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The Rites of Holy Week
THE RITES OF HOLY WEEK • CEREMONIES • PREPARATIONS • MUSIC • COMMENTARY By FREDERICK R. McMANUS Priest of the Archdiocese of Boston 1956 SAINT ANTHONY GUILD PRESS PATERSON, NEW JERSEY Copyright, 1956, by Frederick R. McManus Nihil obstat ALFRED R. JULIEN, J.C. D. Censor Lib1·or111n Imprimatur t RICHARD J. CUSHING A1·chbishop of Boston Boston, February 16, 1956 PRINTED IN THE UNITED STATES OF AMERICA INTRODUCTION ANCTITY is the purpose of the "new Holy Week." The news S accounts have been concerned with the radical changes, the upset of traditional practices, and the technical details of the re stored Holy Week services, but the real issue in the reform is the development of true holiness in the members of Christ's Church. This is the expectation of Pope Pius XII, as expressed personally by him. It is insisted upon repeatedly in the official language of the new laws - the goal is simple: that the faithful may take part in the most sacred week of the year "more easily, more devoutly, and more fruitfully." Certainly the changes now commanded ,by the Apostolic See are extraordinary, particularly since they come after nearly four centuries of little liturgical development. This is especially true of the different times set for the principal services. On Holy Thursday the solemn evening Mass now becomes a clearer and more evident memorial of the Last Supper of the Lord on the night before He suffered. On Good Friday, when Holy Mass is not offered, the liturgical service is placed at three o'clock in the afternoon, or later, since three o'clock is the "ninth hour" of the Gospel accounts of our Lord's Crucifixion. -
Tenebrae Responsories for Maundy Thursday
Tenebrae Responsories for Maundy Thursday Stephanie Martin 2018 for St. John Cantius, Chicago Tenebrae Responsories for Maundy Thursday For Fr Scott and St John Cantius, Chicago Holy Week Liturgy Stephanie Martin, 2018 I. IN MONTE OLIVETI On the Mount of Olives he prayed to his Father: Father, if it be possible, let this cup pass from me. The spirit is willing but the flesh is weak. Watch and pray, that you enter not into temptation. ° Adagio mp U , p bb 3 Ó ™ j ™ j ˙ œ œ ˙™ ˙™ j S & 4 œ œ œ œ œ œ œ œ œ ˙ œ™ œ œ œ ˙ œ In mon - te Ol-i - ve - ti o - ra - vit ad Pa- trem: Pa - ter, si fi - e - ri pot - est, mp U , p bb 3 Ó j j j A & 4 œ œ ™ œ œ™ œ œ œ œ œ™ œ ˙ œ ˙ ˙ ˙™ œ™ œ œ œ ˙ œ In mon - te Ol-i - ve - ti o - ra - vit ad Pa- trem: Pa - ter, si fi - e - ri pot - est, mp U , p bb 3 Ó œ œ™ œ œ œ œ œ™ œ ˙ œ œ œ ˙ b˙™ ˙™ œ™ œbœ œ ˙ œ T & 4 J J J ‹ In mon - te Ol-i - ve - ti o - ra - vit ad Pa- trem: Pa - ter, si fi - e - ri pot - est, mp œ œ U , p ™ ? b 3 Ó œ œ™ œ œ œ œ œ™ œ ˙ œ ˙ ˙™ ˙™ bœ œ œ œ b˙ œ B ¢ b 4 J J J In mon - te Ol-i - ve - ti o - ra - vit ad Pa- trem: Pa - ter, si fi - e - ri pot - est, 10 ° b U 4 p b j bœ ˙ 4 œ œ œ œ œ œ bœ ˙ & œ™ œ œ œ ˙ - œ œ œ ˙ œ ˙ œ œ tran - se - at a me ca - lix is - te; Spi-ri-tus qui-dempromp-tus es, ca- ro, au- tem, b U 4 p &b j 4 œ œ œ™ œ œ œ ˙ œ ˙ œ œ ˙ œ œ œ œ œ œ œ ˙ œ ˙ tran - se - at a me ca -lix is - te; Spi-ri-tus qui-dempromp-tus es, ca- ro, au- tem, U p bb ™ œ œ ™ j 4 j œ œ œ ˙ & bœ J œ bœ œ œ œ œ œ œ œ ˙ 4 œ œ œ œ œ œ™ œ ˙ ‹ tran - se - at a me ca - lix is - te; Spi-ri-tus qui-dempromp- tus es, ca- ro, au- tem, œ™ œ U œ œ ? b œ œ 4 ∑ ∑ œ ˙ ¢ b J ˙™ ˙ œ bœ ˙ 4 tran - se - at a me ca - lix is - te; ca- ro, au- tem, 3 °17 mf bb 3 Ó œ & œ bœ œ œ œ ˙ ˙ 4 œ œ œ œ œ ca - ro, au - tem, in - fir - ma. -
Prayer Book Revision and Holy Week
CHAPTER 5 Prayer Book Revision and Holy Week As I discussed in the last chapter, by 1929 scholars and clergy of the Episcopal Church had begun to recommend the reintroduction of long-forgotten Holy Week rites and to provide extra-Prayer-Book resources. Liturgical manuals and missals, together with grassroots liturgies devised using the Prayer Book, the hymnal, and the Bible provided resources that parishes could use before of- ficial Holy Week resources became available. These – with the first two edi- tions of The Book of Offices (1940 and 1949), which contained no Holy Week material – were the only authorized resources available with which to devise liturgies. In the previous chapter we reviewed significant unofficial Holy Week material from the first half of the twentieth century. Several other notable re- sources became available toward the middle of the century. This chapter will survey a number of these and then will go on to explore, in some detail, the process of official prayer book revision that got under way in the Episcopal Church beginning around 1950. 1 Unofficial and Grassroots Holy Week Liturgies at Midcentury In 1946, the Rev. Morton C. Stone, assistant priest at Christ Church, Bronxville, New York (and a member of the Standing Liturgical Commission c. 1950 to c. 1955), provided simple, detailed suggestions for Holy Week ‘that any parish can perform … with the help of Bible, Prayer Book, and Hymnal alone’.1 Stone noted that these ceremonies, ‘though not included in our Prayer Book … are often performed in Anglican churches’.2 For Maundy Thursday, Stone pro- posed an agape meal, during which John 13–17 is read and the priest washes the hands of the congregation ‘in imitation of our Lord’s acting as a server’. -
HOLY WEEK FESTIVAL Palm Sunday 5 April – Easter Sunday 12 April 2020
ST JOHN’S SMITH SQUARE HOLY WEEK FESTIVAL Palm Sunday 5 April – Easter Sunday 12 April 2020 #HolyWeekFestival Curated by Tenebrae in partnership with St John’s Smith Square Tenebrae #HOLYWEEKFESTIVAL © Chris O’Donovan —— An Introduction from Nigel Short I’m delighted to welcome you to Tenebrae’s I look forward to meeting many of you over fourth annual Holy Week Festival. Since the the course of the festival, and I hope you will festival began in 2017 we have been lucky all find something to move and inspire you to work with some truly inspiring artists, over the course of Holy Week. including ensembles of worldwide renown as well as wonderful emerging talent, and this year is no exception. In particular, it has been a long-held dream of mine to invite the King’s Singers, with whom I spent a happy six years performing all over the world, and I am thrilled that they will be performing here at St John’s Smith Square on Palm Nigel Short Sunday evening. Other festival highlights Artistic Director include welcome returns from both The Tallis Tenebrae & Holy Week Festival Scholars and Polyphony, and the exciting female-voice ensemble Musica Secreta in their festival debut. The festival’s raison d’être is to provide ‘A moment of stillness in the heart of the city’. In the first instance this was a response to my own experience as a working musician during Nigel Short © Sim Cannetty-Clarke Holy Week, rushing from one side of London to the other and missing out completely on that vital spirit of reflection. -
In Defense of the Development of Augustine's Doctrine of Grace By
In Defense of the Development of Augustine’s Doctrine of Grace by Laban Omondi Agisa Submitted to the faculty of the School of Theology of the University of the South in Partial fulfillment of the requirements for the degree of Master of Sacred Theology January 2020 Sewanee, Tennessee Approved ____________________________ _______________ Adviser Date ____________________________ _______________ Second Adviser Date 2 DECLARATION I declare that this is my original work and has not been presented in any other institution for consideration of any certification. This work has been complemented by sources duly acknowledged and cited using Chicago Manual Style. Signature Date 3 ACKNOWLEDGEMENT My study of theology was initiated in 2009 by the then Provost of St. Stephens Cathedral, Nairobi, the late Ven. Canon John Ndung’u who was a great encouragement to me. This was further made possible through my bishop the Rt. Rev. Joel Waweru and the Rev. Geoffrey Okapisi who were sources of inspiration. My studies at Carlile College (Church Army Africa) and St. Paul’s University laid a strong theological foundation and I appreciate among others the influence of the Rev. Dr. John Kiboi who introduced me to Philosophy, Systematic Theology, Ethics, and African Christian Theology that eventually became the foundation for my studies at the University of the South. I also appreciate the encouragement of my lecturers Mrs. Tabitha Waweru and Dr. Scholarstica Githinji during my Study of Education at Kenya Technical Trainers College and at Daystar University respectively. My interest in this topic came as a result of many sittings with two professors at the University of the South, Dr. -
Music for Holy Week and Easter
Victoria: Music for Holy Week and Easter V101 Vol. 1Antiphon, Pueri Hebraeorum (SATB) [2’ 25”] Palm Sunday A V103 Vol. 2St Matthew Passion (SATB) [6’ 30”] Palm Sunday B V105 Vol. 3Elevation Motet, O Domine Jesu Christe (SAATTB) [2’ 15”] Palm Sunday A V107 Vol. 4 Three Lamentations (S(S)A(A)ATB) [13’ 20”] Maundy Thursday E Lamentation IQuomodo sedet sola civitas (SAAT/B) [4’ 30”] Lamentation II Et eggressus est a filia Sion (SATB) [4’ 20”] Lamentation III Manum suam misit hostis (SSATB) [4’ 30”] V109 Vol. 5 Six Tenebrae responsories (S(S)ATB) [14’ 11”] Maundy Thursday E Responsory IV Amicus meus (SATB) [2’ 21”] Responsory VJudas mercator (SSAT) [1’ 50”] Responsory VI Unus ex discipulis meis (SATB) [2’35”] Responsory VII Eram quasi agnus innocens (SATB) [2’ 45”] Responsory VIII Una hora (SSAT) [2’ 15”] Responsory IX Seniores populi (SATB) [3’ 45”] V111 Vol. 6The Canticle of Zachary (SATB) [6’ 00”] Maundy Thursday B V113 Vol. 7Psalm 51, Miserere mei Deus (S(S)ATB) [8’ 00”] Maundy Thursday C V115 Vol. 8Elevation motet, Tantum ergo (SSATB) [1’ 45”] Maundy Thursday A V117 Vol. 9Benedicta sit Sancta Trinitas (SSATTB) [6’ 01”] Maundy Thursday B V119 Vol. 10 Three Lamentations (SS(S)A(A)TB) [10’ 05”] Good Friday D Lamentation ICogitavit Dominum (SATB) [2’ 55”] Lamentation II Matribus suis dixerunt (SSAT) [3’ 55”] Lamentation III Ego vir videns (S(S)AATB) [3’ 15”] V121 Vol. 11 Six Tenebrae responsories (S(S)ATB) [18’ 00”] Good Friday F Responsory IV Tamquam ad latronem (SATB) [2’ 55”] Responsory VTenebrae factae sunt (SSAT) [2’ 40”] Responsory VI Animam meam dilectam (SATB) [4’ 40”] Responsory VII Tradiderunt me (SATB) [2’ 10”] Responsory VIII Jesum tradidit impius (SSAT) [2’ 20”] Resonposry IX Caligaverunt oculi mei (SATB) [3’ 15”] V123 Vol. -
Liturgical Proclamations ______
Liturgical Proclamations _______________________________________________________________ The Roman Missal, Third Edition now holds the Liturgical Proclamations treasured by the Church for use on Christmas, Epiphany, and Easter. They are: The Nativity of Our Lord Jesus Christ from the Roman Martyrology “may be chanted or recited, most appropriately on December 24, during the celebration of the Liturgy of the Hours. It may also be chanted or recited before the beginning of Christmas Mass during the Night. It may not replace any part of the Mass.” It is found in Appendix I – Various Chants for the Order of Mass. It is the last item in the appendix. It is optional. The Announcement of Easter and the Moveable Feasts is sung; there is no text provided for reciting it. “On the Epiphany of the Lord, after the singing of the Gospel, a Deacon or cantor, in keeping with an ancient practice of Holy Church, announces from the ambo the moveable feasts of the current year….” It is found in Appendix I – Various Chants for the Order of Mass. It is the second last item in the appendix. It is optional. The Easter Proclamation (Exsultet) is sung during the Easter Vigil in the Holy Night of Easter Sunday of the Resurrection of the Lord. It follows the procession into the church and precedes the Liturgy of the Word. It is proclaimed by a Deacon or cantor, with different norms depending on the singer, in either the long or short form. It is found in the Proper of Time, Easter Sunday, nos. 18-19. It is required. The Mass and Its Parts – Navigating the Roman Missal The pastoral effectiveness of a celebration will be greatly increased if the texts of the readings, the prayers, and the liturgical chants correspond as aptly as possible to the needs, the preparation, and the culture of the participants. -
View/Download Liner Notes
INTRODUCTION two former soprano members of Tenebrae (Julia COUPERIN LEÇONS DE TÉNÈBRES Doyle and Grace Davidson) have returned to join GESUALDO TENEBRAE RESPONSORIES Some of the most atmospheric music from the four of our current members (Jeremy Budd, David FOR MAUNDY THURSDAY numerous Liturgical settings in Holy Week is de Winter, Gabriel Crouch and Jimmy Holliday). that composed for the Office of Tenebrae. Victoria’s are the most well-known, but equally Also harking back to my days as a singer, my beautiful and arguably more dramatic are other favourite music to sing at Easter time the settings composed by Gesualdo. They have (Bach Passions aside) were Couperin’s beautiful Trois Leçons de Ténèbres Second Nocturn an intensity unrivalled in most music of that and mesmerising settings of some of the other François Couperin (1688-1733) 7 Amicus meus osculi [3.24] time owing to the extraordinary and sudden texts from the Tenebrae Offices. I first came 8 Judas mercator pessimus [2.30] 1 Première Leçon JD [16.40] harmonic shifts, which at times sound almost across this music in a wonderfully atmospheric 9 Unus ex discipulis meis [3.56] 2 Seconde Leçon GD [12.05] contemporary, and rhythmic outbursts led film all about another French composer, 3 JD (I) GD (II) on occasion by a single word. As a result the Marin Marais: Tous les matins du monde. The Troisième Leçon [12.08] Third Nocturn listener is always kept on their toes, waiting soundtrack to the film features heavily the • Grace Davidson Soprano Julia Doyle Soprano 0 Eram quasi agnus innocens [5.17] • for the next wild change of direction. -
Saints Alive
Welcome to Saints Alive For centuries the faith of our brothers and sisters, mothers and fathers has been fashioned, refined, colored and intensified by the sheer variety and passion of the lives of the great Christian saints. Their passions, their strengths and weaknesses, the immense variety of their lives have intrigued children young and old for ages. You may even have been named for a particular saint – Dorothy, Dolores, Anne or Elizabeth; Malachi, Francis or even Hugh. So why not celebrate some of those remarkable people through music? As we resume our trek along the Mission Road, we high- light music written in the Americas to celebrate the life and work of our city’s patron saint, Francis, as well as the lives and mission of other men and women venerated by the great musical masters. Saint Cecilia, patroness of music, is very much alive and present in a setting of “Resuenen los cla- rines” by the Mexican Sumaya. Bassani, an Italian who thrived in Bolivia when it was still called Upper Peru, pays homage to Saint Joseph in a Mass setting bearing his name. Its blend of self-taught craftsmanship and mastery of orchestration is fascinating, intriguing, even jolly. It’s as if Handel and the young Mozart had joined hands, jumped on a boat and headed to the heart of South America. What a nice addition to our library! Chants taught by the zealous, mission-founding Sancho have been sent our way – chants in his own hand, no less. Ignatius Loyola is represented by three short motets (that’s almost too glamorous a name for them, they are more folkish in their style) from Bolivia. -
Observance of Holy Week 2021
MEMORANDUM To: Priests, Deacons, Pastoral Leaders, Parishes, and Religious Houses From: Most Reverend Daniel E. Thomas Re: Observance of Holy Week 2021 Date: 4 February 2021 We should glory in the Cross of our Lord Jesus Christ, in whom is our salvation, life and resurrection, through whom we are saved and delivered. -Entrance Antiphon: Thursday of the Lord’s Supper at the Evening Mass As we prepare to observe once again the most sacred days of the Church’s liturgical year, marking the saving mystery of the Passion, Death, and Resurrection of the Lord, this guidance is offered to assist you, in this time of pandemic, in the worthy celebration of these mysteries. The 2020 decree of the Holy See regarding the celebration of the liturgies of Holy Week during time of pandemic is to be followed this year; details of which, are provided, once again, for each of the liturgies. Please understand that information may be received at any time by the Diocese of Toledo, from ecclesial and government authorities, causing us to revise the updates we send. It is difficult to establish set standards overseeing liturgical celebrations and parish life while, at the same time, honoring ecclesial/local/state/national regulations affecting how we conduct our worship of God. This memo presents the most current information we can provide to you at this time. We continue to monitor the situation and will do our best to send you the most current information in a timely manner. Thank you so much for your patience and perseverance as together we address these matters with renewed hope. -
Liturgical Press Style Guide
STYLE GUIDE LITURGICAL PRESS Collegeville, Minnesota www.litpress.org STYLE GUIDE Seventh Edition Prepared by the Editorial and Production Staff of Liturgical Press LITURGICAL PRESS Collegeville, Minnesota www.litpress.org Scripture texts in this work are taken from the New Revised Standard Version Bible: Catholic Edition © 1989, 1993, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. Cover design by Ann Blattner © 1980, 1983, 1990, 1997, 2001, 2004, 2008 by Order of Saint Benedict, Collegeville, Minnesota. Printed in the United States of America. Contents Introduction 5 To the Author 5 Statement of Aims 5 1. Submitting a Manuscript 7 2. Formatting an Accepted Manuscript 8 3. Style 9 Quotations 10 Bibliography and Notes 11 Capitalization 14 Pronouns 22 Titles in English 22 Foreign-language Titles 22 Titles of Persons 24 Titles of Places and Structures 24 Citing Scripture References 25 Citing the Rule of Benedict 26 Citing Vatican Documents 27 Using Catechetical Material 27 Citing Papal, Curial, Conciliar, and Episcopal Documents 27 Citing the Summa Theologiae 28 Numbers 28 Plurals and Possessives 28 Bias-free Language 28 4. Process of Publication 30 Copyediting and Designing 30 Typesetting and Proofreading 30 Marketing and Advertising 33 3 5. Parts of the Work: Author Responsibilities 33 Front Matter 33 In the Text 35 Back Matter 36 Summary of Author Responsibilities 36 6. Notes for Translators 37 Additions to the Text 37 Rearrangement of the Text 37 Restoring Bibliographical References 37 Sample Permission Letter 38 Sample Release Form 39 4 Introduction To the Author Thank you for choosing Liturgical Press as the possible publisher of your manuscript. -
Developing an Ars Moriendi (The Art of Dying) for the 21 Century
Developing an Ars Moriendi (The Art of Dying) for the 21st Century Study Leave Project for the Kaimai Presbytery August to September 2018 By Rev Donald Hegan Dedication Dedicated to the memory of a dear friend and mentor Pastor Jim Hurn. What sweet fellowship I enjoyed with you and your lovey wife Kaye in your dying days. Jim was determined to commit his dying days into the hands of a living and loving God. He trusted that God would take him on his last great journey. For Jim death was not the opposite of life but just the anaesthetic that God used to change his body. Please be there to greet me at those “Pearly Gates” my dear friend. Rest in Peace. Index I. Introduction page 1-2 1.Let us speak of Death pages 3-9 2.Current Attitudes towards Death pages 10-21 3.Portraits of a Good Death from Scripture and History pages 22-37 4.Developing a Healthy View of Death/ Memento Mori pages 38-42 5.The Churches Traditional Response to Death and Dying pages 43-51 6.Current Societal Trends in Death and Dying pages 52-64 II. Adieu page 65 III. Appendices 1. Short Stories page 66-68 2. Web Resources Worthy of Note page 69 3. Last Rites pages 70-71 4. Printed Resources -Christian Reflection, A series in Faith and Ethics, Study Guides for Death pages 72-93 -My Future Care Plan pages 94-103 IV. Bibliography pages 104-108 Introduction My first encounter with death was when I was eight years old.