The 2nd Alleluia for Ascension Day: Dominus in Sina

Here's a video of this chant, sung by the Congregation of St. Lazarus Autun:



The text comes from Psalm (67/)68, vv (18-19/)17-18; here's CCWatershed's translation of the proper itself:

The Lord is in Sinai, in the holy place; ascending on high, he has led captivity captive.

Here's the full chant score:

Psalm 68 is a long - and obscure! - Psalm; here are the first 19 verses, for a little bit of context:

To the choirmaster. A Psalm of David. A Song.

1 God shall arise, his enemies shall be scattered;
and those who hate him shall flee before him!
2 As smoke is driven away, so you shall drive them away;
as wax melts before fire,
so the wicked shall perish before God!
3 But the righteous shall be glad;
they shall exult before God;
they shall be jubilant with joy!

4 Sing to God, sing praises to his name;
lift up a song to him who rides through the deserts;
his name is the Lord;
exult before him!
5 Father of the fatherless and protector of widows
is God in his holy habitation.
6 God settles the solitary in a home;
he leads out the prisoners to prosperity,
but the rebellious dwell in a parched land.

7 O God, when you went out before your people,
when you marched through the wilderness, Selah
8 the earth quaked, the heavens poured down rain,
before God, the One of Sinai,
before God, the God of Israel.
9 Rain in abundance, O God, you shed abroad;
you restored your inheritance as it languished;
10 your flock found a dwelling in it;
in your goodness, O God, you provided for the needy.

11 The Lord gives the word;
the women who announce the news are a great host:
12 “The kings of the armies—they flee, they flee!”
The women at home divide the spoil—
13 though you men lie among the sheepfolds—
the wings of a dove covered with silver,
its pinions with shimmering gold.
14 When the Almighty scatters kings there,
let snow fall on Zalmon.

15 O mountain of God, mountain of Bashan;
O many-peaked mountain, mountain of Bashan!
16 Why do you look with hatred, O many-peaked mountain,
at the mount that God desired for his abode,
yes, where the Lord will dwell forever?
17 The chariots of God are twice ten thousand,
thousands upon thousands;
the Lord is among them; Sinai is now in the sanctuary.
18 You ascended on high,
leading a host of captives in your train
and receiving gifts among men,
even among the rebellious, that the Lord God may dwell there.

Paul cites these verses Psalm in Ephesians 4:8, in what to my eyes appears to be a very complex - and again, obscure! - rabbinic argument.   Here are the first 16 verses of that chapter:

I therefore, a prisoner for the Lord, urge you to walk in a manner worthy of the calling to which you have been called, with all humility and gentleness, with patience, bearing with one another in love, eager to maintain the unity of the Spirit in the bond of peace.  There is one body and one Spirit—just as you were called to the one hope that belongs to your call— one Lord, one faith, one baptism,  one God and Father of all, who is over all and through all and in all.  But grace was given to each one of us according to the measure of Christ's gift.  Therefore it says,

“When he ascended on high he led a host of captives,
    and he gave gifts to men.”

(In saying, “He ascended,” what does it mean but that he had also descended into the lower regions, the earth?  He who descended is the one who also ascended far above all the heavens, that he might fill all things.)  And he gave the apostles, the prophets, the evangelists, the shepherds and teachers, to equip the saints for the work of ministry, for building up the body of Christ,  until we all attain to the unity of the faith and of the knowledge of the Son of God, to mature manhood, to the measure of the stature of the fullness of Christ,  so that we may no longer be children, tossed to and fro by the waves and carried about by every wind of doctrine, by human cunning, by craftiness in deceitful schemes.  Rather, speaking the truth in love, we are to grow up in every way into him who is the head, into Christ, from whom the whole body, joined and held together by every joint with which it is equipped, when each part is working properly, makes the body grow so that it builds itself up in love.

The Brazilian Benedictines offer mp3s of all the mass propers on the day:

In Ascensione Domini
DominicaIntroitus: Act. 1, 11; Ps. 46 Viri Galilæi (2m48.4s - 2635 kb) score here

Alleluia: Ps. 46, 6 Ascendit Deus (1m50.2s - 1725 kb) score here

Alleluia: Ps. 67, 18.19 Dominus in Sina (2m33.9s - 2409 kb) score here

Offertorium: Ps. 46, 6 Ascendit Deus (1m33.8s - 1469 kb MONO due to problems with my recording set) score here

Communio:
(anno A)Mt. 28, 18.19 Data est mihi (1m21.9s - 1283 kb) score here
(anno B)Mc. 16, 17.18 Signa (1m05.5s - 1027 kb)
(anno C)  Ps. 67, 33.34 Psallite Domino (59.0s - 925 kb MONO due to problems with my recording set) score here

You can read other posts about the day's propers on Chantblog as well:

• The Sarum Ascension Office
• Ascension Day Music for the Mass  (The Introit at the Mass)
• Ascension: Ascendit Deus (The 1st Alleluia and Offertory at the Mass) 

And don't forget to read Full Homely Divinity's article on Ascension!

This is Andrei Rublev's lovely Ascension, from around 1408; it's now in the Tretyakov Gallery, Moscow.

The Gallery's website has some interesting things to say about this icon:

From the Prazdnichny Chin (row) which was located above the Deisus and which illustrated events from the Gospel, only five icons have been preserved. Three of them are in the collection of the Tretyakov Gallery and two icons from this row – the “Baptism” and the “Feast of the Purification” – are in the collection of the State Russian Museum in St Petersburg. Most researchers are inclined to view these icons as works coming from the atelier of Andrei Rublev and Daniil. The best done is thought to be the icon of the “Ascension” and many researchers attribute it to Andrei Rublev himself. The icon of the «Ascension» differs from all the other multi-figure icons in the Prazdnichny Chin in the way it possesses a special rhythmic organisation of the composition. Here there appeared the feeling of harmony and plastic balance characteristic of Andrei Rublev. The iconography of the «Ascension» was formed in Byzantine art on the basis of texts from the Gospel According to Mark (XVI, 15–20) and the Gospel According to Luke (XXIV, 42–52), as well as on the Acts of the Apostles (1, 4–12), which tell of the ascension of Christ to heaven after his resurrection from the dead on the fortieth day. This miracle occurred on the Eleon Hill before the disciples when they saw the ascending Christ. Before the apostles there were «two men in white garments» –angels who spoke of the second coming of the Teacher to Earth. The icons come from the Prazdnichny Chin of the iconostasis of the Church of the Assumption in the city of Vladimir. During the period 1768–1775, the dilapidated iconostasis dating from 1408 no longer corresponded to the tastes of the age of Catherine the Great and was taken out of the church and sold to the village of Vasilievskoye, near Shui (present-day Ivanovskaya Oblast). During 1918–1920s, the icons were removed by an expedition of the Central State Restoration Workshops.

Ascension: Ascendit Deus

Ascendit Deus ("God has gone up") is the text for both the first Alleluia and the Offertory for Ascension Day.

Here's the Alleluia, sung by St. Stephen's House, Oxford:



Here's the chant score:

And here's the Offertory, sung by the Schola Cantorum Of Amsterdam Students:



Here's the chant score:

The text for both propers comes from Psalm 47; here's the JoguesChant translation (and here's an mp3 of the Offertory from their site):

God has gone up amidst shouts of joy, the Lord to the sound of the trumpet, alleluia

The Feast of the Ascension is forty days after Easter; it commemorates Christ's ascension to heaven post-Resurrection. The story is hinted at in Luke 24:31 and told fully in Acts 1:1-11; it's mentioned in Mark 16:19, too (although it's one of the disputed verses (9-20) in Mark 16). New Advent says of the Feast of the Ascension that:

The observance of this feast is of great antiquity. Although no documentary evidence of it exists prior to the beginning of the fifth century, St. Augustine says that it is of Apostolic origin, and he speaks of it in a way that shows it was the universal observance of the Church long before his time. Frequent mention of it is made in the writings of St. John Chrysostom, St. Gregory of Nyssa, and in the Constitution of the Apostles. The Pilgrimage of Sylvia (Peregrinatio Etheriae) speaks of the vigil of this feast and of the feast itself, as they were kept in the church built over the grotto in Bethlehem in which Christ was born (Duchesne, Christian Worship, 491-515). It may be that prior to the fifth century the fact narrated in the Gospels was commemorated in conjunction with the feast of Easter or Pentecost. Some believe that the much-disputed forty-third decree of the Council of Elvira (c. 300) condemning the practice of observing a feast on the fortieth day after Easter and neglecting to keep Pentecost on the fiftieth day, implies that the proper usage of the time was to commemorate the Ascension along with Pentecost. Representations of the mystery are found in diptychs and frescoes dating as early as the fifth century.

Further:

Certain customs were connected with the liturgy of this feast, such as the blessing of beans and grapes after the Commemoration of the Dead in the Canon of the Mass, the blessing of first fruits, afterwards done on Rogation Days, the blessing of a candle, the wearing of mitres by deacon and subdeacon, the extinction of the paschal candle, and triumphal processions with torches and banners outside the churches to commemorate the entry of Christ into heaven. Rock records the English custom of carrying at the head of the procession the banner bearing the device of the lion and at the foot the banner of the dragon, to symbolize the triumph of Christ in His ascension over the evil one. In some churches the scene of the Ascension was vividly reproduced by elevating the figure of Christ above the altar through an opening in the roof of the church. In others, whilst the figure of Christ was made to ascend, that of the devil was made to descend.

In the liturgies generally the day is meant to celebrate the completion of the work of our salvation, the pledge of our glorification with Christ, and His entry into heaven with our human nature glorified.

Several composers have set this text to music, including Jacobus Gallus (sung here by The Summer Singers of Minneapolis, Minnesota):



Here, The Brethren sing Jackson Berkey's setting:



And who could resist the Giuseppe Giordani version?:



Gerald Finzi's (epic!) English setting, "God is gone up," is perhaps the best known of all; it starts at about 3:20 on the video below (brought to you by the Choir of St John's College). But first, you get Stanford's Justorum Animae (from Three Latin Motets), as a bonus!

"Medieval Chant and Polyphony for the Ascension: 1000: A Mass for the End of Time Program Notes"

Following up on the last post about the Ascension Sequence, Rex Omnipotens die hodierna, here are program notes written by Susan Hellauer of Anonymous 4; the notes accompany their CD "1000: A Mass for the End of Time" - and are relevant to Ascension Day:

After this I looked, and, behold, a door was opened in heaven; and the first voice which I heard was as it were of a trumpet talking with me; which said, Come up hither, and I will show thee things which must be hereafter. . . . And I beheld when he had opened the sixth seal, and lo, there was a great earthquake; and the sun became black as sackcloth of hair, and the moon became as blood. And the stars of heaven fell unto the earth, even as a fig tree casteth her untimely figs, when she is shaken of a mighty wind. And the heaven departed as a scroll when it is rolled together; and every mountain and island were moved out of their places. . . . And when he had opened the seventh seal, there was silence in heaven about the space of half an hour.

–The Apocalypse of John the Divine

It was a time of dread and hope, collapse and renewal, of violent anarchy and the elusive promise of worldwide peace. As the first millennium approached, the alliances of Charlemagne’s ninth-century empire broke apart at the seams, and Europe was plunged into a nightmarish cycle of deadly feuds, invasion and war.

Slowly, painfully, a new European order began to emerge from the rubble. Once-pagan warrior kings looked upon Christianity as a politically unifying and civilizing force. The Church, under the brilliant leadership of Pope Sylvester II (formerly the scholar-monk Gerbert of Aurillac) began to turn this spiritual authority into political power. Great cathedrals, the first monumental architecture in the west since the collapse of the Roman Empire five hundred years before, began to appear. There occurred as well a burst of intense creative activity in European Christian liturgy and its music. The traditional Roman plainchant repertory was vigorously renewed and greatly enlarged; new developments in the science of music, including staff line notation and solfeggio, allowed the new creations to be quickly learned, written down and disseminated throughout Europe.

Much as the fear of nuclear annihilation was an ever-present theme in the second half of the twentieth century, so too did fear and anticipation of the Last Judgment and end of the world influence the late-tenth-century Christian world view. Although many simple folk were unaware of the exact year and its significance, laymen and clerics alike (themselves unaware that the “official” calendar was a few years off in dating Jesus’s birth) debated the exact hour and day of “the end.” Would it be on New Year’s Eve 999 or New Year’s Day 1000, or Easter, or Ascension Day, or Christmas; or would the end actually come in 1033 – a thousand years after the death and resurrection of Jesus? In his Apocalypse, John the Divine had seen the devil being chained and sealed for a thousand years, then let loose for “a little season.” Was the terror and uncertainty of the tenth century a sign of Satan’s return? Would an antichrist rise up, to be defeated in anticipation of the Last Judgment? Who would be saved, who damned, and what horrors awaited the earth?

In the Christian liturgy, the Last Judgment is most strongly conjured up in the liturgies of the Advent season, the Requiem mass, and the feast of Jesus’s Ascension, celebrated forty days after Easter. His imminent return, in the glorious manner in which he departed (Acts 1:9–11), had been expected by the earliest Christians; as centuries passed this expectation was transferred to the first millennium. Our program is based on the Ordinary and Proper chants of the Ascension mass, most with added tropes — newly written text and music added to make them more solemn or festive — drawing on related Ascension themes, including the Last Judgment. Most of these works are found in manuscripts of c. 1000 originating in Aquitaine, in southwestern France (many of them associated with the Abbey of St. Martial in Limoges). Two of them, the Gloria: Prudentia prudentium and the Alleluia: Ascendens cristus, are from the Winchester Troper, an important source from Britain, c. 1000, containing some of the very earliest written polyphony for liturgical use. The troped portions of the Aquitanian chants would almost certainly have been adorned with polyphony, created by the singers according to certain rules of improvisation that are preserved for us in theoretical treatises of the time. We have constructed polyphonic lines, based on examples from the Winchester Troper and on contemporary theoretical writings, with an occasional drone or ison to enhance the texture.

The Propers of the mass (Introit, Alleluia, Prose with Sequence, Offertory and Communion) are those items specific to the feast at hand. With the exception of the Alleluias, all here are enlarged with Ascension tropes. Most notable of these is the extensive introductory dialog to the Introit: Viri galilei, Quem creditis super astra ascendisse. It is a rich, self-contained work in itself, modeled on the widely popular Easter Introit trope Quem queritis, which is generally seen as the precursor of liturgical drama. Like the Quem queritis, Quem creditis exists in more than one version; we have chosen the melody associated with the Aquitanian abbey of St. Martial in Limoges. In this work one can easily hear how the Aquitanian plainchant style differs from the earlier, more subtly refined Gregorian style, most recognizably in its vigorous, outgoing melody, with gesture and emphasis enhancing a strong tonal center. The second of the two Alleluias, Ascendens cristus, is set with an organal line in the Winchester Troper. The prose, or prose with sequence, its origins related to the practice of troping, was a relatively new addition to the medieval mass, with Frankish composers of the ninth and tenth centuries adding great numbers of them for specific saints and feasts, large and small, to the liturgical stock. The Ascension Prose and sequence: Rex omnipotens, with its introductory trope Salvator mundi te ascendente, is one of the finest of these. After each double versicle of the prose, an untexted “sequence” of pitches follows, to which would most probably have been added an improvised polyphonic or organal line. We also sing the extensive trope, Elevatus est rex fortis, to the Offertory: Viri galilei, with an added organal line.

The items of the Ordinary of the mass are those that (usually) remain the same regardless of the occasion. But in the age of troping, they could be made “proper” to the day with added texts. The Gloria is expanded with the Ascension trope Prudentia prudentium, and the Kyrie: Celestis terrestrisque, although its text is not specific to the Ascension, is designated for that feast in its manuscript source, written in the little town of Apt, where a fine, anonymous musician in an artistic backwater created new liturgical works of his (or her) own inspiration. The brief but artful Sanctus: Ante seculum and Agnus: Omnipotens eterne are intended for general use on high feast days, and we have added organal lines to their tropes.

The processional hymn Judicii signum enjoyed a long life in medieval liturgy, and is based on the prophecies of one of the early medieval Christian Sibyls. After the mass chants, we sing a Lection from the Apocalypse of Saint John, which, along with the sibyllic oracles, was the Middle Ages’ primary source for information about the coming Armageddon. Regnantem sempiterna is a perfect, gem-like prosa of the ninth-century West-Frankish school, and the hymn Cives celestis patrie, with which we end the program, describes the foundation jewels (and their mystical meanings) of the new Jerusalem — the perfect city that will replace the earth at the end of time.

And he carried me away in the spirit to a great and high mountain, and showed me that great city, the holy Jerusalem. . . . And the foundations of the wall of that city were garnished with all manner of precious stones. . . . And the twelve gates were twelve pearls; every several gate was of one pearl; and the street of the city was pure gold, as it were transparent glass. . . . And the gates of it shall not be shut at all by day: for there shall be no night there.

- Apocalypse, chapter 21

Rex Omnipotens die hodierna ("The King Eternal as upon this Holy Day"): The Ascension Sequence

The Sequence Hymn for Ascension Day - today - is, according to Hymn Melodies for the Whole Year from the Sarum Service-books, "Rex Omnipotens die hodierna" ("The King Eternal as upon this Holy Day"). Here's the chant score itself:




Unfortunately - and as is pretty usual, for the lesser-known Sequence hymns - it's difficult to find recordings of this music online. Anonymous 4 did an 8-minute version called "Sequence with Prose: Salvator mundi/Rex omnipotens die hodierna," of which you can find short clips here and there. There's one on their website, from the CD "1000: A Mass for the End of Time," that gives a bit of the flavor of the piece (and includes some of the other mass chants for Ascension). Amazon offers this similar 30-second cut. Here's another 30-second version, taken from somewhere in the middle of the piece.

The Latin words are, I think, these - taken from a book called (yes!) Archaeologia, Or, Miscellaneous Tracts Relating to Antiquity, Volume 46, Part 2 (which seems to have words to many of the Sequences):

Prosa adseguentia Cithara, de Ascensione Domini. Alleluia.

Rex omnipotens, die hodierna,
Mundo triumphali redempto potentia,
Victor ascendit caelos unde descenderat
Nam quadraginta postquam surrexerat
Diebus sacris confirmans pectore
Apostoloru[m] pacis clara reliquens oscula
Quibus et dedit potestatem laxandi crimina,
Et misit eos in mundum baptizare cunctas animas,
In patris et filii et sancti spiritus dementia
Et conuescens precepit eis ab ierosolomis
Ne abirent sed expectarent promissa munera. [f. 1456.]
Non post multos enim dies mittam uobis spiritum paraclitum in terra
Et eritis mihi testes in ierusalem iudea siue samaria.
Et, cum hoc dixisset, uidentibus illis elevatus est, et nubes clam
Suscepit eum ab eorum oculis intuentibus illis aera.
Ecce stetere amicti duo uiri in ueste clara
Juxta, dicentes quid admiramini caelorum alta?
Jesus enim, hie qui assumptus est a uobis ad patris dextera[m]
Vt ascendit ita ueniet querens talenti commissi lucra,
0 deus maris poli arcei. hominem quern creasti fraude subdola
Hostis expulit paradiso et captiuatum secum traxit ad tartara.
Sanguine proprio quem redemisti deo [f. 146]
Illuc et rediens unde prius corruit paradisi gaudia,
Iudex, cum ueneris iudicare secula,
Da nobis petimus sempiterna gaudia in sanctorum patria
In qua tibi cantemus omnes alleluia. [Bodl. MS. 775, f. 145. Cott. Cal. A, xiv. f. 61. MS. Beg. 2, B. iv. f. 97 vo. Sarnm Gradual, f. 143 vo.]

Here's an English translation, from The Latin hymns in the Wesleyan hymn book : studies in hymnology, by Frederic W. MacDonald (1899) (here's a PDF of this book):

This day the King omnipotent,
Having redeemed the world by His triumphant might,
Ascends a Conqueror to heaven, whence He had come.
Through forty holy days after He rose He tarried.
Confirming the souls of the Apostles ;
To whom, bequeathing the sweet kiss of peace,
He gave the power to bind and loose,
And sent them to baptize all men
In the mercy of Father, Son, and Holy Spirit.
And, eating with them, bade them not depart
From Jerusalem, but wait for the promised gifts.
Not many days hence will I send to you the Spirit, the
Comforter,
And ye shall be My witnesses in Jerusalem, Judea, and
Samaria.
And when He had this said, while they beheld He rose,
and a bright cloud
Received Him from their sight, they gazing upward.
Behold, two men, in white robes clad, stood by, and said :
Why look ye to high heaven ?
For this Jesus, who is taken from you to the right hand of
the Father,
As He ascended so shall come, seeking His gain of the
entrusted talent.
O God of ocean, air, and field, man whom Thou didst
create, and whom by guile
The foe drove out of paradise, and led a captive with him
to the abyss,
Whom by Thine own blood Thou hast redeemed, O God,
Bring back again thither whence first he fell.
To joys of paradise.
When Thou the judge, to judge the world shalt come,
Grant us, we pray Thee, everlasting joy
In the homeland of saints.
Where we all shall sing to Thee, Alleluia."

I do wish these Sequences were more readily available! Maybe I'll get some singers together and record them all myself, in fact; to me, they are some of the most beautiful music in all the chant repertoire. It really is worth clicking to the Anonymous 4 site to listen to their clips, though. Always worth listening to them sing, no matter how short or long the clips; they always produce such beautiful stuff.


In the Google book, A Dictionary of Hymnology, there is this note about this Sequence:

Rex omnipotens die hodierna. Hermannus Contractus (?). [Ascension.] This is found in a MS. in the Bodleian (Bodl. 775 f. 145), written c. 1000, as a Sequence "on the Ascension of the Lord," and in another Ms., in the same Library, of circa 1070 (Douce, 222, f. 101); in a Winchester book of the 11th cent, now in Corpus Christi College, Cambridge (No. 473); in a Ms. of the 11th cent. (Harl. 2961 f. 254), and another of the 11th or 12th cent. (Reg. 8 C. xiii. f. 22). both in the British Museum, &c. Among Missals it is found in an early 14th cent. Paris and a 14th cent. Sens in the British Museum; in a Sarum, c. 1370, a Hereford, c. 1370, and a York, c. 1390, all now in the Bodleian: in the St. Andrew's, and various French Missals, its use being uniformly for the Ascension. The printed text is also in Neale's Sequentiae, 1852, p. 58; Daniel, v. p. 66, and Kehrein, No. 116 (see also p. 967, ii.). Tr. as:—

1. Lord of all power and might, Mankind redeemed, Ac. By C. S. Calverley, In the 1871 ed. of the Hymnary, No. 305, and in his Literary Remains, 1886.

2. To the throne He left, victorious. By E. H. Plomptre, made for and pub. in the Hymnary, 1872, No. 305. in the place of the above No. 1.

3. The almighty King, victorious, on this day. By C. B. Pearson, In the Sarum Missal in English, 1868, and his Sequences from the Sarum Missal, 1871.

So you can see why Anonymous 4 included on their CD "1000: A Mass for the End of Time" - it was written, it seems, about the year 1000.

Here's a post on the Ascension Office (and actually, here's another!), and here's one on the mass chants for the day.

Here's one video that's appropriate for the day, even though it's not of the Sequence: Finzi's "God Is Gone Up With a Shout," sung by the Christ Church Cathedral Ottawa Choir of Men and Boys. The text is from Psalm 47, from what I can recall:



This is an icon of the "The Anastasis and the Ascension" at St. Catherine's Monastery in Egypt, from, apparently, the 13th Century: