The Epiphany Communion Song: Vidimus Stellam

COMMUNION • Epiphany from Corpus Christi Watershed on Vimeo.


The translation for this chant is built right in to the video above, as you can see:  "We have seen his star in the East, and we have come with our gifts, to worship the Lord."

Here's the chant score by itself:

The modern form of today's chant propers is exactly like the historical (1962 Missal/Tridentine) form; all of the chants have been retained.  These are the chants for Epiphany; the sound files were recorded at St. Benedict's Monastery in São Paulo (Brazil):

In Epiphania DominiIntroitus: Cf. Mal. 3, 1; I Chron. 29, 12; Ps. 71, 1.10.11 Ecce advenit (4m21.1s - 1786 kb) score
Graduale: Is. 6, 60. V. 1 Omnes de Saba venient (2m31.0s - 1033 kb) score
Alleluia: Cf. Mt. 2, 2 Vidimus stellam (2m17.2s - 939 kb) score
Offertorium: Ps. 71, 10.11 Reges Tharsis (1m59.0s - 814 kb) score
Communio: Cf. Mt. 2, 2 Vidimus stellam (39.6s - 272 kb) score

As you can see, the Alleluia for today is also Vidimus stellam (We have seen his star), and uses the same text.

Other posts on Chantblog for the propers on this feast day are:

• The Introit:  Ecce advenit (Behold the Lord the Ruler is come)
• The Gradual:  Ommes de Saba (All they of Saba) 
• The Alleluia:  Vidimus stellam (We have seen his star)
• The Offertory for the Feast of the Epiphany: Reges Tharsis
• The Sequence hymn:   Epiphaniam Domino

This is the beautiful Epiphany collect:

O God, by the leading of a star you manifested your only Son
to the Peoples of the earth: Lead us, who know you now by
faith, to your presence, where we may see your glory face to
face; through Jesus Christ our Lord, who lives and reigns
with you and the Holy Spirit, one God, now and for ever.
Amen.

Here's a very nice polyphonic setting of this text by the rather  obscure Polish composer Mikolaj Zielenski:



From the link above:

Mikołaj Zieleński (Zelenscius, birth and death dates unknown) was a Polish composer, organist and Kapellmeister to the primate Baranowski, Archbishop of Gniezno.

Zieleński's only known surviving works are two 1611 liturgical cycles of polychoral works, the Offertoria/Communes totius anni. These were dedicated to the Archbishop of Gniezno, Wojciech Baranowski. The whole comprises eight part-books and a ninth book, the Partitura pro organo, which constitutes the organ accompaniment. This publication contains in all 131 pieces written for various vocal and also vocal and instrumental ensembles, all with organ accompaniment.

I always like to mention the fact that Epiphany has, over the centuries, celebrated several "manifestations" of Christ: the Visitation of the Wise Men; Christ's baptism in the Jordan by John the Baptist; and Christ's first miracle at the wedding at Cana.  (In fact, the Nativity itself was once celebrated at Epiphany, before it became its own feast.)

Tribus miraculis, the antiphon upon Magnificat for second vespers of the Epiphany, is a clear enunciation of the more ancient way of understanding this feast.  Here's a video (again sung, I believe, by Pro Cantione Antiqua) of this lovely antiphon, followed by the text in Latin and English:

Tribus miraculis ornatum, diem sanctum colimus:
Hodie stella Magos duxit ad praesepium:
Hodie vinum ex aqua factum est ad nuptias:
Hodie in Jordane a Joanne Christus baptizari voluit,
ut salvaret nos, Alleluia.

Three are the miracles we celebrate this day:
On this day by a star the wise men were led to the manger;
On this day wine out of water was brought forth for the wedding feast;
On this day in Jordan's waters by Saint John's hand Jesus chose to be baptized,
That he might save us. Alleluia.

Here's the chant score:

Here's Gentile da Fabriano's amazing 1423 "Adoration of the Magi":

This is from the entry there:

The Adoration of the Magi is a painting by the Italian artist Gentile da Fabriano. The work, housed in the Uffizi Gallery in Florence, Italy, is considered his finest work, and has been described as "the culminating work of International Gothic painting".^[1]

The painting was commissioned by the Florentine literate and patron of the arts Palla Strozzi, at the arrival of the artist in the city in 1420. Palla paid 30,000 florins for the altarpiece,^[2] or about six times the annual salary of a skilled laborer.^[3] According to Baldwin^[4] both Palla Strozzi and his father, Onofrio, appear in the painting − Palla as the man in the red hat in the forefront of the painting, and Onofrio as the falcon trainer situated behind the youngest king. According to other opinions, the falcon trainer depicts the commissioner Palla Strozzi with his eldest son Lorenzo to his right.^[5][6] Finished in 1423, the painting was placed in the new chapel of the church of Santa Trinita which Lorenzo Ghiberti was executing in these years.

Scene of the Nativity in the predella.

The works shows both the international and Sienese schools' influences on Gentile's art, combined with the Renaissance novelties he knew in Florence. The panel portrays the path of the three Magi, in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus which occupies the lowest part of the picture. All the figures wear splendid Renaissance costumes, brocades richly decorated with real gold and precious stones inserted in the panel. Gentile's typical attention for detail is also evident in the exotic animals, such as a leopard, a dromedary, some apes and a lion, as well as the magnificent horses and a hound.

The frame is also a work of art, characterized by three cusps with tondoes portraying Christ Blessing (centre) and the Annunciation (with the Archangel Gabriel on the left and the Madonna on the right). The predella has three rectangular paintings with scenes of Jesus' childhood: the Nativity, the Flight into Egypt and the Presentation at the Temple (the latter a copy, the original being in the Louvre in Paris).

On the Feast of the Conception of the B.V. Mary (Dec. 8)

From Hymn melodies for the whole year, from the Sarum service-books:

On the Feast of the Conception of the B. V. Mary (Dec. 8)

Evensong: Ave! maris Stella ... ... ... 64
Mattins:  Quem terra, pontus, ethera  ... ... ... 63
Lauds: O gloriosa femina  ... ... ... 63

We have seen all these hymns in our travels before; the Mattins and Lauds hymns are the same, and sung to the same melody, at Purification (Candlemas, February 2), at Assumption (August 15), and at The Nativity of the B.V.M. (Sept. 8); the  Evensong hymn is the same one, again sung to the same melody, as on the Nativity of the B.V.M. (Sept. 8).

So, these hymns and melodies are associated with Mary throughout the year; this makes it easy for me, since I can just grab content from some of the feasts I've already posted on!  (Ironic that this is one of the last of the Propers of Saints I'm posting on - yet the first of those to be celebrated during the liturgical year.)

Follow along with the Offices for this feast at Breviary Offices, from Lauds to Compline Inclusive (Society of St. Margaret, Boston) (published in 1885). You can get all the Psalms, the collect, Chapter, antiphons, etc., for each of the offices of the day at that link, although no music is provided; also check the iFrame look-in at the bottom of this post.


Here is the score for the beautiful melody #64, used for the splendid hymn Ave! Maris Stella on this day (as, again, on the Nativity of the B.V.M.); below that is a video of the hymn sung by the Benedictine Monks of the Abbey at Ganagobie.:

 

CPDL has the Latin and English words; non-metrical English translation is by Allen H Simon:

Ave, maris stella,
Dei Mater alma,
Atque semper Virgo,
Felix caeli porta.

Sumens illud Ave
Gabrielis ore,
Funda nos in pace,
Mutans Evae nomen.

Solve vincla reis,
Profer lumen caecis,
Mala nostra pelle,
Bona cuncta posce

Monstra te esse matrem,
Sumat per te preces,
Qui pro nobis natus
Tulit esse tuus.

Virgo singularis,
Inter omnes mitis,
Nos culpis solutos,
Mites fac et castos.

Vitam praesta puram,
Iter para tutum,
Ut videntes Jesum,
Semper collaetemur.

Sit laus Deo Patri,
Summo Christo decus
Spiritui Sancto,
Tribus honor unus. Amen.
   


Hail, star of the sea,
loving Mother of God,
and also always a virgin,
Happy gate of heaven.

Receiving that Ave
from Gabriel's mouth
confirm us in peace,
Reversing Eva's name.

Break the chains of sinners,
Bring light to the blind,
Drive away our evils,
Ask for all good.

Show yourself to be a mother,
May he accept prayers through you,
he who, born for us,
Chose to be yours.

O unique virgin,
Meek above all,
Make us, absolved from sin,
Gentle and chaste.

Keep life pure,
Make the journey safe,
So that, seeing Jesus,
We may always rejoice together.

Let there be praise to God the Father,
Glory to Christ in the highest,
To the Holy Spirit,
One honor to all three. Amen.

CPDL also offers a brief write-up about the hymn:

Hymn to the Virgin Mary (8th cent., author anon.)
Liturgical use: Hymn at Vespers on feasts of the Virgin Mary.

Mary's title of stella maris was first proposed by St. Jerome, in his treatise Liber de nominibus hebraicis (probably around AD 390), in which he explains the etymology of Hebrew names. He quotes unidentified sources as explaining the name of Mary as smyrna maris, literally bitterness of the sea. The Hebrew word miriam indeed refers to bitterness - it is explained as such in the anonymous Jewish account The life of Moses. St. Jerome dismisses the 'bitter' etymology, however, and proposes to change her title to stella maris. In order to justify his proposal, he quotes Syrus, most likely his contemporary St. Ephraem Syrus, who had insisted on Mary's status as domina or mistress.

View Wikipedia article for Ave maris stella.

This is from that Wikipedia link:

Ave Maris Stella (Latin, "Hail Star of the Sea") is a plainsong Vespers hymn to Mary. It was especially popular in the Middle Ages and has been used by many composers as the basis of other compositions. The creation of the original hymn has been attributed to several people, including Bernard of Clairvaux (12th century), Saint Venantius Fortunatus (6th century)^[1] and Hermannus Contractus (11th century).^[2] The text is found in 9th-century manuscripts, kept in Vienna^[3] and in the Abbey of Saint Gall.^[1]

The melody is found in the Irish plainsong "Gabhaim Molta Bríde", a piece in praise of St. Bridget. The popular modern hymn Hail Queen of Heaven, the Ocean Star, is loosely based on this plainsong original.

It finds particular prominence in the "Way of Consecration to the Blessed Virgin Mary" by Saint Louis de Montfort.

Here's a (very faint) recording of the same hymn, sung by the Benedictines of Brazil.

This is Guillame Dufay's beautiful chant/polyphony alternatim arrangement of the hymn, using the same melody in the chant portions.



Or, you can listen to 32 different versions of the hymn (!) in the below playlist:






Here is the chant score for melody #63 from Hymn Melodies; this tune is used for both the Mattins and Lauds hymns on this feast day, and, again, on Purification (AKA Candlemas, February 2), at Assumption (August 15), and at the Nativity of the B.V.M. (Sept. 8).

Here's an mp3 the cantor from LLPB singing melody #63; it's the Mattins hymn Quem terra, pontus, ethera, called "The God Whom Earth and Sea and Sky" in English.

Here are the words from Oremus; the note says "Words: attributed to Fortunatus, sixth century; trans. John Mason Neale, 1854."

The God whom earth and sea and sky
adore and laud and magnify,
whose might they own, whose praise they swell,
in Mary's womb vouchsafed to dwell.

The Lord whom sun and moon obey,
whom all things serve from day to day,
was by the Holy Ghost conceived
of her who through his grace believed.

How blessed that Mother, in whose shrine
the world's Creator, Lord divine,
whose hand contains the earth and sky,
once deigned, as in his ark, to lie.

Blessed in the message Gabriel brought,
blessed by the work the Spirit wrought;
from whom the great Desire of earth
took human flesh and human birth.

O Lord, the Virgin-born, to thee
eternal praise and glory be,
whom with the Father we adore
and Holy Ghost for evermore.

The Lauds hymn, O gloriosa femina (sometimes "O gloriosa domina"), is sung to the same melody today;  O gloriosa domina is also sung at Lauds on Purification (Candlemas)

This set of words comes from the SSM Breviary mentioned above (p.291);  it uses the same meter as Quem terra, pontus, ethera, so just sing it to the same tune, as prescribed.

O GLORIOUS Virgin, throned in rest
Amidst the starry host above,
Who gavest nurture from thy breast
To God with pure maternal love:

What we had lost through sinful Eve
The Blossom sprung from thee restores.
And granting bliss to souls that grieve.
Unbars the everlasting doors.

O gate, through which hath passed the King:
O hall, whence light shone through the gloom;
The ransomed nations praise and sing,
Life given from the virgin womb.

All honour, laud, and glory be,
O Jesu, Virgin-born, to Thee;
All glory, as is ever meet,
To Father and to Paraclete. Amen.

CPDL has the words to O gloriosa Domina, in Latin and English; the words above are clearly taken from the same original Latin text, so it's definitely the same song:

O gloriosa Domina
excelsa super sidera,
qui te creavit provide,
lactasti sacro ubere.

Quod Eva tristis abstulit,
tu reddis almo germine;
intrent ut astra flebiles,
Caeli fenestra facta es.

Tu regis alti janua
et porta lucis fulgida;
vitam datam per Virginem,
gentes redemptae, plaudite.

Gloria tibi, Domine,
qui natus es de Virgine,
cum Patre et Sancto Spiritu
in sempiterna secula. Amen.


O Heaven's glorious mistress,
elevated above the stars,
thou feedest with thy sacred breast
him who created thee.

What miserable Eve lost
thy dear offspring to man restors,
the way to glory is open to the wretched
for thou has become the Gate of Heaven.

Thou art the door of the High King,
the gate of shining light.
Life is given through a Virgin:
Rejoice, ye redeemed nations.

Glory be to Thee, O Lord,
Born of a Virgin,
with the Father and the Holy Spirit,
world without end. Amen.

Here's a page from the Poissy Antiphonal that includes both of these hymns - but the melodies seem quite different:





Here's that peek-through to the SSM Breviary for today:




Here's a bit from Wikipedia about the history of this feast:

An 11th-century Eastern Orthodox icon
of the Theotokos Panachranta,
i.e. the "all immaculate" Mary^[15]

A feast of the Conception of the Most Holy and All Pure Mother of God was celebrated in Syria on 8 December perhaps as early as the 5th century. Note that the title of achrantos (spotless, immaculate, all-pure) refers to the holiness of Mary, not specifically to the holiness of her conception.^[14]

By the 7th century the feast of her conception was widely celebrated in the East, under the name of the Conception (active) of Saint Anne. In the West it was known as the feast of the Conception (passive) of Mary, and was associated particularly with the Normans, whether these introduced it directly from the East^[16] or took it from English usage.^[17] The spread of the feast, by now with the adjective "Immaculate" attached to its title, met opposition on the part of some, on the grounds that sanctification was possible only after conception.^[18] Critics included Saints Bernard of Clairvaux, Albertus Magnus and Thomas Aquinas. Other theologians defended the expression "Immaculate Conception", pointing out that sanctification could be conferred at the first moment of conception in view of the foreseen merits of Christ, a view held especially by Franciscans.^[19]

Writers such as Mark Miravalle and Sarah Jane Boss interpret the existence of the feast as a strong indication of the Church's traditional belief in the Immaculate Conception.^[20][21]

On 28 February 1476, Pope Sixtus IV, a Franciscan after whom the Sistine Chapel is named, authorized those dioceses that wished to introduce the feast to do so, and introduced it to his own diocese of Rome in 1477,^[17] with a specially composed Mass and Office of the feast.^[22] With his bull Cum praeexcelsa of 28 February 1477, in which he referred to the feast as that of the Conception of Mary, without using the word "Immaculate", he granted indulgences to those who would participate in the specially composed Mass or Office on the feast itself or during its octave, and he used the word "immaculate" of Mary, but applied instead the adjective "miraculous" to her conception.^[23][24] On 4 September 1483, referring to the feast as that of "the Conception of Immaculate Mary ever Virgin", he condemned both those who called it mortally sinful and heretical to hold that the "glorious and immaculate mother of God was conceived without the stain of original sin" and those who called it mortally sinful and heretical to hold that "the glorious Virgin Mary was conceived with original sin", since, he said, "up to this time there has been no decision made by the Roman Church and the Apostolic See."^[25] This decree was reaffirmed by the Council of Trent.^[26]

One of the chief proponents of the doctrine was the Hungarian Franciscan Pelbartus Ladislaus of Temesvár. ^[27]

Pope Pius V, the Dominican Pope who in 1570 established the Tridentine Mass, included the feast (but without the adjective "Immaculate") in the Tridentine Calendar, but suppressed the existing special Mass for the feast, directing that the Mass for the Nativity of Mary (with the word "Nativity" replaced by "Conception") be used instead.^[28] Part of that earlier Mass was revived in the Mass that Pope Pius IX ordered to be used on the feast and that is still in use.^[29]

On 6 December 1708, Pope Clement XI made the feast of the Conception of Mary, at that time still with the Nativity of Mary formula for the Mass, a Holy Day of Obligation.^[18] Until Pope Pius X reduced in 1911 the number of Holy Days of Obligation to 8, there were in the course of the year 36 such days, apart from Sundays.^[30]

Here's another beautiful icon, a "Detail of a 13th century Theotokos Aeiparthenos icon, the Eleusa Theotokos of Tolga.   (Aeiparthenos = "Ever Virgin.")

Seen and heard Sunday at Divine Service: Christ the King (November 24, 2013)

The white, high holy day vestments.

The wonderful collect:

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.

The absolutely splendid Gospel reading, perfect for this feast of ineffable mystery and beauty:

Luke 23:33-43

When they came to the place that is called The Skull, they crucified Jesus there with the criminals, one on his right and one on his left. Then Jesus said, "Father, forgive them; for they do not know what they are doing." And they cast lots to divide his clothing. The people stood by, watching Jesus on the cross; but the leaders scoffed at him, saying, "He saved others; let him save himself if he is the Messiah of God, his chosen one!" The soldiers also mocked him, coming up and offering him sour wine, and saying, "If you are the King of the Jews, save yourself!" There was also an inscription over him, "This is the King of the Jews."

One of the criminals who were hanged there kept deriding him and saying, "Are you not the Messiah? Save yourself and us!" But the other rebuked him, saying, "Do you not fear God, since you are under the same sentence of condemnation? And we indeed have been condemned justly, for we are getting what we deserve for our deeds, but this man has done nothing wrong." Then he said, "Jesus, remember me when you come into your kingdom." He replied, "Truly I tell you, today you will be with me in Paradise."

The Offertory:




And speaking of weeping at hymns:  I did, today, at the final words of the final hymn, "Crown him with many crowns."   The video below comes from Queen Elizabeth II's 50th Jubilee, and the reason for weeping is right there in the text.  It becomes very stark and clear when watching the video; it's exceedingly moving that the Queen, a "crowned head" herself, had made this choice:  "Crown Him the Lord of Lords, Who over all doth reign....."

It's good to know there are still people like her in the world.




You can get nine verses here (some of which are used in the video above), but we sing only these five:

Crown Him With Many Crowns

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.

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.

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.

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.

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.

Not heard today, but why not post this video of the wonderful Dutch carol, "King Jesus Hath a Garden," anyway - just for the joy of it?

1. King Jesus hath a garden, full of divers flowers,
Where I go culling posies gay, all times and hours.

Refrain:
There naught is heard but Paradise bird,
Harp, dulcimer, lute,
With cymbal, trump and tymbal,
And the tender, soothing flute.

2. The Lily, white in blossom there, is Chastity:
The Violet, with sweet perfume, Humility. Refrain


3. The bonny Damask-rose is known as Patience:
The blithe and thrifty Marygold, Obedience. Refrain


4. The Crown Imperial bloometh too in yonder place,
'Tis Charity, of stock divine, the flower of grace. Refrain


5. Yet, 'mid the brave, the bravest prize of all may claim
The Star of Bethlem-Jesus-bless'd be his Name! Refrain


6. Ah! Jesu Lord, my heal and weal, my bliss complete,
Make thou my heart thy garden-plot, fair, trim and neat. Refrain

Anglicans Online offers a fantastic meditation on what it calls, aptly, "one of the richest days of the liturgical year."   Here's the last part of it - but I definitely advise reading the whole thing:

The lifetime of every reader of Anglicans Online has been a period in which every sort of ideology has been substituted for the kingdom of God, by Christians no less than by others. We have seen capitalism, communism, racism, sexism, absolutism, bullionism (our favourite), spiritualism, nationalism and even mechanism fail to meet completely the needs of the human soul. Our Christian faith is that the reign of Jesus Christ in the kingdom of God does meet every need of our souls and our societies; the reign of Christ is in our hearts and in our actions, not in our forebears' misunderstanding of a King Jesus who would overthrow the Romans. This instead is the kingdom of God described by our Lord:

Then the king will say [...], 'Come, you that are blessed by my Father, inherit the kingdom prepared for you from the foundation of the world; for I was hungry and you gave me food, I was thirsty and you gave me something to drink, I was a stranger and you welcomed me, I was naked and you gave me clothing, I was sick and you took care of me, I was in prison and you visited me.'

This parable teaches us that Christ the King reigns when he reigns within us.

Christ reigns in weakness from the Cross itself, in weakness transformed into power and beauty through forgiveness and self-offering.

Christ reigns in joy from the time of his first miracle, in joy made ever new through food and wine and song.

Christ reigns in poverty begun in his childhood in Nazareth, in poverty without earthly power but with dignity and honor and kin.

Christ reigns in service from the time of his last supper, in service like the washing of feet and the clothing of the naked and the feeding of the poor.

Christ reigns in teaching from the beginning of his ministry, in teaching that nourishes every mind and heart open to it.

Christ reigns in learning from his childhood, in learning through which he grew and changed, and we do, too.

Christ reigns in sorrow, in sorrow so deep that no pain of ours is beyond his sympathy and empathy.

Christ reigns in quiet and calm, in 'the silence of eternity, interpreted by love'.

Christ reigns in love itself, in love made perfect in every firm and gentle act of a father for his daughter, of a priest for a penitent, of a friend for a friend, of a labourer for her family, of a professor for his students, of a cook for them who will eat, of a doctor for such as need care, of a poet who feeds our hearts, of a builder who keeps rain and snow from our mortal frames, of an altar guild member who has washed and ironed linens for 50 years, of a human feeding an animal, of a farmer who tends the plants that give us nutrition, of a cleaner who keeps us safe from infection of mind or body. Christ reigns in love as care takes place and increases among all of God's creatures, and as wickedness and selfishness and confusion are banished from our motives.

Christ is king when he reigns in our hearts.

See you next week. Advent is upon us!

Seen and heard today at Divine Service (November 3, 2013)

The White High Holy Day vestments, the beautiful All Saints' Day collect (see below) - and, happily (since the Book of Common Prayer lectionary is now permitted again), this wonderful reading for All Saints' Day:

Ecclesiasticus 44:1-10,13-14

1 Let us now sing the praises of famous men,    
          our ancestors in their generations.
2 The Lord apportioned to them great glory,
          his majesty from the beginning.
3 There were those who ruled in their kingdoms,
          and made a name for themselves by their valour;
          those who gave counsel because they were intelligent;
          those who spoke in prophetic oracles;
4 those who led the people by their counsels
          and by their knowledge of the people’s lore;
          they were wise in their words of instruction;
5 those who composed musical tunes,
          or put verses in writing;
6 rich men endowed with resources,
          living peacefully in their homes—
7 all these were honoured in their generations,
          and were the pride of their times.
8 Some of them have left behind a name,
          so that others declare their praise.
9 But of others there is no memory;
          they have perished as though they had never existed;
          they have become as though they had never been born,
          they and their children after them.
10 But these also were godly men,
          whose righteous deeds have not been forgotten;
13 Their offspring will continue for ever,
          and their glory will never be blotted out.
14 Their bodies are buried in peace,
          but their name lives on generation after generation.

As far as I can tell, this was introduced for the first time in the 1979 Book of Common Prayer as the Old Testament reading on All Saints' Day.  It was one of the first readings I ever heard in the church, and I found it exquisitely beautiful.

Instead of a Psalm - unusual - we sang hymn #560, "Blessèd are the poor in spirit."  It's a Richard Proulx arrangement of a Russian Orthodox chant; in the Orthodox liturgy, I'm learning, the Beatitudes are chanted as the Gospel Book is carried in procession to the sanctuary for the Gospel reading.  That's a wonderful liturgical practice!    (The Beatitudes are, of course, the Gospel reading for All Saints' Day every year.)

Here's the hymn, here sung at Good Shepherd Episcopal Church in Jacksonville Florida:



Here are the words, from Hymnary.org:

[Antiphon:]
Remember your servants, Lord,
when you come in your kingly power.

1 Blessed are the poor in spirit;
for theirs is the kingdom of heaven.
2 Blessed are those who mourn;
for they shall be comforted.
3 Blessed are the meek;
for they shall inherit the earth.
4 Blessed are those who hunger and thirst after righteousness;
for they shall be satisfied.
5 Blessed are the merciful;
for they shall obtain mercy.
6 Blessed are the pure in heart;
for they shall see God.
7 Blessed are the peacemakers,
for they shall be called the children of God.
8 Blessed are those who are persecuted for righteousness' sake;
for theirs is the kingdom of heaven.
9 Blessed are you when the world reviles you and persecutes you;
and utters all kinds of evil against you falsely for my sake:
Rejoice and be exceeding glad;
for great is your reward in heaven.

[Antiphon:]
Remember your servants, Lord,
when you come in your kingly power.

Source: Hymnal 1982: according to the use of the Episcopal Church #560

It's really a beautiful song, with terrific harmonies - and of course the text is superb.

This sounds like it may be the Russian version Proulx worked from, sung by a choir at Holy Trinity Church (OCA) in Yonkers, NY:



The YouTuber wrote there that:

The Beatitudes were pronounced by Jesus during his Sermon on the Mount and were recorded by St. Matthew. ........In the Gospel writings, the beatitudes introduce the teachings of Jesus and are traditionally considered to contain the most concise summary of the spiritual life of man. In the Orthodox Divine Liturgy, the beatitudes are chanted when the Book of the Gospels is carried in solemn procession to the sanctuary to be proclaimed as the Word of God to the faithful. Thus it is the clear teaching of the Gospel and the Church that one enters into the mysteries of Christ and the Kingdom of God only by way of following the Lord's teachings in the beatitudes. And He opened His mouth and taught them, saying: "Blessed are the poor in spirit, for theirs is the kingdom of heaven. "Blessed are those who mourn, for they shall be comforted. "Blessed are the meek, for they shall inherit the earth. "Blessed are those who hunger and thirst for righteousness, for they shall be satisfied. "Blessed are the merciful, for they shall obtain mercy. "Blessed are the pure in heart, for they shall see God. "Blessed are the peacemakers, for they shall be called sons of God. "Blessed are those who are persecuted for righteousness sake, for theirs is the kingdom of heaven. "Blessed are you when men revile you and persecute you and utter all kinds of evil against you falsely on my account. Rejoice and be exceedingly glad, for your reward is great in heaven (Matthew 5:2-12; Cf Luke 6:20-26)

Here, BTW, is Arvo Pärt's setting of the Beatitudes; gorgeous as usual:




The preacher noted that All Saints' Day was the only feast of the year that could be celebrated twice - once on November 1, and again on the Sunday after November 1.  Quite interesting, really, that this is so; to me, this makes a powerful statement about the importance of this day - and I've felt that since the first time I ever attended an All Saints' Day service.  All Saints' is one of the four days on which baptism is "especially appropriate," too, according to the BCP; the first time I attended a service on this day, there were four baptisms.  All of that, and the readings and music, makes All Saints' a uniquely resonant experience; today, for the first time really, I truly got an understanding of the church as the mystical Body of Christ, and of all Christians, everywhere and from every era, as disciples, all living a common life and under a common vision.

I sort of like it that in Anglicanism, All Saints' and All Souls' Days have been collapsed into one thing; I like that idea, again, of that complete statement about "discipleship," and the notion that the whole church is celebrated.  (I'm also quite happy that many parishes offer a requiem mass on All Souls' Day, too, even though it's not an official Holy Day.   Nothing at all wrong with any of that.)

Here's the beautiful Collect for All Saints:

Almighty God, you have knit together your elect in one communion and fellowship in the mystical body of your Son Christ our Lord: Give us grace so to follow your blessed saints in all virtuous and godly living, that we may come to those ineffable joys that you have prepared for those who truly love you; through Jesus Christ our Lord, who with you and the Holy Spirit lives and reigns, one God, in glory everlasting. Amen.

Hatchett's Commentary says about this one that:

This collect was composed for the 1549 Book.  The 1662 revision substituted "blessed" for "holy," and "in all virtuous and godly living" for "in all virtues, and godly living."  The present revision replaces "unspeakable" with "ineffable" since "unspeakable" has so changed and negative a connotation in modern English.  The collect expresses in an admirable way Saint Paul's conception of the church as the Body of Christ.

I heard this song at my first All Saints' Day service, too, and again today:

Holy is the True Light,
and passing wonderful,
lending radiance to them that endured
in the heat of the conflict.
From Christ they inherit
a home of unfading splendour,
wherein they rejoice with gladness evermore.
Alleluia!

Words from the Salisbury Diurnal by G.H. Palmer

For the last hymn, it was Ralph Vaughan Williams' "For All the Saints."  I used to cry when I sang this one; I don't really know why.  (I have a feeling it may partly be all that martial imagery, in combination with this majestic melody!)  I remember singing this one when I was a child, and it always moved me then - and whenever I heard it later on in life.  I was watching people in the choir as they came down the aisle singing, and saw some really blissful faces - so I know it still has that effect on people.  Not me, though; now I weep at other hymns, and not at this one anymore.

All Souls' Day: Requiem Op. 9 (Durufle)

Requiem ( Op. 9):
I. Introit: Requiem aeternam 00:00
II. Kyrie 03:25
III. Domine Jesus Christe 06:57
IV. Sanctus 15:00
V. Pie Jesu 17:41
VI. Agnus Dei 22:00
VII. Lux Aeterna 25:39
VIII. Libera me 29:43
IX. In paradisum 35:10

Durufle, Maurice (1902-86) -composer
Cecilia Bartoli -mezzosoprano
Bryn Terfel -bass-baritone
Myung-Whun Chung -conductor
Coro e Orchestra dell'Accademia Nazionale di Santa Cecilia

The Requiem, op. 9, by Maurice Duruflé was commissioned in 1947 by the French music publisher Durand and is written in memory of the composer's father. The work is for SATB choir with mezzo-soprano and baritone soloists. It exists in three orchestrations: one for organ alone, one for organ with string orchestra and optional trumpets, harp and timpani, and one for organ and full orchestra.

At the time of commission, Duruflé was working on an organ suite using themes from Gregorian chants. He incorporated his sketches for that work into the Requiem, which uses numerous themes from the Gregorian "Mass for the Dead." Nearly all the thematic material in the work comes from chant.

Source: http://en.wikipedia.org/wiki/Requiem_...)

Buy the CD here: http://www.amazon.com/Faur%C3%A9-Duru..

Here's another version, from King's College Cambridge. (It seems the video above cannot be accessed via mobile, for some reason.)

The Introit for the Solemnity of All Saints: Gaudeamus Omnes

CPDL provides the text and an English translation:

Gaudeamus omnes in Domino diem festum celebrantes
sub honore Sanctorum omnium:
de quorum solemnitate gaudent angeli, et collaudant Filium Dei.

Exsultate iusti in Domino: rectos decet collaudatio.
Gloria Patri...

Let us all rejoice in the Lord celebrating the feast
in honour of all the saints,
in which solemnity the angels rejoice, while the Archangels praise the Son of God.

Ring out your joy to the lord, O you just; for praise is fitting for loyal hearts.
Glory be to the Father ...

(Although, you know:  I do believe that the singers, "Collana Diretta da Bonafacio G Baroffia," have hit a wrong note there in that video; they forgot to sing the flat. Here's how the Benedictines of Clear Creek sing Gaudeamus for the Feast of St. Benedict:




And here's an mp3 from the Brazilian Benedictines for All Saints, which also contains the flat.  Just to get things straightened out.)


Gaudeamus is used as the Introit for a number of saints' days during the Great Church Year (see note below); there are some variants included at that link, so you can see how the text is adjusted for other feasts.  It's quite a beautiful text, especially this one, I think.

Here's the full chant score:

As I've noted before, the use of Gaudeamus as Introit for various saints' days apparently began with The Feast of St. Agatha in the 3rd Century.   It sounds to me as if, after the chant had been used in that way for some time, it seemed natural to use it at All Saints as the Introit, too, again tying the Church Year together via the liturgy and its chant propers.  Here's a quote discussing "Josquin's Mass for All Saints and the Book of Revelation" in a book titled Symbolic scores: Studies in the music of the Renaissance:

It should be pointed out, however, that the Introit "Gaudemus" - as ascertained already by Helmuth Ostoff - is also used for a large number of saints' days as well as for the feast of All Saints (November 1). The Introit sung in the Mass of Saint Agatha (February 5) is the oldest version. Its text is the same as that of Example 1, except that it has "Agathae martyres: de cujus passione" (Agatha martyr, at whose passion) instead of "Mariae virginis: de cujus assumptionae" (the Virgin Mary, for whose Assumption). From the eleventh century onwards, the antiphon appears in at least seven other Masses. In the Introit of All Saints the text passage quoted above reads "Sanctorum omnium de quorum solemnitate" (of all the Saints, at whose solemnity).

Below is the "Example 1" referred to above:

The Josquin mass, called Missa Gaudeamus, is - as usual with Josquin - just gorgeous;  it's based on this introit.   Unfortunately, at the moment there are no recordings of it online that I can post here.  Hopefully that will change over time, at which point I'll return and post it; very worth hearing.  Meanwhile, you can listen to samples here.

There's some really interesting stuff at the link above, about the Josquin Mass specifically:

Although the Mass combines the techniques of cantus firmus and ostinato, it is generally the incipt of the Introit which, thematically, occupies the foreground.  In the Ms. Cambrai 18 the motif even appears several times with the word "gaudeamus" instead of the litugical text. The ostinato technique has its culmination in the final Angus dei, where, as Jeremy Noble remarks, "the memorable opening phrase of the introit it put through a vertiginous series of transpositions."  It has never been noticed that the arrangement of the total numbers of "Gaudeamus" statements in the five sections of the Mass is anything but proportional.  The motif occurs 6, 14, 2, 5+7, and 4+23 times respectively.  If we take into account that it appears more often in Agnus dei III, which is 58 bars long, than in the Kyrie and Gloria which together make up 220 bars, and that it appears only twice in the Credo which contains 274 bars, the conclusion seems inescapable that Josquin deliberately determined the various numbers of statements.  Evidence of the justness of this conclusion can be found by comparing the present Mass with Josquin's Missa Ave maris stella.  Both works are based on a Gregorian chant, the incipits of which are used in ever-changing melodic and rhythmic shapes.  Moreover, both present thd cantus prius factus in the tenor.  Contrary, however, to the irregular distribution of the "Gaudeamus" motifs in the various Mass sections and the individual voices, the employment of the "Ave maris stella" incipit is much more balanced.  Noble says:  "....one senses that in Ave maris stella the exuberance of Gaudeamus has begun to be tamed, even spiritualized."

Now the interesting thing about all that, according to the author of Symbolic scores: Studies in the music of the Renaissance, Willem Elders, is that it helps him make the case that this Mass was written to celebrate All Saints' Day - and not, as had been previously (and it seems universally) supposed,  written for the Feast of the Assumption - another of the feast days that used Gaudeamus as its Introit.

Continuing on, the writer says:

The "Gaudeamus" motif in Josquin's Mass of the same name has more than a purely musical significance.  It functions, as I shall now attempt to show, as a sign which refers explicitly to the composer's profession of faith.  On the basis of the allegorical meaning of the numbers 6, 14, 2, 5, 7, 4 and 23 (see above), it can be said that the Mass in all probability was intended as an All Saints' Day liturgy and that the application of number symbolism may have been inspired by the Book of Revelation.

!

I haven't finished reading his argument - it's a long one, and he believes van Eyck's "Adoration of the Lamb," from the Ghent Altarpiece, is involved! - but it's certainly an interesting one so far.   ("4" stands for the Cross - and "23" for the 23 times the sign of the cross is made during the liturgy of the mass.

"Why 23 times?" you ask?  "[The] number [is understood to be] a reference to the just in the age of the law (10) and in the age of grace (13).  The law is valid for both ages (10+10), that is, the ages of the Old and New Convenant, while faith in the threefold God (+3) is an added characteristic for the New Testament.")

Now I ask you:  who doesn't like stuff like this?  In any case, it's absolutely a perfect tale for a blog like this one; the amazing part played by Gregorian chant in the history of the West!

There's quite a lot at this Wikipedia page about Missa Gaudeamus, too.

The Communion Song for the Solemnity of All Saints: Beati Mundo Corde

Here it's sung by the Schola of the Vienna Hofburgkapelle:



The text for this proper comes from Matthew 5 and his version of the Beatitudes:

Blessed are the pure in heart, for they shall see God.  Blessed are the peacemakers, for they shall be called the children of God. Blessed are they which are persecuted for righteousness' sake: for theirs is the kingdom of heaven.

The Gospel reading for this year - Year C - is from Luke's version of the Beatitudes:

Luke 6:20-31

Jesus looked up at his disciples and said:

"Blessed are you who are poor,
for yours is the kingdom of God.
"Blessed are you who are hungry now,
for you will be filled.
"Blessed are you who weep now,
for you will laugh.
"Blessed are you when people hate you, and when they exclude you, revile you, and defame you on account of the Son of Man. Rejoice in that day and leap for joy, for surely your reward is great in heaven; for that is what their ancestors did to the prophets.
"But woe to you who are rich,
for you have received your consolation.
"Woe to you who are full now,
for you will be hungry.
"Woe to you who are laughing now,
for you will mourn and weep.
"Woe to you when all speak well of you, for that is what their ancestors did to the false prophets
"But I say to you that listen, Love your enemies, do good to those who hate you, bless those who curse you, pray for those who abuse you. If anyone strikes you on the cheek, offer the other also; and from anyone who takes away your coat do not withhold even your shirt. Give to everyone who begs from you; and if anyone takes away your goods, do not ask for them again. Do to others as you would have them do to you."

Here are all the propers on the day - the first link is to an mp3 of each one - from the Brazilian Benedictines:

Die 1 novembris
Omnium SanctorumIntroitus: 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

William Byrd set Beati Mundo Corde, but his composition does not seem to be online.  Here's one, though, from Polish composer Zielenski Mikolaj, composed in around 1611.




Not much is known about Zielanski, but he's an interesting case; here's his entry at Wikipedia.

Mikołaj Zieleński (Zelenscius, birth and death dates unknown) was a Polish composer, organist and Kapellmeister to the primate Baranowski, Archbishop of Gniezno.

Zieleński's only known surviving works are two 1611 liturgical cycles of polychoral works, the Offertoria/Communes totius anni. These were dedicated to the Archbishop of Gniezno, Wojciech Baranowski. The whole comprises eight part-books and a ninth book, the Partitura pro organo, which constitutes the organ accompaniment. This publication contains in all 131 pieces written for various vocal and also vocal and instrumental ensembles, all with organ accompaniment.

The Venetian publication does not only comprise the offertories and communions; we find there also over a dozen other pieces, such as hymns, antiphons, a magnificat, and even three instrumental fantasias. In his compositions Zieleński relies on his own creative invention and does not, in general, make use of the cantus firmi. The few pieces which a pre-existent melody may be traced out are based not on a plainsong melody but on the melodies of Polish songs. The sets consist of large-scale double- and triple-choir antiphons, as well as some monodic works typical of the Seconda pratica style of early Monteverdi. Zieleński's music is the first known Polish music set in the style of the Baroque.

You can also get Free scores by Mikołaj Zieleński in the Choral Public Domain Library (ChoralWiki).

Here's something called Beati Mundo Corde that to me is musically interesting;  I believe it comes from Howard Goodall's "Enchanted Voices" CD.  Apparently there are 8 different settings - perhaps one for each Beati?   That's a great idea, actually!  (Listen to samples of the other pieces here at the UK site.)  I always say we don't do nearly enough with the Beatitudes in the West, although there are many, many musical settings for them in the East.  So I'm glad to see this.

Personally I could do without the shaking statue thing, and I advise listening rather than watching.




All of the Beatitudes are at this YouTube page:

Blessed [are] the poor in spirit: for theirs is the kingdom of heaven.

Blessed [are] they that mourn: for they shall be comforted.

Blessed [are] the meek: for they shall inherit the earth.

Blessed [are] they which do hunger and thirst after righteousness: for they shall be filled.

Blessed [are] the merciful: for they shall obtain mercy.

Blessed [are] the pure in heart: for they shall see God.

Blessed [are] the peacemakers: for they shall be called the children of God.

Blessed [are] they which are persecuted for righteousness' sake: for theirs is the kingdom of heaven.

Blessed are ye, when [men] shall revile you, and persecute [you], and shall say all manner of evil against you falsely, for my sake.

Matthew 5:3-11 KJB

There's another one of these at YouTube; this one is titled "Beati Qui Lugent - Blessed are they that mourn":




Here's the All Saints' Day Collect:

Almighty God, you have knit together your elect in one communion and fellowship in the mystical body of your Son Christ our Lord: Give us grace so to follow your blessed saints in all virtuous and godly living, that we may come to those ineffable joys that you have prepared for those who truly love you; through Jesus Christ our Lord, who with you and the Holy Spirit lives and reigns, one God, in glory everlasting. Amen.

And this is the New Advent entry for All Saints':

Solemnity celebrated on the first of November. It is instituted to honour all the saints, known and unknown, and, according to Urban IV, to supply any deficiencies in the faithful's celebration of saints' feasts during the year.

In the early days the Christians were accustomed to solemnize the anniversary of a martyr's death for Christ at the place of martyrdom. In the fourth century, neighbouring dioceses began to interchange feasts, to transfer relics, to divide them, and to join in a common feast; as is shown by the invitation of St. Basil of Caesarea (397) to the bishops of the province of Pontus. Frequently groups of martyrs suffered on the same day, which naturally led to a joint commemoration. In the persecution of Diocletian the number of martyrs became so great that a separate day could not be assigned to each. But the Church, feeling that every martyr should be venerated, appointed a common day for all. The first trace of this we find in Antioch on the Sunday after Pentecost. We also find mention of a common day in a sermon of St. Ephrem the Syrian (373), and in the 74th homily of St. John Chrysostom (407). At first only martyrs and St. John the Baptist were honoured by a special day. Other saints were added gradually, and increased in number when a regular process of canonization was established; still, as early as 411 there is in the Chaldean Calendar a "Commemoratio Confessorum" for the Friday after Easter. In the West Boniface IV, 13 May, 609, or 610, consecrated the Pantheon in Rome to the Blessed Virgin and all the martyrs, ordering an anniversary. Gregory III (731-741) consecrated a chapel in the Basilica of St. Peter to all the saints and fixed the anniversary for 1 November. A basilica of the Apostles already existed in Rome, and its dedication was annually remembered on 1 May. Gregory IV(827-844) extended the celebration on 1 November to the entire Church. The vigil seems to have been held as early as the feast itself. The octave was added by Sixtus IV (1471-84).

The photo below is labeled "All Saints Day 2010 at Skogskyrkogården in Stockholm" - a photo by Holger Motzkau 2010, Wikipedia/Wikimedia Commons (cc-by-sa-3.0):

Blessed All Saints' Day (one of my favorite feasts of the year) to all.   And let me just add here the reading I love so much for this day (one of the first readings I remember hearing), from the BCP Lectionary:

Ecclesiasticus 44:1-10,13-14

1 Let us now sing the praises of famous men,    
          our ancestors in their generations.
2 The Lord apportioned to them great glory,
          his majesty from the beginning.
3 There were those who ruled in their kingdoms,
          and made a name for themselves by their valour;
          those who gave counsel because they were intelligent;
          those who spoke in prophetic oracles;
4 those who led the people by their counsels
          and by their knowledge of the people’s lore;
          they were wise in their words of instruction;
5 those who composed musical tunes,
          or put verses in writing;
6 rich men endowed with resources,
          living peacefully in their homes—
7 all these were honoured in their generations,
          and were the pride of their times.
8 Some of them have left behind a name,
          so that others declare their praise.
9 But of others there is no memory;
          they have perished as though they had never existed;
          they have become as though they had never been born,
          they and their children after them.
10 But these also were godly men,
          whose righteous deeds have not been forgotten;
13 Their offspring will continue for ever,
          and their glory will never be blotted out.
14 Their bodies are buried in peace,
          but their name lives on generation after generation.

For the Feast of St. James of Jerusalem: Exultet Caelum Laudibus

In honor of today's Feast of St. James of Jerusalem (AKA, "The Brother of Our Lord"), here's Exultet Caelum Laudibus - a Lauds and 2nd Evensong hymn for Apostles & Evangelists - sung by La Capella Reial De Catalunya.  Here's a little something about them:

La Capella Reial de Catalunya was created in Barcelona in 1987 by its conductor Jordi Savall as a group of soloist singers whose aim is to make the repertoire of Catalan historical music and, by extension, that of Spanish and other music widely known throughout the world. La Capella Reial de Catalunya often performs with Le Concert des Nations, a period instrument group also founded and conducted by Savall.

I do not know anything more about this piece, but will return to post anything I find in the future; it's very pretty, though, and worth listening to I think.



In English, the first line of this hymn is given as "Let the round world with songs rejoice!"  Quite pretty, really; here are the words from CPDL:

1. Exultet coelum laudibus
resultet terra gaudiis
apostolorum gloriam
sacra canunt solemnia.

2. Vos saecli justi judices
et vera mundi lumina
votis precamur cordium
audite preces supplicum.

3. Qui caelum verbo clauditis
serasque ejus solvitis
nos a peccatis omnibus
solvite jussu, quaesumus.

4. Quorum praecepto subditor
salus et languor omnium:
sanate aegros moribus
nos reddentes virtutibus.

5. Ut cum judex advenerit
Christus in fine saeculi
nos sempiterni gaudii
faciat esse compotes.

6. Deo Patri sit gloria
ejusque soli Filio,
cum Spiritu Paracleto,
et nunc et in perpetuum.

Additional verse
Summa sit ipsi gloria,
qui dat nos evangelicis
per vos doctrinis instrui
et prosequi caelestia.


1. Let the round world with songs rejoice;
Let Heaven return the joyful voice;
All mindful of th’Apostles’ fame,
Let Heav’n and earth their praise proclaim.

2. Ye servants who once bore the light
Of Gospel truth o’er heathen night,
Still may your work that light impart,
To glad our eyes and cheer our heart.

3. O God, by whom to them was giv’n
The key that shuts and opens Heav’n,
Our chains unbind, our loss repair,
And grant us grace to enter there.

4. For at Thy will they preached the Word
Which cured disease, which health conferred:
O may that healing power once more
Our souls to grace and health restore.

5.That when Thy Son again shall come,
And speak the world’s unerring doom,
He may with them pronounce us blest,
And place us in Thy endless rest.

6. To Thee, O Father; Son, to Thee;
To Thee, blest Spirit, glory be!
So was it ay for ages past,
So shall through endless ages last.

tr. Richard Mant (1776-1848)

Additional verse
The highest glory be to him,
who gives us the Gospel.
May we be taught by you
and follow you to heaven.

(FYI, here's what the Sarum chant version (mp3) of the hymn sounds like; the audio file comes from the website of the Lutheran Liturgical Prayer Brotherhood.)