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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 Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

This was first breach in the walls of a fortress, centuries old, stoutly built, strong and robust, but no longer capable of responding to the spiritual needs of the age. [N.B. the “fortress” is a liturgy which nourished countless great saints.]

— Annibale Bugnini (19 March 1966)

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