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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

Mardi Gras and Burying the Alleluia

Richard J. Clark · February 8, 2013

HE HEBREW WORD, “הללויה” or “Hallelujah,” is a word of unsurpassed joy. It is an acclamation of praise, thanksgiving and victory.

“Hallelujah” is really a two–word phrase meaning “Praise Yah.” It is a joyous and unabashed song of praise to God and appears many times in the Book of Psalms, most prominently in Psalms 111-117 and 145-150.

Untranslated by the early Christians, we have adopted the Hebrew word “Hallelujah” as our own. Using it again and again, most notably during Eastertide, we joyfully sing our praises for Christ’s triumph and victory over sin and death. Christ’s Sacrifice has become our Paschal meal. The tomb is empty. Alleluia! Alleluia!

Free Download:
PDF • “Alleluia” (for SAB Choir; Dedicated to Fernando Mavar-Ruiz and Melissa Malvar-Keylock)

However, this Sunday, (and for some on Tuesday at daily mass) we sing our final “Alleluias” as we prepare to begin our Lenten journey towards the Easter celebration of Christ’s glorious Resurrection. Likened to the exile of the Israelites in Babylon, the practice of “fasting” from singing or saying the word “Alleluia” began in some places perhaps as early as the fifth century. The popular practice of “burying the Alleluia” had its beginnings in a lay-led ritual, which included a solemn procession to the church cemetery with a scroll or even a coffin inscribed with the word “Alleluia.” The “Alleluia” was literally buried in the cemetery, leaving the people with the hope and anticipation of its Easter Sunday resurrection.

Where does that leave us this coming week during Mardi Gras and Ash Wednesday? Affectionately known as “Fat Tuesday,” Mardi Gras is not merely one day, but a carnival season ending just before Ash Wednesday. “Fat Tuesday” is our last night of eating richer, fatty foods before the ritual fasting of the Lenten season. It is on this day that we express our last superlative praise of God by exclaiming “Alleluia.”

Just as on Mardi Gras we savor one final taste of indulgent sumptuousness, let us savor these last “Alleluias” as we would a last joyous meal with friends, confidants, family, and dear loved ones. Sing out and delight in this final sumptuous exuberance of God’s praise. Let its memory sustain us through the balance of this bleak winter; let its power strengthen us as we carry our own burdens and shoulder our particular crosses.

The hymn Alleluia, Song of Gladness (The Hymnal 1982, #122, 123; Words: Latin, 11th Cent.; trans. John Mason Neale) evokes the exile of the Israelites in Babylon as well as the fasting from singing “Alleluia” as we enter into Lent. Beginning with verse 2:

Alleluia, thou resoundest, true Jerusalem and free
Alleluia, joyful mother, all thy children sing with thee;
But by Babylon’s sad waters mourning exiles now are we.

Alleluia though we cherish and would chant for evermore
Alleluia in our singing, let us for a while give o’er
As our Savior in his fasting pleasures of the world forbore.

In the final verse, we patiently anticipate singing “Alleluia” in our Easter joy:

Therefore in our hymns we pray thee, grant us, blessed Trinity,
At the last to keep thine Easter with thy faithful saints on high;
There to thee for ever singing alleluia joyfully.

After this Sunday, our Alleluia is buried for the next six Sundays, not to be sung again until the Great Vigil of Easter when we stay awake and keep watch for the Resurrection of our Savior, Christ the Lord.

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 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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President’s Corner

    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
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —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

In the place of liturgy as the fruit of development came fabricated liturgy. We abandoned the organic, living process of growth and development over centuries, and replaced it—as in a manufacturing process—with a fabrication, a banal on-the-spot product.

— ‘Pope Benedict XVI, describing the postconciliar liturgical reforms’

Recent Posts

  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)

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