Paschale Mysterium Gregorian Chant for Ijl Vexilla regis (hymnus) Domine, exaudi (tractus) Crucem tuam (antiphona) Improperia I1 Oratio Jeremiae Exultet (praeconium paschale) Cantemus Domino (canticum) [81 Surrexit Dominus vere (antiphona cum psalmo invitatorio 94) Alleluia. Haec dies (antiphonae) Haec dies. Confitemini (responsorium - graduale) Alleluia. Victimae paschali laudes (sequentia) Exsultemus et laetemur (cantus responsorialis) Aurora lucis (hymnus) Benedicamus Domino, alleluia (ad dimittendum populum)

The liturgical celebration of the mystery of Easter, the Paschale Mysterium, comes at the height of the Christian year, marking the task of human redemption and the glorification of God. It is both a record and a redemptive representation of the passion and death of Christ, on Good Friday, and of his resurrection, on Easter Eve and Easter Day. These two celebrations, which have formed the core of the Easter liturgy since the apostolic age, centre on the Cross, the "King's emblem, glowing with mystery . . . the wonderful, shining tree, adorned with royal purple", in the words of the hymn Vexilln regis, written by Venantius Fortunatus, seventh century bishop of Poitiers, the opening of the present release. In tl~emodern liturgy the VexiIla regis is sung at in Holy Week. Its composition presents highly lyrical melodic motifs and is constructed on an authentic protzrs mode which has a range of a modal fifth (D to A) wit11 the ornamentation of B flat. T11e liturgy of Good Friday juxtaposes the celebration of two ritual elements, the readings from the Bible followed by the universal prayer (orntio fidelitan) and the Veneration of the Cross. The first has its origin in the papal liturgy, celebrated in the Roman Basilica of the Holy Cross of Jerusalem, the second, more popular in character, is derived from the presbyterial liturgy. In the first part the readings, songs and prayers alternate, following the classical pattern of the stational-liturgical synaxes, the archaic mark of which they retain. The two readings before the Passion narrative and the direct psalmody of the tracts come from the Gallican liturgical tradition. The chant Donzine, exnudi, originally sung on Ash Wednesday, from Psalm CI, contains tl~eanguished cry of the servant of Yahweh that announces the redeeming Passion. The last verse of the text, "Rise up, 0 Lord, take pity on Zion, for the time has come to have mercy on her" corresponds to the climax of the music, that touches the dominant G, with Gallican patterns that have also supplied material for the creation of the Alleluia modal D tone (1st mode). The tract Don~inzisexnlrdi is in plngnl prottrs. The main chord d (opening izrbilzls at Dollzilze in the first verse) develops its dominant on the upper third (it~bilzisof the second verse on ize nvertns) and on its fourth, on g, in the last verse. From the second part of the Good Friday liturgy (the Veneration of the Cross) come the chants of the I~~zproperin,tl~e Reproacl~es, and the antiphon Crzicem ttrallz ador.emtis (We adore thy cross). These two musico-liturgical elements, introduced into the Roman liturgy between the ninth and eleventh centuries, still today arouse emotional intensity within the striking frame of the Adoration of the Cross. The antiphon Crtrcenz ttrnnz rises like a cry of triumph, extolling the glory of the Cross. In fact it is composed on the theme of the Te Detrm. The dramatic Ir~zproperiathat follow accompany the rite of the Veneration of the Cross. The text reminds us of how the chosen people offended the Son of God and of the benefits that he had bestowed on the ungrateful nation. Here the second group of Reproaches, without the Trisagion, is offered, consisting of two-member sentences that alternate with the verses. The semi-ornate phrase that serves as a refrain is polymodal: it opens in the e mode, with melodic- textual accents on g (Poptrle nzeus, quid feci tibi?) and continues in the Gallican d mode (Atit in quo contristavi te? Responde tnihi). The verses present a syllabic psalmodic tonal pattern, stemming from the musico-liturgical tradition of Central Italy: e is the reciting note, with mediatio and tenninatio cadencing on the lower c. The prayer of the Prophet Jeremiah, offered here almost unabridged, is the lament that describes the struggle of Jerusalem and of its inhabitants. The Jews recite it on the day that commemorates the destruction of the Temple, the Church in the office of Holy Saturday, to recall the tragedy of Calvary. The melody of this text is set to an early d tone coming from a non-Roman, perhaps Gallican, musico-liturgical tradition and following the pattern of a double psalmodic tone in semi-ornate style, with cursive cadences: tnediatio cadences descend to c, while tertninatio cadences close on the reciting note of d. In the second part the reciting note of the psalmodic tenor rises to g. The Extrltet is the chant announcing the joy of Easter, commonly known as the praecotzitr~npasclzale, at the opening of the Easter Vigil, the principal of all vigils, after the blessing of the fire and the paschal candle that through its light dispels the darkness of night and of evil. The Exultet starts with an invitation to joy and thanksgiving (exstrltet . . . gatrdeat . . . laetetur), in a solemn reciting tone of wide ambitus: from the reciting note of c touching d to highlight the textual stress, the melody has two intermediate cadences on a (cnelorzrm and tizysteria) and an ornamented cadence on low c (salt~taris),prepared by means of a long step-wise melodic descending line (et pro tanti Regis). There follows, with the same melody, the humble prayer of the minister that he may worthily sing the praise of the paschal candle, symbol of the risen Christ. The prayer ends wit11 a brief dialogue with the congregation on the tone of the chant for the Preface of the Mass. The words Ve~ecligt?trnz et itrstt~711est introduce the essential and most beautiful part of the Exstrltet, to the simple tone of the Preface of the Mass. Two reciting notes c and b descend to b and n respectively at the cadences. The text is divided into four parts: 1. The praise and thanksgiving to God for his work of redemption. 2. Easter night brings to the composer's mind figures from the Old Testament, the Paschal Lamb, the Red Sea and the passage through the desert. 3. Admiration for the splendour of redemption in the four exclamations of 0. 4. The prayer to God that he accept the tribute and that the paschal candle (the risen Christ) may never fail but shine with unextinguished light. After the blessing of the paschal candle follow biblical readings that, like a series of pictures, evoke important stages in the history of salvation. Among these is the reading of the passage through the Red Sea, followed by the well known Song of Moses Cnlztetiztrs Donzilzo. This composition is part of the Roman musical tradition, with the insertion of a Gallican ilzcipit belonging to the earliest musical form of direct psalmody and built on three richly embellished reciting notes, g, b and c. Easter Day that since the eighth century has been sung after the Vigil at sun-rise, opens with an invitation to celebrate the risen Christ, Stnrexit Dolnilztis vere, alleltiia. This text acts as a refrain for the invitatory Psalm XCIV. Its c-based form (octoeclzos ylngal trittis) is matched to a semi-ornate tone for the psalm Velzite, exstilte~ntisDomino, with the reciting note on the higher fifth. The chant Allebiia. Haec dies consists of several antiphons in the fifth mode for Easter, all of them beginning wit11 alleltiia. There is a second alleltrin at the middle cadence and two more at the end of each chant. These antiphons constitute a nzodal tone of the same kind as Alleltiia. Noli flere Maria, which is also recorded in the early Roman and Ambrosian liturgical repertoires. They have the characteristic form of a psalm with double refrain. The Haec dies is the resporzstinz (refrain) to a series of verses that were formerly sung on Easter Day. Now they are divided over each day in Holy Week, but they all share the same form, a d ornate style (modal tone) of Gallican origin. In the verse (Colzfitemilzi) the melody moves away from the rigid scheme of the tone, rising boldly in an explosion of joy at the words quoninm bolztrs. The resyo~zstinzHaec dies is a late composition built 011 set phrases borrowed from the verse. It consists of three melodic phrases, each of them ending with a itibiltis, the first, at the last syllable of Domirzus, of limited range, has the character of a melodic stress on the dominant (c); the second, at the last syllable of Exstrltemzrs, descends to the low fifth with a smootl~melodic movement; the third, at the last syllable of irz ea is wide-ranging and of some intensity, stressing the melodic accent on the modal fifth and then descending to the tonic. Alleltiia. Pnscha tzostrtim has a text that declares "a banquet is prepared: the Lamb is ready: this Lamb is Jesus Christ who was sacrificed and now lives". It is impossible to imagine or devise a more fitting alleluia itibilzls to this Easter proclamation. The alleluia melody (in atithentic tetrardtis) settles on the dominant d after sequential rebounds round the notes c, d and e, offering expressive trills with the melodic upper step e, before gracefully moving to g, the better to reveal the religious feeling of the soul. The verse tone covers the range of a tenth, permeated with rich melismata. The sequence Victinzae psckali latides, attributed to Wipo of Burgundy, who lived from 990 to 1050, chaplain at the courts of Conrad I1 and Henry 111, was written for a short liturgical drama and is a highly lyrical and moving poem. Its qualities mainly lie in its expressiveness, its enthusiasm and the dramatic idea of a duel between life and death in which the author of life, who had died, now reigns alive (nzors et vita dtiello colzflixere lniralzdo . . .). The melody is not inferior to the text. It is syllabic, attractive and calling for wide, lively phrasing, in order to express the expected warmth and colour. The chant Exstrlte~~zziset laetel~ztir,with its answer Alleltlia. Restirrexit Domirzus, is a trope of the Easter final Benedicnlnzis Domino and Ite lnissa est. It probably dates from the thirteenth century. The melody evolved from a detitertis tone, with its descent from g to e in the final cadence. The hymn Atrro~alticis, written by an unknown writer probably in the fifth century, is sung in the office of Lauds at Easter. The verses and strophes are ornamented on a syllabic eighth mode tone, nimble and joyful, reflecting the spring dawn of Christ's resurrection. Through the concluding phrase Belzedicarntis Domino the melody to which the Exsulte~~ztrset laetenztir was set can be heard again. Alberto Turco (Teacher at the Pontifical Ambrosian Institute in Milan)

A Brief Note on Plainchant Plainchant, the traditional chant of the Catholic Church, has certain general characteristics. It consists of a melodic line, following the free rhythm of the Latin words and uses the ancient modes rather than major or minor scales. These modes take their names from quite different Greek modes, Dorian, Phrygian, Lydian, Mixolydian, and these modal scales correspond to scales played on the white notes of the piano from d to d' (Dorian), e to e' (Phrygian), f to f (Lydian) and g to g' (Mixolydian). The range of a plainchant melody is seldom more than an octave (eight notes). The modes listed above, known as authentic modes, have companion plagal modes that start a fourth below and have the prefix Hypo- added to their Greek name. Thus the Hypodorian mode has a range from A to a, but its final note, on which the chant will end, is still d. To add complexity to this, these modes may also have other names partly derived from Greek. The Dorian mode may be referred to as ntitlze~ztictrsprottrs, Hypodorian may be plngnlis prottrs, the Phrygian mode may be atrthe~ztictis detrtertis and so on, using the Latin form of Greek numerals, protus (= first), deuterus (= second), tritus (= third) and tetrardus (= fourth). Chant may be syllabic, with one note to a syllable, the usual form of the settings of the Psalms. It may be neumatic, with occasional groups of two or three notes to a syllable in a more or less syllabic context, as in the Hymns of the liturgy. Finally it may be melismatic, with more elaborate groups of notes on one syllable. Generally speaking, the more wordy the text, the more likely it is to have a syllabic setting. Melismatic settings are preserved for words like nlleltrin, which allows for rhapsodic embellishment. Gregorian chant is not synonymous with plainchant but refers to the standardised form of chant attributed to the revisions or inspiration of the sixth century Pope Gregory the Great. Earlier forms of chant still in use include the Ambrosian in Milan, attributed to St Ambrose and the Mozarabic in parts of Spain, while the Gallican, from France, and the Celtic forms of chant are largely obsolete. Plainchant of whatever kind has a remoter source in the practice of the synagogue and modifications inevitable in contact with a pagan world. Keith Anderson Aurora Surgit The female Gregorian chant schola Aurora Surgit came into being in the Choral Singing class at the Conservatory of Rovigo thanks to the initiative of some young pupils. Its purpose is to bring Gregorian chant back to life in the places it was intended for and through up-to-date semiological and modal- aesthetic researches. Either a Cantor, for the performance of solo parts and responsories, or a male group, for the performance of antiphons, joins the female permanent group. The name of the choir comes from the hymn Atworn st~rgitlticidn, which is sung Ad laudes nzattrti~zas(for the morning Lauds) on the feast of St Mary Magdalene.

Alessio Randon Alessio Randon graduated in Gregorian Chant and Sacred Music at the Ambrosian Pontifical Institiute of Milan and in Singing at the Conservatory of Padua. He currently teaches choral singing at the Conservatory of Rovigo. He I is a member of the Artistic Board of the Venetia Association for Choral Singing I Development (ASAC). He has directed the female Gregorian chant schola ' A~rrolnStlrgit of Padua since its foundation and is a soloist with the Noun Sclzola I Gregorin~zcrof Verona under the direction of Luigi Agustoni and Alberto Turco. He gives regular courses and workshops on vocal technique, semiology and Gregorian chant. Texts

Vexilla regis prodeunt, The standards of tlie king go forth, fulget crucis mysterium, tlie mystery of tlie cross shines, quo carne carnis conditor by ~vliichtlie creator of flesh suspensus est patibulo. is hanged and suffers in tlie flesh. Quo, vulneratus insuper By which, too, wounded niucrone diro lanceae, by the harsh point of tlie lance, ut nos lavaret crimine, to ~vaslius from sin, manavit unda et sanguine. he flowed water and blood. Arbor decora et fulgida, Fair and shining tree, ornata regis purpura, decked in king's purple, electa digno stipite chosen from worthy stock tam sancta membra tangere. to touch sucli sacred limbs. Beata, cuius brachiis Blessed, in whose arms saecli pependit pretium; he l~ung,a price for tlie world; statera facta est corporis of his body a payment made praedam tulitque tartari. and took away the prey of Tartarus. Salve, ara, salve, victima, Hail altar, hail victim, de passionis gloria, from the glory of tlie passion, qua vita mortem pertulit by which life bore death et morte vitam reddidit. and in death restored life. 0 crux, ave, spes unica, 0 cross hail, only hope, hoc passionis tempore in this time of passion piis adauge gratiam give grace to tlie pious reisque dele crimina. and wipe out tlie sins of offenders. Te, fons salutis, Trinitas, You, fount of salvation, Trinity, collaudet omnis spiritus; let every spirit praise; quos per crucis mysterium whom tl~rougl~the mystery of the cross salvas, fove per saecula. you save, guard through the ages.

Domine, exaudi orationem meam, Lord, hear my prayer, et clamor meus ad te veniat. and let my cry come to you. Ne avertas facieni tuam a me: do not turn your face from me: in quacumque die tribulor, in tlie day of my tribulation, inclina ad me aurem tuam. incline to me your ear. In quacumque die invocavero te, In the day that I call upon you, velociter exaudi me. quickly hear me. Tu exsurgens, Domine misereberis Sion: Arise,Lord, and have mercy on Sion: quia venit tempus miserendi eius. for tlie time of niercy is come.

Crucem tuam adoramus, Domine: We adore pour cross, Lord: et sanctam resurrectionem tuam and we praise and glorify laudamus et glorificamus: pour holy resurrection: ecce enim propter lignuni for lo after tlie cross venit gaudiuni ill universo niundo. joy comes in the whole world. Psalm LXVI Deus misereatur nostri, et benedicat nobis: May God have niercy on us and bless us: illuminet vultum suuni super nos, may his face shine on us et misereatur nostri. and may he have mercy on us. Ut coglioscanius in terra vitam tuam: That we niay know your life on earth: in omnibus gentibus salutare tuuni. your salvation among all nations. Colifiteantur tibi populi, Deus: May the peoples ack~lowledgeyou, God: confiteantur tibi populi omnes. may all the peoples acknowledge you.

Popule meus, quid feci tibi? My people, what have I done to you? Aut in quo contristavi te? Or in ~vliathave I offended you? Responde milii. Ans~verme. V.l Ego propter te flagellavi For you I scourged Aegpptum cum primogenitis suis: Egypt ~vitliher first-born: et tu me flagellatum tradidisti. and you handed me over to be scourged. V.2 Ego te edusi de Aegypto, I led JTOU out of Egypt, denierso Pliaraone in mare Rubrum: with Pharaoh drommed in tlie Red Sea: V.3 Ego ante te aperui mare: I opened tlie sea before you: et tu aperuisti lancea latus meus. and you opened my side with a lance. V.4 Ego ante te praeivi in columna nubis: I went before you in a pillar of cloud: et tu me duxisti ad praetorium Pilati. and you led me to tlie judgement seat of Pilate V.5Ego te pavi manna per desertum: I fed you with manna in the desert: et tu me cecidisti alapis et flagellis. and you beat me with blows and ~711ips.

Incipit oratio Ieremiae prophetae: Here begins the prayer of the Prophet Jeremiah: Recordare, Domine, qui acciderit nobis: Remember,Lord, our lob intuere, et respice opprobrium nostrum. Look and see our disgrace. Hereditas nostra versa est ad alienos: Our heritage is given to strangers: domus nostrae ad extraneos. our houses to foreigners. Pupilli facti sumus absque patre, We are made fatherless orphans, matres nostrae quasi viduae. our mothers as widows. Aquam nostram pecunia bibimus: We paid for our water to drink: ligna nostra pretio comparavimus. we have bought our wood at a price. Cervicibus nostris minabamur, There were threats on our heads lassis non dabatur. rest was not given to the weary. Aegypto dedimus manum, et Assyriis, We were given to Egypt and the Assyrians ut saturaremur pane. that we might have bread. Mulieres in Sion humiliaverunt, The women in Sion were humiliated, et virgines in civitatibus Iuda. and virgins in the cities of Judah. Ierusalem, Ierusalem, convertere Jerusalem, Jerusalem, turn ad Dominum Deum tuum. to the Lord your God.

Exsultet iam Angelica turba caelorum: Let now the angelic host of heaven be glad: exsultent divilia mysteria: let the divine mysteries be glad: et pro tanti Regis victoria and for the victory of such a King tuba insonet salutaris. let the trumpet of salvation sound. Gaudeat et tellus tantis irradiata fulgoribus: Let earth too rejoice lit by such brightness: et aeterni Regis splendore illustrata, and illumined by the splendour of the eternal King, totius orbis se sentiat amisissae caliginem. knowing that the darkness of the whole world is gone. Laetetur et mater Ecclesia, Let Mother Church be joyful, tanti luminis adornata f~~lgoribus: orname~itedwith the brightness of such light: et magnis populorum vocibus and let this hall sound with loud voices haec aula resultet. of the peoples. Quapropter adstantes vos, fratres carissinii, Wherefore I ask you liere present, most dear brothers, ad tam miram liuius sancti luminis claritatem, in the wonderful brightness of this holy. liglit,. una mecum, quaeso, together with me, Dei olnnipotentis misericordiani to call for tlie mercy of almighty God invocate. so that he who has deigned to count me, Ut, quo me non meis meritis iiitra not through my own merits, Levitarum numerum dignatus est aggregare: among the number of the Levites, luminis sui claritatem infundens, may pour forth tlie brightness of his liglit cerei l~uiuslaudem implere perficiat. and bring about the praise of this candle, Per Dominum no st run^ Iesum through our Lord Jesus Christ, your son, Christum Filium suum: Qui cum eo oivit et regnat who lives and reigns with him God, in unitate Spiritus sancti Deus: in the unity of the Holy Spirit: per omnia saecula saeculoruni. Amen. world without end. Amen. Doniinus vobiscum. The Lord be with you. Et cum spirit0 tuo. And with your spirit. Sursuni corda. Lift up your hearts. Habemus ad Dominum. We raise them to the Lord. Gratias agamus Domino Deo nostro. Let us give thanks to the Lord our God. Dignuni et iush~mest. It is right and fitting. Vere dignum et iustum est, It is right and fitting to proclaim iiivisibilem Deuni Patreln omnipotentem the invisible almighty God tlie Father, Filiumque eius unigenituni, and his only-begotten Son, Dominum nostrum Iesum Christum, our Lord Jesus Christ, toto cordis ac mentis affectu with every feeling of heart and mind et vocis ministerio personare. and through tlie agency of the voice, Qui pro nobis aeterno Patri Adae who paid for us the debt of Adam to debitum solvit: the eternal Father et veteris piaculi cautionem pio cruore and ivaslied away with his holy blood detersit. tlie obligation of ancient sin. Haec sunt enim festa paschalia, For this is the paschal festival in quibus verus ille Agnus occiditur, in which the true Lamb is slain, cuius sanguine postes fidelium consecrantur. with '\~lloseblood the door-posts of the faithful are consecrated. Haec nos est, in qua primum patres nostros, This is the night on ~\~lichfirst you made our fathers, filios Israel eductos de Aegypto, the sons of Israel, led out of Egypt, niare Rubrum sicco vestigio transire fecisti. cross the Red Sea with dry steps. Haec igitur nox est, Tlierefore this is the niglit quae peccatorum tenebras columnae \vliich cleansed the darkness of sins illuminatione purgavit. by the light of a pillar of cloud. Haec nox est, This is the night quae liodie per universum niundum, ~vliichtoday through tlie whole world brings grace in Christo credentes, a vitiis saeculi, and holiness to those tliat believe in Clirist, et caligine peccatorum segregatos, parted from the vices of their generation reddit gratiae, sociat sanctitati. and from the darkness of sins. Haec nox est, in qua, This is the night on which, destructis vinculis mortis, with the chains of death destroyed, Christus ab inferis victor ascendit. Christ ascends from the world below as conqueror. Nihil enim nobis nasci profuit, For it profited us nothing to be born, nisi redimi profuisset. if it had not profited to be redeemed. 0mira circa nos tuae pietatis dignatio! 0wonderful gift of your goodness to us! 0inaestimabilis dilectio caritatis: 0inestimable love of charity: ut servum redimeres, Filiuln tradidisti! to redeem the slave, you handed over pour Son! 0certe necessarium Adae peccatum, 0certainly necessary sin of Adam quod Christi morte deletum est! which is destroyed by the death of Christ! 0felix culpa, 0happy fault quae talem ac tantum meruit liabere tliat deserved to have such a great Redeemer! Redemptorem! 0vere beata nox, 0truly blessed night quae sola meruit scire tempus et horam, tliat alone deserved to know the time and the 11ou1 in qua Cliristus ab inferis resurrexit! at ~vliichChrist rose from the world below! Haec nox est, de qua scriptun1 est: This is the night about wliicli it is written: Et nox sicut dies illuminabitur: And night will be light as day: et nox illuminati0 mea in deliciis meis. and night will be my light in my delight. Huius igitur sanctificatio noctis fugat scelera, Tlierefore the holiness of this niglit puts to flight crimes, culpas lavat: ~vasliesamray faults: et reddit innocentiam lapsis, and brings back innocence for those ~vhohave fallen, et moestis laetitiam. and joy to tlie sad. Fugat odia, concordiam parat, It puts to flight hatred, et cunrat imperia. makes ready harmony and curbs imperious commands. In liuius igitur noctis gratia, suscipe, Therefore in the grace of tliis night, accept, sancte Pater, holy Father, iiicensi liuius sacrificium vespertinuni: the evening sacrifice of tliis incense: quod tibi in hac cerei oblatione solemni, which in this solemn offering of the candle per ministrorum nianus de operibis apuni, from the work of bees sanctified through the halids of your ministers sacrosancta reddit Ecclesia. the Church renders to you. Sed iam columnae liuius praeconia novimus, But now we know the message of this pillar, quam in honoreni Dei rutilalis ignis accendit. which the sparks of fire light in honour of God. Qui licet sit divisus in partes, Which, although divided into parts, mutuati tamen luminis detrinienta no11 novit. yet knows not any failing of its light. Alitur enim liquaiitibus ceris, For it is nourished by melting wax quas in substantiam pretiosae liuius \\rliich the mother bee produced for the substalice lampadis apis mater eduxit. of this precious light. 0 vere beata nox, quae exspolia\~itAegyptios, 0 truly blessed night, whicli despoiled the Egyptians ditavit Hebraeosi! and enriched the Jews! Nox, in qua terrenis caelestia, Night in which the heavenly is joined to the earthly, hunianis divina iunguntur. the divine to the human. Oramus ergo te, Domine: Therefore we pray you, Lord: ut cereus iste in holioreni tliat tliis candle consecrated tui noniinis consecratus, in l~onourof your name, ad noctis huius caliginem destruendam, niay continue without failing in order to destroy indeficiens perse'ireret. the darkness of this niglit. Et in odorem suavitatsis acceptus, And accepted into the odour of sweetness, supernis luminaribus niisceatur. may be mingled with the lights above. Flammas eius lucifer niah~tinusiii\reniat. Let the morniiig star find its flames. Ille, inquani, lucifer, qui nescit occasum. That morning star, I say, tliat knol\'s no setting. Ille, qui regressus ab inferis, That star that returned from below liumaiio generi serenus illuxit. and in serenity brought light to human kind. Precaniur ergo te, Domine: We beseech you, therefore, Lord: ut nos falnulos h~os,omnemque clerum, that you deign to mle, et devotissimum populuni: govern and keep uiider your una cum beatissinio Papa liostro Joliaiine Paulo continuing protection us, et Antistite liostro Joepho, your servants, quiete temporum concessa, all the clergy and the most devout people, in his pasclialibus gaudiis, together with our blessed Pope John Paul

l et altitudines montium ipse conspicit. and he sees the heights of the mountains. Quoniam ipsius est mare, et ipse fecit illud, For the sea is his, and he made it, et aridam fundaverunt manus eius. and his hands created the dry land. I Venite, adoremus et procidamus ante Deum, Come, let us adore and bow down before God, ploremus coram Domino, let us weep in the presence of the Lord, qui fecit nos, who made us, quia ipse est Dominus Deus noster, because he is the Lord our God, nos autem populus et oves pascuae eius. but we are his people and the sheep of his pasture. Hodie, si vocem eius audieritis: Today, if you hear his voice: Nolite obdurare corda vestra, Harden not your hearts, sicut in exacerbatione as in the bitterness according to the day secundum diem tentationis in deserto, of temptation in the desert, ubi tentaverunt me patres vestri: when your fathers tried me: probaverunt et viderunt opera mea. they approved and saw my works. Quadraginta annis proximus For forty years I was near this generation, fui generationi huic, and I said: These a11,vayserr in their hearts. et dixi. Semper hi errant corde. Ipsi vero non cognoverunnt vias meas, But they did not know my ways, quibus iuravi in ira mea: to whom I swore in my anger: Si introibunt in requiem meam. they shall not enter into my rest. Gloria Patri, et Filio, Glory be to the Father, to the Son, et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc et semper, As it was in the beginning, is now and ever shall be, et in saecula saeculorum. Amen. ~vorldwithout end. Amen.

Alleluia. Alleluia. Haec dies quam fecit Dominus, alleluia, This is the day that the Lord has made, alleluia, - exsdtemus et laetemur in ea. - let us be glad and rejoice in it. Alleluia, alleluia. Alleluia, alleluia. Alleluia. Lapis revolutus est, alleluia, Alleluia. The stone has been moved, alleluia, - ab ostio monumenti. Alleluia, alleluia. - from the mouth of the tomb. Alleluia, alleluia. Alleluia. Tulerunt Dominum meum, alleluia, Alleluia. They have taken away my Lord, alleluia, - et nescio ubi posuerunt eum. - and I know not where they have put him. Alleluia, alleluia. Alleluia, alleluia. Alleluia. Quem quaeris, mulier? alleluia, Alleluia. Whom do you seek, \\roman? alleluia, - viventem cum mortuis? alleluia, alleluia. - the living among the dead? Alleluia, alleluia. Alleluia. Noli flere, Maria: alleluia, Alleluia. Do not weep, Mary: alleluia, - resurrexi Dominus. Alleluia, alleluia. - tlie Lord has risen. Alleluia, alleluia.

Haec dies, quam fecit Dominus: This is tlie day that the Lord has made: exsultenius et laetemur in ea. let us be glad-andrejoice in it. V.1. Confitemini Domino, quoniam bonus: V.1. Let us acknolvledge the Lord, for he is good: quoniani in saecululn misericordia eius. for his mercy endures for ever.

Alleluia. Alleluia. Pasclia nostrmi immolatus est Chrishs. Our Pasch Christ is sacrificed.

1121 Victin~aepaschali laudes Let Christians offer praises imniolent Christiani. to the paschal Vichm. Agnus redeniit oves: The Lamb redeems the sheep: Cliristus innocens Patri Christ the innocent has reconciled reconciliavit peccatores. sinners to the Father. Mors et vita duelloconflixere mirando: Death and life have fought 111 1vonderf~11combat: dux vitae mortuus the king of life, dead, regnat vivus. now living reigns. Dic nobis Maria Tell us, Mary, quid vidistis in via? What did you see on the way? Sepulcl~rumChristi viventis I saw tlie tonib of the living Christ et gloriani vidi resurgentis: and the glory of him rising: Angelicos testes angel u~itnesses, sudarium et vestes. the shroud and napkin Surrexit Christus spes mea: Christ my hope has risen: praecedet suos in Galilaeam. lie ~villgo before his own ~ntoGalilee. Scimus Clwishim surrexisse a morh~isvere: We know Christ has risen truly from the dead: h iiobis, victor Rex, miserere. have mercy on us, conquering King.

Exsultemus et laetemur hodie, Let us be glad and rejoice today, dies iste, dies est laetitiae: that day is the day of rejoicing: *Alleluia,resmrexit Dominus. *Alleluia, the Lord has risen. Exsultandi et laetandi tempus est: It is the time of gladness and rejoicing: Pascha nostrum immolatus Agnus est. our paschal Lamb is sacrificed. *Alleluia, . . . *Alleluia, . . . Timor absit, absit desperatio: Let fear be gone, let despair be gone: iam illuxit Christi resurrectio. now the resurrection of Christ has brought light, *Alleluia, . . . *Alleluia, . . . Ad sepulchrum mulieres veniunt, The women come to the tomb, ab Angelo responsum recipiunt. they receive a reply from the Angel. *Alleluia.. . . *Alleluia,. . . In sepulchro quem dolentes quaeritis? Whom do you seek, grieving, in the tomb? surrexisse dicite discipulis. Tell his disciples that he has risen. *Alleluia, . . . *Alleluia,. . .

Aurora lucis rutilat, The dawn of light shines red, caelum resultat laudibus, Heaven echoes with praises, mundus exsultans iubilat, the world is glad and rejoices, gemens infernus ululat. Hell groans and howls. Cum rex ille fortissimus, For that most mighty king mortis confractis viribus, the power of death broken, pede conculcans tartara trampling under foot Hell solvit catena miseros. looses the chains of the wretched. Ille, quem clausum lapide He whom, shut in by a stone, miles custodit acriter, the soldier keenly guards, triumphans pompa nobili triumphing in noble ceremony victor surgit de funere. rises victor from death. Inferni iam gemitibus Those below are now freed solutis et doloribus, from their groaning and sorrows, quia surrexit Dominus for the Lord has risen resplendens clamat angelus, the shining angel shouts aloud. Esto perenne mentibus Be for ever to our minds paschale, Iesu, gaudium, Jesus, a paschal joy, et nos renatos gratiae and, reborn in grace, tuis triumphis aggrega. bring us to your triumphs. Iesu, tibi sit gloria, Jesus, glory be to you, qui morte victa praenites, who conquered death in combat, cum Patre et almo Spiritu, with the Father and the kind Spirit, in sempiterna saecula. through eternity.

Benedicamus Domino, alleluia. Let us bless the Lord, alleluia. Deo gratias. Thanks be to God.