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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

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“The chapter decides to penalize singers or instrumentalists who are tardy by a few minutes at the same rate as if they had been absent the whole hour.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (2 June 1563 )

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