (for example, his alliance with France).^[3] Even after Savonarola's arrest, Duke Ercole attempted to have him freed, but his last letter to the church authorities in Florence, in April 1498, went unanswered. After Savonarola's execution, Ercole, then in his eighties, probably commissioned his newly hired composer, Josquin, to write him a musical testament, very likely for performance during Holy Week of 1504.^[4] Savonarola's impassioned meditation on sin and repentance, Infelix ego, composed in prison after his torture, and published in Ferrara in mid-1498 shortly after his death, was the probable model for Josquin's setting. It is an extended prayer to the God against whom he believes he has sinned, based closely on Psalm 51, and unified by a boldface-type repetition of the phrase "Miserere mei, Deus" throughout the text.

In keeping with Savonarola's dislike of polyphony and musical display, the Miserere is written in a spare, austere style, much different from the contrapuntal complexity, virtuosity, and ornamentation of works such as the five-part motet Virgo salutiferi, which was probably written around the same time.^[5] The tenor part, which contains the repeating phrase "Miserere mei, Deus", was likely written to be sung by the Duke himself, who was a trained musician and often sang with the musicians in his chapel.^[6]

The Miserere is one of Josquin's two "motto" motets, motets in which repetitions of a phrase are the predominant structural feature (the other is the five-voice Salve Regina of several years before). In the Miserere, the opening words of the first verse "Miserere mei, Deus", sung to a simple repeated-note motif containing only two pitches (E and F), serves as the motto. This recurs after each of the 19 verses of the psalm. The motto theme begins each time on a different pitch, with the recurrences moving stepwise down the scale from E below middle C to the E an octave below, then back up again to the opening E, and then down stepwise to A fifth below, where the piece ends. In addition, the length of the motto theme is halved once it begins its ascent out of the bass, and has its length returned to normal for the final descent from E to A.^[7] These three journeys of the motto theme's opening note, down, up, and then down again, define the three divisions of the composition: a brief break is usually observed in performance between them.

While overall the composition is in the Phrygian mode, the harmonized repetitions enforce tonal variety.^[8] Texturally, the piece is so constructed that the words are always clearly intelligible. Intelligibility of sung text was not always a high priority for composers of the period, and this lack of intelligibility was a specific criticism Savonarola made of polyphonic music. Josquin arranges for the words to be heard by using chordal textures, duets, and by avoiding dense polyphony; and of course after each verse the tenor voice intones alone "Miserere mei, Deus", as in the Savonarola meditation. As tenor sings these words, the other voices join in one at a time to reinforce the first, "an effect analogous to boldface type in a printed text."^[9]

Josquin's setting of the Miserere was influential not only as a psalm setting, but as an example of how to approach the text of Infelix ego. Later in the 16th century, composers who specifically set the words of Savonarola, such as Adrian Willaert, Cipriano de Rore, and Nicola Vicentino, all of whom wrote motets on Infelix ego, used Josquin's work as a model.^[10]

Psalm 57:1-4, another Psalm that contains the words "Miserere mei Deus," provides the text for the Gradual on Ash Wednesday; here's a video of that chant:



And here's the chant score:

Here's the complete text of Psalm 57:     

1     Be merciful to me, O God, be merciful,
for I have taken refuge in you; *
    in the shadow of your wings will I take refuge
    until this time of trouble has gone by.
     
2     I will call upon the Most High God, *
    the God who maintains my cause.
     
3     He will send from heaven and save me;
he will confound those who trample upon me; *
    God will send forth his love and his faithfulness.
 
4     I lie in the midst of lions that devour the people; *
    their teeth are spears and arrows,
    their tongue a sharp sword.
     
5     They have laid a net for my feet,
and I am bowed low; *
    they have dug a pit before me,
    but have fallen into it themselves.     
     
6     Exalt yourself above the heavens, O God, *
    and your glory over all the earth.
     
7     My heart is firmly fixed, O God, my heart is fixed; *
    I will sing and make melody.
     
8     Wake up, my spirit;
awake, lute and harp; *
    I myself will waken the dawn.
     
9     I will confess you among the peoples, O LORD; *
    I will sing praise to you among the nations.
     
10     For your loving-kindness is greater than the heavens, *
    and your faithfulness reaches to the clouds.
     
11     Exalt yourself above the heavens, O God, *
    and your glory over all the earth.
       

 

Here are all the propers for Ash Wednesday, from the Sao Paulo Benedictines:

Tempus quadragesimæ
Feria quarta cinerum
Ad ritus initiales et liturgiam verbi
Introitus: Sap. 11, 24-25.27; Ps. 56 Misereris omnium (3m44.9s - 3516 kb) score
Graduale: Ps. 56, 2. V. 4 Miserere mei, Deus (3m15.9s - 3064 kb) score
Tractus: Ps. 102, 10 et 78, 8 et 9 Domine, non secundum peccata nostra (3m27.7s - 3248 kb) score

Ad benedictionem et impositionem cinerum
Antiphona: Cf. Ioel 2, 13 Immutemur habitu (1m21.5s - 1276 kb) score
Responsorium: Cf. Bar. 3,2. V. Ps. 78,9 Emendemus in melius (2m24.7s - 2264 kb) score

Ad liturgiam eucharisticam
Offertorium: Ps. 29, 2.3 Exaltabo te (1m37.7s - 1528 kb) score
Communio: Ps. 1, 2b.3b Qui meditabitur (45.3s - 710 kb) score

Here are posts on Chantblog about the propers on the day:

The Ash Wednesday Introit: Misereris omnium
Ash Wednesday: Miserere Mei Deus (The Gradual)
Ash Wednesday:  Domine, non secundum (The Tract)
Ash Wednesday: Immutemur habitu and Emendemus in melius (antiphons sung during the imposition of ashes)
Exaltabo Te, Domine (The Offertory)
The Ash Wednesday Communion Song: Qui meditabitur

A holy Lent to all.