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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

The Sequences as Popular Works of Liturgical Creativity

Fr. David Friel · May 28, 2017

HE SEQUENCES of the Roman Rite have been a special interest of mine for several years. Their historical development, poetic composition, and liturgical codification are among the numerous facets of the sequentiarium that one can explore. The sequences are also among the most interesting musical aspects of the Mass, and they are especially notable for their charming piety.

About a year ago, I posted a Mini History of the Sequences that sketches the broad outline of how the sequences first came to be, how they proliferated, and how they were eventually curtailed.

I have written a new article in this month’s Adoremus Bulletin that presents a more detailed account of the sequences’ history and their importance within the Roman Rite. The fundamental assertion of the article is that the sequences are examples of authentic liturgical creativity. Born from within the liturgy, itself, the genre of the sequence came into being organically and was allowed to flourish.

The article takes a close look at the four sequences codified in Missale Romanum 1570 and the one added to the missal in the 18th century:

Victimae paschali — Easter

Veni Sancte Spiritus — Pentecost

Lauda Sion — Corpus Christi

Dies irae — Requiem

Stabat mater — Our Lady of Sorrows (added in 1727)

The full article is freely available on the Adoremus website: Liturgically Creative Writing: Popular Development of the Sequences in the Missale Romanum.

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

Filed Under: Articles Tagged With: Adoremus Bulletin, Liturgical Sequences Last Updated: October 10, 2021

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “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
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —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

“Been to Catholic church and heard Mass. Execrable music! Organ played by a young girl who made impossible harmonies. Sermon very long. The preacher screamed loud enough to tire his lungs. The congregation was affected.”

— Louis Moreau Gottschalk (8 May 1864)

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