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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 Offertory Antiphons of the Easter Octave

Fr. David Friel · April 19, 2020

HE EASTER octave features numerous out-of-the-ordinary liturgical features, such as a proper Communicantes, a proper Hanc igitur, and the sequence Victimae paschali laudes. What has struck me most during this past week, however, is the beauty of each day’s offertory antiphon (in the Extraordinary Form). Collectively, they convey a beautiful mystery.

The texts for each day are as follows (English translations mine):

Easter Sunday: The earth trembled and was still, when God rose up in judgment, alleluia. (Ps 75:9-10)

Easter Monday: An angel of the Lord descended from heaven and said to the women, “He whom you seek has risen, as He said,” alleluia. (Matt 28:2, 5, and 6)

Easter Tuesday: The Lord thundered from heaven, and the Most High gave His voice, and there appeared fountains of waters, alleluia. (Ps 17:14 and 16)

Easter Wednesday: The Lord opened gates of heaven and showered manna upon them, that they might eat; the bread of heaven He gave them. Man ate the bread of Angels, alleluia. (Ps 77:23-25)

Easter Thursday: On the day of your solemn feast, says the Lord, I shall lead you into a land flowing with milk and honey, alleluia. (Ex 13:5)

Easter Friday: This day will be for you a memorial, alleluia; and you will celebrate this day as a solemn feast to the Lord among your progeny, as an everlasting ordinance, alleluia, alleluia, alleluia. (Ex 12:14)

Easter Saturday: Blessed is he who comes in the name of the Lord; we have blessed you from the house of the Lord; the Lord is God, and he has illumined us, alleluia, alleluia. (Ps 117:26-27)

Low Sunday: An angel of the Lord descended from heaven and said to the women, “He whom you seek has risen, as He said,” alleluia. (Matt 28:2, 5, and 6)

What catches my attention most about these texts is a shared theme. The common thread is this: the mention of something either going up from earth to heaven or coming down from heaven to earth.

Ascending: God rises up in judgment (Sunday), He leads His people to the heavenly Canaan (Thursday), and the praises of the people rise up from the house of the Lord (Saturday).

Descending: The Lord thunders from heaven (Tuesday) and showers the earth with manna (Wednesday) and streams of water (Tuesday), while Christ comes in the name of the Lord (Saturday) and illumines His people with heavenly light (Saturday).

Combination: Easter Monday and Low Sunday both feature an identical offertorium text, in which we encounter both an angel descending from heaven and the Lord rising from the dead.

It is unusual to find such a sustained theme among the offertory antiphons of any particular week or season of the liturgical year.

There is an antiphon during the concluding vespers of the Christmas octave on January 1 that uses the phrase O admirabile commercium (“O marvelous exchange”) to describe the humble incarnation of Christ and the consequent raising of human nature to partake in the divine.

Commercium could be a good summary of what I am trying to observe concerning the Easter octave offertory antiphons. I tend to associate the idea more with the Christmas octave than with the Easter octave. I also tend to associate it more with the secret (“prayer over the offerings”) than with the offertorium.

Perhaps the Easter octave offertories are inviting us to associate the theme of commercium equally with Easter.

Reflecting on this still further, it may be possible to identify a similar theme in the Glorious Mysteries of the holy rosary.

1. Resurrection: the Lord is raised up from the dead
2. Ascension: Christ ascends from earth to heaven
3. Descent of the Holy Ghost: the third Person of the Trinity descends upon the gathered disciples
4. Assumption: the Blessed Mother is assumed into heaven, body and soul
5. Coronation: a crown is set down upon the head of Mary, our Queen and Mother

This theme extends even beyond the Easter octave and into the Paschal season, Ascensiontide, and the great day of Pentecost. Perhaps it would be best, therefore, to say that this theme pervades much of the liturgical year.

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

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Filed Under: Articles Last Updated: April 19, 2020

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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

    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st Sunday in Ordinary Time (Year C). 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. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski
    “Entrance Chant” • 21st Sunday Ordin. Time
    You can download the ENTRANCE ANTIPHON in English for the 21st Sunday in Ordinary Time (Year C) which is coming up on 24 August 2025. Corresponding to the vocalist score is this free organ accompaniment. It’s set in a melancholy mode, but if you heard my choir’s female voices singing it your soul would be uplifted beyond belief. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski

Quick Thoughts

    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
    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

Random Quote

Thus in 1905 the Vatican Kyriale appeared with rhythmic signs and the following legend: “Præsens exemplar, rhythmicis signis a Solesmensibus monachis ornatum, typicae Vaticanæ editioni de cætero plane conforme repertum est.” (This copy, provided with rhythmic signs by the monks of Solesmes, completely agrees in every other respect with the Vatican original.)

— Dom Gregory Hügle, OSB

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