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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Preparing for Candlemas

Veronica Brandt · January 24, 2015

Candle clip art ANY YEARS AGO WE BRAVED the local Greek Orthodox candle factory, part of their monastery. They have a sign at the entrance with the dress code and there’s a donkey and they have the most beautiful chapel with wall to wall icons and candles and it is awesome. We bought a box of candles a little over a foot long each. They are a rather bright orange colour, but burn well and have lasted all these years – the last two are just under half burnt, and Candlemas is coming.

Buying a year’s supply of candles to be blessed is just one part of preparing for Candlemas – the feast of the Presentation of Our Lord and the Purification of the Blessed Virgin Mary. It falls 40 days after Christmas on the 2nd of February. That’s the Monday after next.

I mentioned Candlemas to a young member of another choir and she said that the thing she hates about Candlemas is having to hold a candle in one hand and a heavy Liber in the other and sing. That’s because there’s a procession.

Now as a non-choir youngster I loved processions. The thing that annoyed me though, was when I got stuck in the middle of a non-singing bunch of congregants and couldn’t hear the choir and didn’t know the music that well anyway.

So, to prepare for Candlemas – Learn The Music! Now is a great time to start. There are two Sundays to recruit singers and next Saturday you could have a big Farewell to Alleluia Party with Candlemas choir practice.

What follows is the music for the Extraordinary Form as I understand it.

The first antiphon is very easy – Lumen ad Revelationem Gentium. You’ll be humming it all day. This is sung for the distribution of candles. It’s on page 11 of A New Book of Old Hymns and I made this short recording for my choir.

Adorna thalamum is the first antiphon for the procession.

It revolves around one note – Do. If you can get that one note in your head then you will never be too far off track.

At the end of the procession comes Obtulerunt, which is a Responsory – that means there is a small part which is repeated, which is very handy when you are learning new music. I run through this piece in this recording.

You can download a handy pdf of the music for the procession and the propers of the Mass from the Institute of Christ the King. They include an extra antiphon for the end of the distribution of candles, which I understand was removed in 1960. It sounds like many places leave out the second antiphon for the Procession –

The introit and the gradual use some very familiar musical patterns. If you are already familiar with the Gregorian chant propers they will be easy to learn, otherwise they will be well worth learning. They can be found among the recordings from Sao Paolo, Brazil.

If you are in the vicinity of Glenbrook in the Lower Blue Mountains, NSW, Australia, on Monday 2nd February, there will be Mass and Procession starting at 10.30am at St Finbar’s Catholic Church. The church may look odd, but the acoustics are fantastic.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. She lives near Sydney, Australia, with her husband and six children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“Every experienced choirmaster’s work is founded on the following three axioms: (1) Few boys have a really good natural voice; (2) No boy is able to control his voice and produce good tone without training; (3) Most boys have a good ear, and considerable imitative capacity. It is on the last of these axioms that the choirmaster must begin his work.”

— Sir Richard Runciman Terry (1912)

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  • “Dies Irae” • A Monstrous Translation

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