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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

Sequence During the Octave of Easter

Richard J. Clark · March 31, 2016

HE SECOND SUNDAY of Easter (also known as “Divine Mercy Sunday”) is the “Octave of Easter,” the eighth day of the Easter celebration. The Christian concept of celebrating feast days as “octaves” most likely grew from the Jewish practice of observing seven and sometimes eight day feasts. By the fourth century, the feasts of Easter and Pentecost were given “octaves”—an eight day celebration that lasted from Sunday to Sunday. In particular, the neophytes, those newly baptized in the Church, remained in a joyful retreat until the Second Sunday of Easter. In practical terms, what does this “octave” mean? Each day of the Octave of Easter is as important and carries the same liturgical weight as Easter Sunday itself. Each day this week—from Sunday to Sunday is a solemnity. At each Mass, the Gloria, the Church’s hymn of praise, is sung or recited. The Gospel verse each weekday mass during the octave is the same: “This is the day the Lord has made; let us be glad and rejoice in it.” This proclamation is an important reminder of the central reality of our faith: Christ is risen! Alleluia! Each day of the octave, it has been an ancient custom to sing the 11th century sequence Victimae Paschali Laudes, a poetic liturgical hymn. (Download score with translation here. Listen here)

My colleague has posted a free organ accompaniment:

*  Free Download • “Victimæ Paschali Laudes”

This ancient hymn tells the story of death and life locked in a struggle, wherein Christ, the Paschal victim, victorious over death, reconciles us to the Father. It tells the story of Mary Magdalene, who upon finding the empty tomb of the risen Christ and of finding the clothes which once covered his head and limbs, proclaims “Christ my hope has arisen.”

• Mini History of Sequences by Fr. David Friel


Some clarification for the Ordinary Form:

Check the Ordo in your diocese. From the Ordo in the Archdiocese of Boston:
1 • Under the heading “EASTER SEASON”:
“The sequence Victimae paschali, obligatory at Mass on Easter Sunday, is optional on the other days of the octave.”

From the GIRM:
2 • 64. The Sequence which, except on Easter Sunday and on Pentecost Day, is optional, is sung before the Alleluia


Clarification for the Extraordinary Form:

3 • In the Extraordinary Form there are two important differences: Victimae paschali is specifically listed in the Missal each day of the Octave of Easter (through Saturday) and is therefore not optional. However, it does not appear on the Second Sunday and is not allowable then as it in the Ordinary Form. Secondly, it is sung after the Alleluia, not before as in the Ordinary Form (as it is an extension of the Jubilis in the Alleluia.)

ICTIMAE PASCHALI LAUDES is also one of the most accessible chants both for a congregation to absorb and for a schola to sing. It bears repetition, and is one of the great jewels of the Church. I still get chills every time we sing, “Dic nobis Maria,Quid vidisti in via?” “Tell us, Mary, what did you see upon the way?” “Sepulcrum Christi viventis, et gloriam vidi resurgentis” “I saw the sepulchre of the living Christ; I saw the glory of the Risen One…”

Singing (or reading) the sequence Victimae Paschali Laudes is truly appropriate every day this week. We will sing it at St. Cecilia Parish on Divine Mercy Sunday as we have for several years. It will be sung at the Jesuit Community Mass at Boston College during the Octave.

Like Mary, we are filled with joy because Christ our hope has arisen. We are redeemed. We are a saved people!

Alleluia! Christ is risen!
The Lord is risen indeed! Alleluia!

Here is a recording of the Sequence by The University of Notre Dame Liturgical Choir from Easter Sunday 2012 at the Basilica of the Sacred Heart, Indiana. This is a different approach which includes massive pipe organ interludes. The beautiful Alleluia follows:

Victimae paschali laudes
Let Christians offer sacrificial praises

immolent Christiani.
to the passover victim.

Agnus redemit oves:
The Lamb has redeemed the sheep:

Christus innocens Patri
the innocent Christ has reconciled

reconciliavit peccatores.
the sinners to the Father.

Mors et vita duello
Death and life contended

conflixere mirando:
in a spectacular battle:

dux vitae mortuus,
the Prince of life, who died,

regnat vivus.
reigns alive.

Dic nobis Maria,
Tell us, Mary,

quid vidisti in via?
what did you see on the road?

Sepulcrum Christi viventis,
“I saw the tomb of the living Christ

et gloriam vidi resurgentis,
and the glory of his rising,

Angelicos testes,
the angelic witnesses,

sudarium, et vestes.
the Shroud and the clothes.

Surrexit Christus spes mea:
Christ my hope is arisen:

praecedet suos in Galilaeam.
into Galilee, he will go before his own.”

Scimus Christum surrexisse
We know Christ is risen

a mortuis vere:
truly from the dead:

Tu nobis, victor Rex, miserere!
To us, victorious King, have mercy!

 

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

Filed Under: Articles Last Updated: April 5, 2021

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski

Random Quote

“Participation” in the Mass does not mean hearing our own voices. It means God hearing our voices. Only He knows who is “participating” at Mass. I believe, to compare small things with great, that I “participate” in a work of art when I study it and love it silently.

— Evelyn Waugh

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