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Views from the Choir Loft

A Mini History of the Sequences

Fr. David Friel · May 24, 2015

HE SEQUENCES are an interesting facet of the liturgy. Their historical origin is difficult to trace, but they are generally thought to be an outgrowth of the melismatic jubili at the end of Gregorian Alleluias. Sequences originally served as an artful accompaniment to the sometimes lengthy Gospel procession.

First appearing in the ninth century, the sequence rose to a level of fair prominence in the medieval period. Their heyday lasted until the liturgical reforms enacted during the Counter-Reformation. At the height of their usage, there were proper sequences for nearly every Sunday and feast day (outside penitential seasons). Their usage varied widely, however, since the sequences were never obligatory.

In 1570, the liturgical use of sequences was restricted to just four of these texts, including: Victimae paschali for the octave of Easter, Veni Sancte Spiritus for the octave of Whitsun (now called Pentecost), Lauda Sion for the octave of Corpus Christi, and Dies irae for All Souls’ Day and Requiem Masses that immediately follow a death. Then, in 1727, the Stabat mater was added for the new feast of the Seven Sorrows of Our Lady. Notably, these were not the only sequences allowed; they were, however, the only sequences prescribed for the liturgy.

The sequence for today’s feast of Pentecost is the Veni Sancte Spiritus, and it was probably retained because of the many customs and traditions associated with the annual feast in medieval times. This text was likely composed by Pope Innocent III at the turn of the thirteenth century, but it may have been the earlier work of King Robert the Pious of France at the turn of the eleventh century. It is sometimes called the “Golden Sequence” because of the esteem it has long enjoyed among the faithful. One should not confuse this composition, though, with the Veni Creator Spiritus, which is another very worthy but separate composition, attributed to Charlemagne.

Veni Sancte Spiritus is a true masterpiece of Latin poetry. In rhyme scheme, it is complex and gorgeous; lines one & two rhyme with each other, and line three always ends in the syllable –ium. In meter, the sequence is a very faithful example of trochaic dimeter. In content, it is a magnificent meditation on the Spirit’s guidance through consolation & desolation. So much is lost when this sequence is not sung in its original Latin.

Even today, in the Extraordinary Form, this sequence is sung daily throughout the octave of Pentecost. This serves as an excellent bridge to the Feast of the Most Holy Trinity, and it provides ample time for the faithful to digest the depth of faith contained in the Golden Sequence.

The liturgical reforms of Vatican II further reduced the number of sequences in the missal. Presently, in the Ordinary Form, sequences are only appointed for two feasts (Easter and Pentecost) and recommended for one (Corpus Christi). The Dies irae and Stabat mater, meanwhile, have been relegated to the breviary, where they have become optional hymns for the Office of the Dead and in the days anticipating penitential seasons.

Another change brought on at Vatican II concerns the placement of the sequence. Historically, the sequence had always followed the Alleluia. This is suggested even by the name “sequence,” which derives from the Latin sequere, meaning “to follow.” In this position, the sequence served as a sort of introduction to the Gospel. The present placement, however, is before the Alleluia, rather than after it. This modern rubric seems anomalous, since it separates the sequence from the Alleluia—the very part of Mass from which the sequence first drew its life.

Editor’s Note : Fr. Friel is quite correct in pointing out that Sequences were created to help singers memorize the long jubilus of the Alleluia. Indeed, many of the early Sequences ended each line with the letter “A” to bring this point home. However, not everyone is aware that there was an serious effort made in 2000 to restore the Sequence to its proper place in the Ordinary Form.

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

Filed Under: Articles Tagged With: Annibale Bugnini Reform, Extraordinary Form 1962 Missal, Gregorian Chant, Gregorian Sequences, Liturgical Sequences, Liturgy of the Second Vatican Council, Omitting The Sequence On Pentecost Last Updated: October 10, 2021

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About Fr. David Friel

Ordained in 2011, Father Friel served as Parochial Vicar at Saint Anselm Church in Northeast Philly before earning a doctorate in liturgical theology at The Catholic University of America. He presently serves as Vocation Director for the Archdiocese of Philadelphia and teaches liturgy at St. Charles Borromeo Seminary.—(Read full biography).

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Corpus Christi Watershed

Quick Thoughts

    Hymn by Cardinal Newman
    During the season of Septuagesima, we will be using this hymn by Cardinal Newman, which employs both Latin and English. (Readers probably know that Cardinal Newman was one of the world's experts when it comes to Lingua Latina.) The final verse contains a beautiful soprano descant. Father Louis Bouyer—famous theologian, close friend of Pope Paul VI, and architect of post-conciliar reforms—wrote thus vis-à-vis the elimination of Septuagesima: “I prefer to say nothing, or very little, about the new calendar, the handiwork of a trio of maniacs who suppressed (with no good reason) Septuagesima and the Octave of Pentecost and who scattered three quarters of the Saints higgledy-piddledy, all based on notions of their own devising!”
    —Jeff Ostrowski
    Introit • Candlemas (2 February)
    “Candlemas” • Our choir sang on February 2nd, and here's a live recording of the beautiful INTROIT: Suscépimus Deus. We had very little time to rehearse, but I think it has some very nice moments. I promise that by the 8th Sunday after Pentecost it will be perfect! (That Introit is repeated on the 8th Sunday after Pentecost.) We still need to improve, but we're definitely on the right track!
    —Jeff Ostrowski
    Simplified Antiphons • “Candlemas”
    Anyone who desires simplified antiphons (“psalm tone versions”) for 2 February, the Feast of the Purification—which is also known as “Candlemas” or the Feast of the Presentation—may freely download them. The texts of the antiphons are quite beautiful. From “Lumen Ad Revelatiónem Géntium” you can hear a live excerpt (Mp3). I'm not a fan of chant in octaves, but we had such limited time to rehearse, it seemed the best choice. After all, everyone should have an opportunity to learn “Lumen Ad Revelatiónem Géntium,” which summarizes Candlemas.
    —Jeff Ostrowski

Random Quote

“If he converses with the learned and judicious, he delights in their talent—if with the ignorant and foolish, he enjoys their stupidity. He is not even offended by professional jesters. With a wonderful dexterity he accommodates himself to every disposition. As a rule, in talking with women (even with his own wife) he is full of jokes and banter.”

— ‘Erasmus on St. Thomas More (England’s 1st lay Chancellor)’

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