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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 Christmas Sequence: Laetabundus

Daniel Tucker · December 21, 2022

THROUGHOUT THE MIDDLE AGES, the musical tradition of the Church accumulated hundreds of Sequences, Latin hymns that were chanted just before the Gospel reading and were proper to the particular liturgical day or season. With the liturgical reforms of Pope Pius V in 1570, though, the Church’s collection of Sequences in the Roman rite was reduced to just four:
1) Victimae paschale laudes (11th c.) at Easter
2) Veni Sancte Spiritus (12th c.) at Pentecost
3) Lauda Sion Salvatorem (c. 1264) at Corpus Christi
4) Dies Irae (13th c.) for All Souls Day and Masses for the Dead 1

In 1727, the number of Sequences in the Roman rite was expanded to five with the restoration of the Stabat Mater dolorosa (13th c.) for the feast of Our Lady of Sorrows.

One may wonder why the Feast of the Nativity of the Lord was left off of Pope Pius V’s list, given that major feasts of similar status, such as Easter and Pentecost, had their Sequences included. There is, in fact, a Sequence for Christmas which, although left out of the Roman rite, has been preserved in the Dominican rite. This Sequence, called Laetabundus (Joy abounding…), is sung by the Dominicans at Christmas, Epiphany, and Candlemas.

Dominican friars Fr. Stefan Ansinger, OP and Fr. Alexandre Frezzato, OP have produced this lovely recording of the Sequence as part of their work for the YouTube channel OPChant:

The English translation reads:

Let the choir of all the faithful exult in their joy. Alleluia.
The Virgin’s womb hath given us the King of Kings! O wonderful mystery!
The Angel of the great Counsel is born of the Virgin, the Sun is born of a Star!
The Sun knows no setting; the Star is ever shining, ever bright.
As a star gives forth its ray, so does the Virgin her Child.
The star loses naught of its purity by the ray it yields, so neither does the Virgin by her Child.
The lofty cedar of Libanus comes down into our valley, making itself little as the hyssop.
He that is the Word of the Most High God deigns to take a body unto himself; he assumes our flesh.
Isaias had foretold all this; and the Jews, though they knew the prophecy by heart, see not its accomplishment in this mystery.
If they will not believe their Prophets, let them believe the Sybils, who thus sang:
‘Unhappy people, delay not, believe, at least, the ancient oracles! Why wilt thou be cast off, O chosen nation?
This is the Child of whom thy books tell thee: he is the Son of a Virgin-Mother.’ Alleluia.

As Advent draws to a close, let us mark well and with joyful expectation the coming of “the Son of a Virgin-Mother,” and with her let us long for him “with love beyond all telling”! 2

Auguste Le Guennant (d. 1972) published an organ accompaniment for the “Lætabundus” sequence. It can be downloaded in the Saint Jean de Lalande online library.

NOTES FROM THIS ARTICLE:

1  Four hundred years later, the liturgical reforms of Pope Paul VI in 1970 removed the Dies Irae from the Requiem Mass and transferred it to the Liturgy of the Hours for the 34th Sunday in Ordinary Time. 

2  From the Preface from December 17 until Christmas Eve.

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

Filed Under: Articles Tagged With: Sequence for Christmas Last Updated: February 11, 2023

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About Daniel Tucker

Daniel Tucker is choirmaster at the Cathedral of St. Matthew in South Bend, IN. He holds degrees from Western Michigan University and Yale University. —(Read full biography).

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President’s Corner

    Music List • (Easter Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Easter Sunday—a.k.a. “Ad Missam in die Paschae”—which is 5 April 2026. Please feel free to download it as a PDF file if such a thing interests you. The Fauxbourdon for Communion is particularly moving.
    —Jeff Ostrowski
    PDF Download • “Sprinkling Rite”
    Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.
    —Jeff Ostrowski
    ‘Sarum’ Good Friday?
    Plainsong of the Roman Rite has many variants—i.e. slight ‘variations’ or ‘alterations’ made to the ancient melodies. Variants often thrive in particular religious orders. Likewise, before Henry VIII broke away from the Catholic Church, Gregorian Chant variants were frequently associated with individual cathedrals in England: Hereford, Lincoln, Salisbury, and so forth. In the early 20th century, the (Anglican) organist at Westminster Abbey married “Let All Mortal Flesh Keep Silence” to this beautiful variant melody from England. Those who sing Gregorian Chant on Good Friday will recognize the melody. What do you think of this pairing?
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“For me, religious music ceased with the sixteenth century. The fresh, childlike souls of that time alone expressed their vehement, untainted fervor in music free from worldliness. Since then we have had pious musical improvisations more or less made for show. That wonderful man Johann Sebastian Bach only escaped because of his natural genius. He built harmonic edifices as a devout architect and not as an apostle.”

— Claude Debussy (1862-1918)

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