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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

Vesting Prayers • Part 4 of 9

Fr. David Friel · July 26, 2015

HE WORD “ALB” is simply the Latin word for “white,” so it should be no surprise that the alb is always made with white fabric. Its basic purpose is to cover the minister’s secular clothing during the sacred liturgy, thereby reminding those present that what transpires in the sanctuary is a foretaste of the heavenly realm.

The imagery of the saints wearing white in heaven is scriptural. In the Book of Revelation, the bride of the Lamb is described wearing “a bright, clean linen garment” (Rev 19:8). Later in the same chapter, “the armies of heaven” are said to be riding horses and “wearing clean white linen.” The magnificent hymn, Te Deum, moreover, refers to the “white-robed army of martyrs” praising God (Te mártyrum candidátus laudat exércitus).

Another facet of the alb’s significance is that it should serve to remind us of our Baptismal identity. In this sense, the alb hearkens to mind the white garment we received at our first Sacrament, as well as the Pauline theme of “putting on” Christ (“All of you who were baptized into Christ have put on Christ,” Gal 3:27; “Clothe yourselves with the Lord Jesus Christ,” Rom 13:14; “Put on the new self,” Eph 4:24).

As the priest puts on his alb, he offers the following prayer:

Dealba me, Domine, et munda cor meum; ut, in sanguine Agni dealbatus, gaudiis perfruare sempiternis.

Cleanse me, O Lord, and purify my heart, that, washed in the Blood of the Lamb, I may attain unto everlasting joys.

There is a very surprising image used in this prayer, and it centers on the rich word dealbatus. The English translation I have provided above gives this word as “washed,” but it could more literally be translated as “having been made white.” The word “alb” even appears within this longer word. Isn’t it curious to suggest that, being washed in Blood, one may be made white? This unusual image, I believe, is meant to strike our ears strangely, leading us to deeper meditation on the cleansing power of Christ’s sacrifice.

In the latter portion of the prayer, a complex word appears. Perfruare is the second-person singular form of the present active subjunctive. It is, furthermore, a deponent verb (i.e., a verb that is active in meaning but passive in form). The use of the subjunctive here makes a beautiful theological point. The prayer asks that the one praying might become worthy/deserving of everlasting joys. Implicit in the prayer, therefore, is the notion that we are not, of ourselves, worthy or deserving of heavenly bliss. We may become so, though, by the sanctifying grace that comes to us by the action of the sacred liturgy.

Yet another phrase in this prayer warrants closer consideration. The words Munda cor meum appear not only in this vesting prayer, but also in one of the private prayers prayed inaudibly during Holy Mass. These are the opening words of the prayer of preparation offered by the deacon or priest before proclaiming the Gospel. At both of these moments, how fitting it is to offer a preparatory prayer for purity.

Like the other vestments we are considering in this series, the alb is traditionally a priestly vestment. In recent decades, this understanding has been eroded as the alb has been reinvented as the vesture for a variety of functions within the liturgy. JMO considers this topic HERE.

Next week, we shall consider the vesting prayer associated with the cincture.

Part 1 • Introduction

Part 2 • The Hand Washing

Part 3 • The Amice

Part 4 • The Alb

Part 5 • The Cincture

Part 6 • The Maniple

Part 7 • The Stole

Part 8 • The Chasuble

Part 9 • The Dalmatic

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

Filed Under: Articles Tagged With: Traditional Catholic Vestments, Vesting Prayers Last Updated: March 29, 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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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “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

Random Quote

“If he converses with the learned and judicious, he delights in their talent—if with the ignorant and foolish, he enjoys their stupidity. He is not even offended by professional jesters. With a wonderful dexterity he accommodates himself to every disposition. As a rule, in talking with women (even with his own wife) he is full of jokes and banter.”

— ‘Erasmus on St. Thomas More (England’s 1st lay Chancellor)’

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  • PDF Download • “Quasi Modo Sunday”
  • ‘German’ Introductions for Hymns
  • Fascinating Interpretation of the “Regina Caeli” (Solemn Tone)

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