On this and the two following nights Matins and Lauds are always said together, and these Three Services are commonly called the Three Nights of Darkness. In Choir six lights are lighted upon the Altar, and fifteen (seven on each side and one at the top) in a triangle-shaped candlestick before the Epistle corner. As each Antiphon is repeated the second time, one of the fifteen candles is put out.
The Antiphons are all doubled, and the Doxology Gloria Patri is everywhere omitted.
1:1 ALEPH. How lonely sits the city that was full of people! How like a widow has she become, she that was great among the nations! She that was a princess among the cities has become a vassal.
1:2 BETH. She weeps bitterly in the night, tears on her cheeks; among all her lovers she has none to comfort her; all her friends have dealt treacherously with her, they have become her enemies.
1:3 GHIMEL. Judah has gone into exile because of affliction and hard servitude; she dwells now among the nations, but finds no resting place; her pursuers have all overtaken her in the midst of her distress.
1:4 DALETH. The roads to Zion mourn, for none come to the appointed feasts; all her gates are desolate, her priests groan; her maidens have been dragged away, and she herself suffers bitterly.
1:5 HE. Her foes have become the head, her enemies prosper, because the LORD has made her suffer for the multitude of her transgressions; her children have gone away, captives before the foe.
1:6 VAU. From the daughter of Zion has departed all her majesty. Her princes have become like harts that find no pasture; they fled without strength before the pursuer.
1:7 ZAIN. Jerusalem remembers in the days of her affliction and bitterness all the precious things that were hers from days of old. When her people fell into the hand of the foe, and there was none to help her, the foe gloated over her, mocking at her downfall.
1:8 HETH. Jerusalem sinned grievously, therefore she became filthy; all who honored her despise her, for they have seen her nakedness; yea, she herself groans, and turns her face away.
1:9 Her uncleanness was in her skirts; she took no thought of her doom; therefore her fall is terrible, she has no comforter. "O LORD, behold my affliction, for the enemy has triumphed!"
1:10 IOD. The enemy has stretched out his hands over all her precious things; yea, she has seen the nations invade her sanctuary, those whom thou didst forbid to enter thy congregation.
1:11 CAPH. All her people groan as they search for bread; they trade their treasures for food to revive their strength. "Look, O LORD, and behold, for I am despised."
1:12 LAMED. "Is it nothing to you, all you who pass by? Look and see if there is any sorrow like my sorrow which was brought upon me, which the LORD inflicted on the day of his fierce anger."
1:13 MEM. "From on high he sent fire; into my bones he made it descend; he spread a net for my feet; he turned me back; he has left me stunned, faint all the day long.
Lamentationes Ieremiae (English Lamentations of Jeremiah)
In the Greek and Latin Bibles there are five songs of lament bearing the name of Jeremiah, which follow the Book of the Prophecy of Jeremias. In the Hebrew these are entitled Kinôth. from their elegiac character, or the 'Ekhah songs after the first word of the first, second, and fourth elegies; in Greek they are called Threnoi, in Latin they are known as Lamentationes. The superscription to Lamentations in the Septuagint and other versions throws light on the historical occasion of their production and on the author: "And it came to pass, after Israel was carried into captivity, and Jerusalem was desolate, that Jeremiah the prophet sat weeping, and mourned with this lamentation over Jerusalem, and with a sorrowful mind, sighing and moaning, he said:".
To a man like Jeremiah, the day on which Jerusalem became a heap of ruins was not only a day of national misfortune, for, in a religious sense, Jerusalem had a peculiar importance in the history of salvation, as the footstool of Jahweh and as the scene of the revelation of God and of the Messias. Consequently, the grief of Jeremiah was personal, not merely a sympathetic emotion over the sorrow of others, for he had sought to prevent the disaster by his labours as a prophet in the streets of the city. All the fibres of his heart were bound up with Jerusalem; he was now himself crushed and desolate.
In all five elegies the construction of the verses follows an alphabetical arrangement. The first, second, fourth, and fifth laments are each composed of twenty-two verses, to correspond with the number of letters in the Hebrew alphabet; the third lament is made up of three times twenty-two verses. In the first, second, and fourth elegies each verse begins with a letter of the Hebrew alphabet, the letters following in order, as the first verse begins with ALEPH, the second with BETH etc.
The Lamentations have received a peculiar distinction in the Liturgy of the Church in the Office of Passion Week. If Christ Himself designated His death as the destruction of a temple, "he spoke of the temple of his body" (John 2:19-21), then the Church surely has a right to pour out her grief over His death in those Lamentations which were sung over the ruins of the temple destroyed by the sins of the nation.
"Recorded live during Mass on 9/14/08 and sung by Les Choristes, the vocal quartet in residence at the French National Church in San Francisco, CA (Steven Olbash, director)."
On entend le son des crécelles. J'ai un souvenir d'enfant de choeur. Nous aimions les offices de la semaine sainte, en particulier pour actionner la crécelle. On l'utilisait dès le jeudi saint après le gloria, où les enfants avaient sonné dans le choeur avec une vigueur particulière. La schola continuait a capella et à l'élévation la cloche était remplacée par la crécelle.
That is more or less this: "You can hear the sound of rattles. I have a memory from when I was a choir boy. We liked the offices of Holy Week, and particularly to activate the rattle. It was used on Maundy Thursday after the Gloria, and the choir children used it with special vigor. The choir continued a capella and at the elevation the bell was replaced by rattle."
Une crécelle est un instrument de musique idiophone datant du Moyen Âge, aussi appelée brouan et répandue aujourd'hui encore partout en Europe. De conception et d'utilisation simples, elle est un instrument populaire mais aussi un jouet pour les enfants.
Grâce au bruit puissant qu'elle émet, elle était aussi utilisée au Québec par les femmes des agriculteurs pour appeler leur mari au champ, avant la mécanisation de l'agriculture.- Dans la liturgie catholique, avant Vatican II, maniée dans les rues par les enfants de chœur, elle annonçait les offices durant le triduum pascal en remplacement des cloches.
On l'utilisait aussi afin d'avertir du passage de personnes infectieuse, atteintes de maladies redoutées au Moyen Âge : la lèpre, la peste.
A rattle is a percussive musical instrument from the Middle Ages, also known as the brouan, and still widely used throughtout Europe. Of simple design and use, it is a popular instrument but also a toy for children.
Due to the loud noise it emits, it was also used in Quebec by farmwomen to call their husbands to the field, before the mechanization of agriculture. In the Catholic liturgy before Vatican II, operated in the streets by the choir boys, it announced the offices during the Easter Triduum in lieu of bells.
It was also used as a warning that people with infectious illnesses feared in the Middle Ages, like leprosy and the plague, were passing through.
The Trinity Choir, along with Guest Conductor George Steel, General Manager and Artistic Director of New York City Opera, perform Music from the Sarum Rite. These gorgeous compositions – taken from the elaborate and theatrical liturgy of pre-Reformation England – feature soaring soprano lines and rich choral textures by masters such as Robert Wylkinson, William Byrd, Thomas Tallis, and John Sheppard. Although rarely performed today, the Sarum Rite includes some of the most exquisite music of any age. Purchase tickets online here. Tickets can also be purchased at the Trinity Gift Shop, inside Trinity Church. Watch a video of George Steel on the "music that speaks to us with an emotional clarity you wouldn't expect from...such a far away time.
A planctus is a lament, or song or poem which expresses grief or mourning. It became a popular form in the Middle ages, when they were written both in Latin and the vernacular. A number of varieties have been identified by Peter Dronke. From the 9th century, they include dirges for the dead, particularly for royals or heroes, vernacular laments sung by women, Germanic songs of exile and journeying, and fictional planctus on biblical or classical themes. From the 12th century he identifies laments of the Virgin Mary (called a planctus Mariae) and complaintes d'amour (complaints of love).[1]
The earliest planctus for which music survives are from the 10th century, from manuscripts associated with the abbey of Saint Martial at Limoges. The earliest know, the Planctus de obitu Karoli, was composed around 814 on the death of Charlemagne.[2] From the mid-thirteenth century survives an early Catalan Marian lament, Augats, seyós qui credets Déu lo Payre. Or simply a complaint poem with 27 lines and 8 syllables in each line with alliteration in each line.
