Dominica Resurrectionis - Easter Day - Pascha

Hac die quam fecit Dominus, Solemnitas solemnitatum, et Pascha nostrum Resurrectio Salvatoris nostri Jesu Christi secundum carnem.

These glorious words are sung, to the tone of the Passion, at Prime today at the reading of the Martyrology before the announcement of the day and moon for tomorrow.  Holy Pascha is a Double of the First Class with a privileged Octave of the First Order.

At the final stages of the Vesperal Liturgy of Holy Saturday yesterday morning an antiphon consisting of a triple Alleluia was sung, doubled, with psalm 116. The antiphon on the Magnificat, also doubled, was Vespere autem sabbati etc. After the Vesperal Liturgy the traditional blessing of houses takes place and, in some countries, the Paschal food.  Compline was sung, at the normal time. On Holy Saturday the Office of Compline has some interesting variations. It began with the usual Jube, domne, blessing, short lesson and confession. Converte nos, Deus, salutaris noster and its response were then sung followed by Deus in adjutorium etc with Alleluia for the first time since Septuagesima. The psalms were sung, without an antiphon, to a solemn form of tone 2. The hymn, chapter and responsory are omitted and Vespere autem sabbati sung as a fragment antiphon to the Nunc dimittis. After the Canticle the antiphon is sung in full. After the usual collect, Visita quaesumus, the antiphon Regina Caeli is sung with its versicle and collect.

Mattins begin with the solemn tone for Deus in adjutorium etc. The invitatory is Surrexit Dominus vere Alleluia and psalm 94 is sung to a lovely tone 6 setting. Mattins consists of one nocturn of three psalms. There are no Office Hymns throughout the Octave (c.f. Monastic praxis). The first antiphon is Ego sum qui sum etc and sung with psalm 1. The second antiphon, Postulavi Patrem meum etc, is sung with psalm 2. The third antiphon, Ego dormivi etc, is sung with psalm 3. A versicle and its response are sung follwed by the absolution Exaudi etc. The first lesson has the Gospel fragment Mark 16: 1-7 and is followed by a homily of St. Gregory the Great. The two responsories Angelus Domini descendit and Cum transisset sabbatum are famous and intimately connected with the Quem quaeritis ceremonies. The second lesson, Notandum vero nobis est is sung followed by the second responsory. During the second responsory the cantors and the celebrant don copes the principal one pre-intones the Te Deum. Six pluvialistae assist the Hebdomadarius where possible. The Te Deum is then sung and, where it is the custom the bells ring throughout.

Lauds follow immediately and have a series of beautiful antiphons: Angelus autem Domini, Et ecce terraemotus, Erat autem, Prae timore autem ejus and Respondens autem Angelus all taking up the theme of the Angels, earthquake and empty tomb. Psalms 92, 99, 62, Benedicite & 148 are sung with these antiphons. The chapter, hymn, versicle and response are replaced by the Haec dies. After Haec dies the antiphon Et valde mane is sung and then the Benedictus sung to a solemn tone 8. During the Benedictus the altar, the choir and people are incensed in the normal manner. The antiphon is repeated and the collect of Easter, Deus, qui hodierna die sung. Benedicamus Domino, Alleluia, Alleluia and its response are followed by the solemn Regina Caeli, its versicle and collect.

The morning Office begins with Prime. Psalms 53, 118(i) & 118(ii) are sung to a solemn form of Tone 2. Haec Dies is sung after the psalmody and then everything else is omitted up to the collect Domine Deus omnipotens. The Martyrology is then sung, starting with the verse indicated above. Then Sancta Maria etc is sung, the collect Dirigere et sanctificare etc and the short lesson Si consurrexistis. Terce, and the other Little Hours, are even more simple in their structure. At Terce, Sext and None the usual stanzas of Ps. 118 are sung to the special form of Tone 2 followed by Haec dies and the collect of the day.

Mass is sung after Terce. Instead of Asperges me the Paschaltide Vidi aquam is sung today and all other Sundays in Paschaltide. In the great Mass of Easter, Resurrexi, the Gloria is sung, one collect is sung. Haec dies is sung as the Gradual. The sequence Victimae paschali laudes is sung after the Alleluia. The Creed is sung and Ite missa est alleluia, alleluia is sung as the dismissal.

At Vespers the antiphons sung at Lauds, Angelus autem Domini etc, are are sung with the usual Sunday psalms. Haec dies is sung in place of the chapter, hymn and versicle & response. The solemn tone is used for Benedicamus Domino, alleluia, alleluia.

At Compline the usual psalms are sung to Tone 8G without any preceding antiphon, followed by an antiphon consisting of Alleluia, alleluia, alleluia, alleluia. This is followed by the Nunc dimittis sung to the Paschal Tone 2. Haec dies is then sung followed by the collect Visita quaesumus etc and then, as yesterday the antiphon Regina coeli etc.

In the 'liturgical books of 1962' yesterday afternoon a novel Vespers, created in 1956, in said, not sung, with unlit candles. It follows the form used on Mandy Thursday and Good Friday but substituting the first antiphon Calicem salutaris with Hodie aflictus.  The antiphon on the Magnificat is newly crafted from Mt. 27: 62, 66 Principes sacerdotum (c.f. IX responsory Mattins of Holy Saturday) and the new collect used at Mattins & Lauds and the Hours of Holy Saturday is used again at Vespers. Compline is said by those who do not take part in the nocturnal shenanigans of the Easter Vigil. Compline has the same structure as on Mandy Thursday and Good Friday but the collect Visita, quaesumus replaces Respice. There is no Regina Caeli and the Offices are in the same penitential spirit as those of Mandy Thursday and Good Friday. Those, fortunate enough, not to take part in the Easter Vigil say Mattins & Lauds. For those who do attend it the novel Easter Vigil replaces Compline, Mattins & Lauds so the Queen of Feasts, as Gregory DiPippo has pointed out, becomes the only feast of the Liturgical Year - and the greatest feast of all - not to have first Vespers, Mattins, proper Lauds or the Te Deum.  The rest of the day is, thankfully, free from further significant changes.

XXI Sunday after Pentecost

The twenty-first Sunday after Pentecost is of semi-double rite and its liturgical colour is green. This year it is the second Sunday of October. The Gospel pericopes from St. Matthew contain the parable of the unjust and ungrateful servant who, forgiven his debts by the King, demands what is owed to him from others and shews complete ingratitude.

As Vespers yesterday afternoon the antiphons and psalms of Saturday were sung. The Office hymn was Jam sol recedit igneus. The antiphon on the Magnificat was Refulsit sol for the Saturday before the second Sunday of October. After the collect of the Sunday commemorations were sung of the preceding Office of St. Bridget of Sweden and of SS Dionysius, Rusticus & Eleutherius. The Suffrage was omitted due to the conccurring double feast as were the Dominical preces at Compline.

At Mattins the invitatory is Adoremus Dominum and the Office hymn is Primo die. In the first nocturn the lessons continue to be read from the First Book of the Machabees. In the second nocturn the lessons are taken from St. Augustine writings on the City of God. In the third nocturn the homily is from St. Jerome on the eighteenth chapter of St. Matthew's Gospel. The Te Deum is sung. At Lauds the Office hymn is Aeterne rerum Conditor. After the collect of the Sunday, a commemoration is sung of SS Dionysius, Rusticus & Eleutherius followed by the Suffrage of the Saints.

At Prime (Pss. 117, 118i & 118ii) both Quicumque and the Dominical preces are sung.

Mass is sung after Terce. The Gloria is sung, the second collect is of SS Dionysius, Rusticus & Eleutherius, the third collect is A cunctis. The Creed is sung and the preface is of the Blessed Trinity.

Vespers are of the Sunday. The Office hymn is Lucis creator. After the collect of the Sunday commemorations are sung of the following feast of St. Francis Borgia and of SS Dionysius, Rusticus & Eleutherius. The Suffrage is omitted as are the Dominical preces at Compline.

In the 'liturgical books of 1962' there are no commemorations at either Vespers. Mattins is cut down to a single nocturn of three lessons. At Lauds there are no commemorations nor Suffrage. At Prime both Quicumque and the Dominical preces are omitted. At Mass there is but a single collect.

Art: Jerome Nadal

Paschal Mattins and the Octave

The high point of Holy Week in most medieval rites, and certainly in the Byzantine rite to this day (or, to be pedantic, this Saturday evening!) was the celebration of Paschal Mattins - Mattins of the Resurrection of the LORD.

In typical English praxis, such as Sarum, the Lenten array was removed from the statues and images after Compline on Holy Saturday. Before the bells rang out for Mattins the clergy went to the Sepulchre and then the Cross was 'raised' to the singing of the antiphon Christus resurgens. A ceremony of adoration of the Cross, just as on Good Friday morning, took place before a triumphal procession around the church. I shall write some more about the ceremonies of 'elevatio' in due course but it is interesting to note that they still take place, despite the liturgical heteropraxis of the last sixty years, in part of Eastern Europe. An example from contemporary Germany (Heilege Grab - the Holy Grave) may be found here and I am grateful to a friend from Poland for sending me this synopsis of Polish Sepulchres. Of pariticular note is that the Polish editions of the liturgical books had 'depositio' ceremonies and the corresponding 'elevatio' ones printed as part of the rites until very recently (e.g. Cantionale Ecclesiasticum, Cracow, 1925 in my collection).

Roman rite Mattins was sung on Saturday evening (and of course on other days within the Octave). The solemn tone is used for Deus in adjutorium. The invitatory is Surrexit Dominus vere Alleluia and psalm 94 is sung to a lovely tone 6. Mattins consists of one nocturn. The Gospel fragment is St. Mark 16: 1-7 and is followed by a homily of St. Gregory the Great. The two responsories Angelus Domini descendit and Cum transisset sabbatum are famous and intimately connected with the Quem quaeritis ceremonies and indeed the development of Western drama (vide the excellent book: Hardison, O.B., 'Christian Rite and Christian Drama in the Middle Ages', The John Hopkins Press, Baltimore, 1965). During the second responsory the cantors and the celebrant don copes the principal one pre-intones the Te Deum. The Te Deum is then sung and, where it is the custom the bells ring throughout. Lauds follow immediately and have a series of beautiful antiphons: Angelus autem Domini, Et ecce terraemotus, Erat autem, Prae timore autem ejus and Respondens autem Angelus all taking up the theme of the Angels, earthquake and empty tomb. The chapter, hymn, versidel and response are replaced by the Haec dies. If one has the opportunity listen to the setting by the English composer John Sheppard do so (Hyperion CDD22021). After Haec dies the altar is censed in the usual manner at the Benedictus and the solemn Regina Caeli sung at the end of Lauds.

The Hours for Pascha and its octave have a special form. They do not have antiphons but the psalms are sung to a haunting Tone2. Again the hymn etc. are replaced by. At Prime the Martyrology is resumed after its absence during the Triduum. Before the entries for the following day the following is sung to the Passion tone: Hac die, quam fecit Dominus, Solemnitas solemnitatum, et Pascha nostrum: Resurrectio Salvatoris nostri Jesu Christi secundum carnem. The day, moon etc then are announced as normal.

Mass follows Terce. At the aspersion Vidi aquam is sung and water taken from the font the previous day used. At Mass the Gloria is sung, the sequence Victimae Paschali precedes the Gospel, the Credo is sung, the Paschal preface and the Communicantes and Hanc igitur are proper.

Vespers are of the feast with the same antiphons as sung at Lauds. In many uses a procession was made to the font during Vespers and it is common to find texts in books marked ad fontes. Somewhat ironically the editio typica of the Caeremoniale Episcoporum published in 1985 has a rubric (371) authorising Baptismal Vespers where it is the custom although no texts are given. There is evidence that in Rome a particularly solemn form of Baptismal Vespers took place with some antiphons so ancient they were never translated from the original Greek.

Both Monday and Tuesday in the Octave are doubles of the first class and the liturgy is essentially the same as that of Sunday with proper texts. Wednesday, Thursday, Friday and Saturday are semidouble days within a privileged octave. The antiphons are not doubled at Mattins, Lauds and Vespers and at Mass the second collect is for the Church or of an occurring feast.