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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

Guinea Pigs and the Old Sequence for All Souls Day

Veronica Brandt · October 31, 2015

snowball the guinea pig WROTE ABOUT Dies Irae last year. Next time someone asks me why I attend a Vetus Ordo Mass I’ll give Dies Irae as the reason. The current plan splits up the hymn across Matins, Lauds and Vespers – like they do with Jesu Rex Admirabilis and Jesu Dulcis Memoria for the feast of the Holy Name of Jesus. If you are eager to read more on their history and place in the Mass
Fr Friel has written a mini history of the Sequences.

But back to the guinea pigs.

A couple of years ago my sons bought a pair of guinea pigs at a homeschool market day. We had lots of exciting times, like when they hid under the shed and wouldn’t come back until after dark. We had random squares of neatly trimmed grass around our yard where their pen would stay for a few days at a time.

But then after a particularly hot day, the boys went to bring the guinea pigs in and found them both dead.

One was stiff already. The other was going that way. To be sure that they weren’t about to revive we kept them in shoeboxes overnight – something like having an open coffin. The passing of time eased the heartache a little.

The next day we dug a hole under a persimmon tree near where their pen was. The usual question about whether animals go to heaven was discussed. We didn’t want to be praying for the repose of their souls, but something to show our trust in God and express the unsettling awareness of the transience of all material things – including fuzzy pets. Queue Dies Irae.

Many are daunted by the length – 20 verses depending how you count them – but it is fairly easy. There are three main tunes. Let’s call them A, B and C.

The pattern is : A A B B C C A A B B C C A A B B C C then the closing tune for Lacrimosa through to the end. All the Sequences have that echo effect which can be very handy for a choir to sing antiphonally with the more experienced singers leading.

Back in our backyard, I pulled out some copies of A New Book of Old Hymns. We sang it through and it seemed so right. Our littlest piped up at the end to say it was all finished.

    * *  Dies Irae – pp 52-55 of A New Book of Old Hymns

I didn’t make a recording that day, but there are many recordings. Giovanni Vianini’s renditions are always great. There are also many, many, many translations and paraphrases.

Maybe you can take this hymn along to your local cemetery for the plenary indulgence Nov 1-8. Have a blessed November.

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

    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski
    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. 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 spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“How on earth in the [post-conciliar] liturgy for the dead should there be no more mention of sin and expiation? There’s a complete absence of imploring the Lord’s mercy. […] Although the texts were beautiful they were still lacking in the sense of sin and the sense of mercy. But we need this! And when my final hour comes, ask for mercy for me from the Lord, because I have such need of it!”

— Pope Saint Paul VI (3 June 1971)

Recent Posts

  • Cheap! Cheap! Cheap!
  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies
  • “Music List” • 14 September (Holy Cross)
  • Do You Recognize This Hymn? Do You Like It?

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