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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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Corpus Christi Watershed

President’s Corner

    Season’s End Repertoire
    Looking at the REPERTOIRE SHEET until the end of the choral season, I see that I’ve fallen behind schedule. (The last three months have been extraordinarily busy.) As you know, I have been providing organ harmonies for all the ENTRANCE CHANTS—as well as rehearsal videos—and you can see I’m behind where I planned to be. Now I must make up lost ground. However, the choir picks up the ENTRANCE CHANT with ease, so I’m sure it will all work out. My ‘unofficial’ harmonizations are being posted each week at the flourishing feasts website.
    —Jeff Ostrowski
    PDF Download • “Funeral Procession”
    From a mediæval Book of Hours, I was sent this glorious depiction of a Roman Catholic funeral procession by Simon Bening (d. 1561). The image resolution is extremely high. I’m not sure I know of a more beautiful illustration of a mediæval church. And I love how the servers are wearing red and pink cassocks!
    —Jeff Ostrowski
    Simplified Accomp. • Schubert’s “Ave Maria.”
    Sometimes the organist must simultaneously serve as the CANTOR. (Those who work in the field of church music know exactly what I’m talking about.) One of our contributors composed this simplified keyboard accompaniment for Franz Schubert’s “Ave Maria,” a piece which is frequently requested for Catholic funerals and weddings. In terms of the discussion about whether that piece is too theatrical (‘operatic’) for use in Church, I will leave that discussion to others. All I know is, many church musicians out there will appreciate this simplified version.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski

Random Quote

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— Father Clemens Blume, S.J.

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