Duo Seraphim clamabant alter ad alterum: * Sanctus, sanctus, sanctus Dominus Deus Sabaoth: * Plena est omnis terra gloria ejus. V. Tres sunt qui testimonium dant in cælo: Pater, Verbum, et Spíritus Sanctus: et hi tres unum sunt. Sanctus. Gloria Patri. Plena.
R. The two Seraphim cried one to another: Holy, holy, holy is the Lord, the God of hosts: * All the earth is full of his glory. V. There are three who give testimony in heaven, the Father, the Word, and the Holy Ghost. And these three are one. Holy. Glory be to the Father. All the earth.
This responsory is very prominent in the Divine Office in the Use of Rome, being sung after the eighth lesson of Matins on all the Sundays between the Octave of Epiphany and Septuagesima, and again on the Sundays between the Octave of Corpus Christi and Advent. This custom was introduced by its author, Pope Innocent III (1198-1216), under whom the ordo of the Divine Office was written out which would ultimately form the basis of the Breviary of St Pius V. Odd as it may seem, given its Trinitarian theme, it was not originally written for, or used in, the Office of the Holy Trinity, which in Pope Innocent’s time had not yet been received into the Use of the Papal court; it was only added to the feast in the Tridentine reform. Several composers have set it to polyphony for use as a motet; among the best of these is the version of Tomás Luis de Victoria.
Upon the rivers of Babylon, there we sat and wept, when we remembered thee, o Zion. (The Offertory chant of the 20th Sunday after Pentecost.)
The bodily captivity (of which the Offertory speaks) signifies our spiritual captivity; the return from captivity is the forgiveness of sins. ... Therefore, lest we return to a similar captivity, and be shut out of the wedding feast (in last week’s Gospel, Matthew 22, 1-14), Paul warns us in the Epistle, “See to it that ye walk with care, not as the unwise, but as the wise.” The Introit Omnia quae fecisti is the voice of Daniel remembering that past captivity, and ascribing it to the judgment of God; likewise, in the Offertory, we weep over that captivity, but in the Gradual Oculi omnium, we give thanks (for deliverance from it). - William Durandus, Rationale Divinorum Officiorum 6.137 in fine.
This text has also been used by some of finest composers of liturgical polyphony, including Palestrina,
Orlando de Lassus (an historical recording from 1961),
and Victoria, who was having a particularly good day when he wrote this.
Behold how the just man dieth, and no one perceiveth in his heart; and the just men are taken away, and no one considereth; the just man has been taken away from before iniquity, * and his memory shall be in peace. V. Like a lamb before his shearer he kept silent, and opened not his mouth; He was taken away from distress, and from judgment. And his memory shall be in peace. Behold how the just man dieth... (Tenebrae of Holy Saturday, 6th responsory.)
The Entombment of Christ, Rogier van der Weyden, 1450
R. Ecce quomodo moritur justus, et nemo percipit corde: et viri justi tolluntur, et nemo considerat: a facie iniquitatis sublatus est justus:
* Et erit in pace memoria ejus.
V. Tamquam agnus coram tondente se obmutuit, et non aperuit os suum: de angustia, et de judicio sublatus est. Et erit in pace memoria ejus. Ecce quomodo moritur justus...
The Vespers hymn for Passiontide Vexilla Regis, in alternating Gregorian chant, according to a different melody than the classic Roman one, and polyphony by Tomás Luis de Victoria.
Duo Seraphim clamabant alter ad alterum: * Sanctus, sanctus, sanctus Dominus Deus Sabaoth: * Plena est omnis terra gloria ejus. V. Tres sunt qui testimonium dant in cælo: Pater, Verbum, et Spíritus Sanctus: et hi tres unum sunt. Sanctus. Gloria Patri. Plena.
R. The two Seraphim cried one to another: Holy, holy, holy is the Lord, the God of hosts: * All the earth is full of his glory. V. There are three who give testimony in heaven, the Father, the Word, and the Holy Ghost. And these three are one. Holy. Glory be to the Father. All the earth.
This responsory was traditionally very prominent in the Divine Office in the Use of Rome, being sung after the eighth lesson of Matins on all the Sundays between the Octave of Epiphany and Septuagesima, and again on the Sundays between the Octave of Corpus Christi and Advent. This custom was introduced by its author, Pope Innocent III (1198-1216), under whom the ordo of the Divine Office was written out which would ultimately form the basis of the Breviary of St Pius V. Odd as this may seem, given its Trinitarian theme, it was not originally written for, or used in, the Office of the Holy Trinity, which in Pope Innocent’s time had not yet been received into the Use of the Papal court; it was only added to the feast in the Tridentine reform. Several composers have set it to polyphony for use as a motet; among the best of these is the version of Tomás Luis de Victoria.
When Pope Urban VIII had the hymns of the Roman Breviary revised in a more classicizing style, few were altered as completely as the hymn for Vespers of St Michael. The original version, traditionally attributed to Blessed Rabanus Maurus (ca. 780-856) was written in four stanzas of six lines, in a trochaic meter (alternating long and short syllables, with one syllable missing at the end of each even-numbered line); Pope Urban’s version is in the iambic dimeter (eight syllables per line, alternative short and long) popularized by St Ambrose. This rearrangement, the version still used in the Roman Breviary of the Extraordinary Form, necessitated a complete recasting of the music as well. (English translation by Fr Edward Caswell C.O., 1814-78.)
Te, splendor et virtus Patris,
Te vita, Jesu, cordium,
Ab ore qui pendent tuo,
Laudámus inter Angelos.
O Jesus, life-spring of the soul!
The Father's Power and Glory bright!
Thee with Angels we extol;
from Thee they draw their life and light.
Tibi mille densa millium
Ducum coróna mílitat;
Sed éxplicat victor Crucem
Míchaël salútis sígnifer.
Thy thousand, thousand hosts are spread,
embattled o’er the azure sky;
but Michael bears Thy standard dread,
and lifts the mighty Cross on high.
Dracónis hic dirum caput
In ima pellit tártara,
Ducemque cum rebéllibus
Caelesti ab arce fúlminat.
He in that sign the rebel powers
did with their dragon prince expel:
and hurled them from heaven’s high towers,
down like a thunderbolt to hell.
Contra ducem superbiae
Sequámur hunc nos príncipem,
Ut detur ex Agni throno
Nobis coróna gloriae.
Grant us, with Michael, still, O Lord,
Against the prince of pride to fight;
So may a crown be our reward,
Before the Lamb’s pure throne of light.
Deo Patri sit gloria,
Qui, quos redémit Filius,
Et Sanctus unxit Spíritus,
Per Angelos custodiat. Amen.
To God the Father, with the Son
And Holy Paraclete, with thee,
As evermore hath been before,
Be glory through eternity. Amen.
Many churches, including St Peter’s basilica, as well as the various orders of monks, and the religious orders that retained their own liturgical (Dominicans, Premonstratensians and Old Observance Carmelites) did not accept the revised hymns of Pope Urban, and continued to use the original version. It has also been restored to the post-Conciliar Liturgy of the Hours, with only two small alterations, which are included in this recording; the words “omnes caeli milites” are changed to “inclytos archangelos”, to reflect the recasting of the feast as that of the three Archangels named in the Bible, and the word “zabulum”, an early medieval version of “diabolum”, is replaced, purely in function of Dom Lentini’s literary taste. (English translation by John Mason Neale, 1818-66).
Thee, O Christ, the Father’s splendor,
Life and virtue of the heart,
In the presence of the angels
Sing we now with tuneful art,
Meetly in alternate chorus,
Bearing our responsive part.
Collaudámus venerantes
Omnes caeli mílites,
Sed praecípue Primátem
Caelestis exércitus:
Michaélem, in virtúte
Conterentem zábulum.
Thus we praise with veneration
All the armies of the sky;
Chiefly him, the warrior primate,
Of celestial chivalry,
Michael, who in princely virtue
Cast Abaddon from on high.
Quo custóde procul pelle,
Rex Christe piíssime,
Omne nefas inimíci:
Mundo corde et córpore,
Paradíso redde tuo
Nos sola clementia.
By whose watchful care repelling,
King of everlasting grace,
Every ghostly adversary,
All things evil, all things base,
Grant us of Thine only goodness,
In Thy paradise a place.
Gloriam Patri melódis
Personémus vócibus,
Gloriam Christo canámus,
Gloriam Paráclito,
Qui trinus et unus Deus
Exstat ante sáecula. Amen.
Laud and honor to the Father,
Laud and honor to the Son,
Laud and honor to the Spirit,
Ever Three, and ever One,
Consubstantial, co-eternal,
While unending ages run. Amen.
The earlier version was, of course, the one known to the great composers of the Counter-Reformation; here is a particularly beautiful setting in alternating chant and polyphony by Tomás Luís de Victória (1548-1611.)
The antiphon for the Magnificat at First Vespers – Aña Dum sacrum mysterium cérneret Joannes, Archángelus Míchaël tuba cécinit: Ignosce, Dómine, Deus noster, qui áperis librum, et solvis signácula ejus, allelúja. – While John beheld the sacred mystery, the Archangel Michael sounded his trumpet: Forgive, o Lord our God, Who openest the book, and loosest the seals thereof. Alleluia.
And for Second Vespers – Aña Princeps gloriosíssime, Míchaël Archángele, esto memor nostri: hic et ubíque semper precáre pro nobis Fílium Dei, allelúja, allelúja. – O Prince most glorious, Michael the Archangel, do thou remember us; here, and everywhere, always entreat the Son of God for us, alleluja, alleluja.
The text was set as a motet by Palestrina’s contemporary Luca Marenzio (1553-99), who was famous as a composer of madrigls, of which he wrote over 500, but also wrote a large number of sacred works.
Are you looking for authentic polyphony for the Mass in English? Perhaps you feel you have resorted to Tallis’ If Ye Love Me once too often? If so, then you should investigate the scores available at EnglishMotets.com.
This is a project created by Heath Morber, who has adapted music by de Victoria, di Lasso, and Palestrina to English translations of motets and liturgical texts including the Ordinary of the Mass. The complexity and difficulty of the arrangements vary, so there are some suitable for beginners and some for more experienced singers. There are arrangements are for two, three and four parts.
When he started this project, Heath had in mind Catholic musicians who wanted to expose their congregations to the beauty of Renaissance polyphony, and think that the vernacular may be a safe way to introduce this music to people in the pews who may balk at the use of Latin.
He already has already made over 200 pieces available, and is adding more month by month. At the moment he is asking for a one-time payment of just $30 in exchange for access to the full and expanding library of titles, as long the site and the internet exist.
Here are two samples from the site. First, Answer My Prayer, an STB three-part arrangement of Exaudi Me Domine by Orlando di Lasso:
The second is Whoever Follows Me, a two-part (TB or SA) arrangement of Qui Sequitur Me, also by Orlando di Lasso.
The Vespers hymn for Passiontide Vexilla Regis, in alternating Gregorian chant, according to a different melody than the classic Roman one, and polyphony by Tomás Luis de Victoria.
NLM readers may be interested in this short video that explains the Office of Tenebrae and why it is so powerful a way of entering into the Passion of the Lord. The video was produced by a group of students at Wyoming Catholic College, where we have been chanting Tenebrae for the past ten years. In recent years polyphony has been added to the chant (the video includes excerpts from a setting of the Lamentations by Palestrina and two responsories by Victoria, all for equal voices); this year the mixed Choir is preparing to sing Allegri's Miserere as part of two Tenebrae services. The video interviews Fr. Robert Frederick, chaplain at the College, as well as myself as the Choir and Schola director. Among other things, I touch on how popular Tenebrae has become, in spite of (or because of) the challenge it represents. While I don't say it expressly, the message is clear: the New Evangelization will reach young people better when it takes advantage of treasures like this. Enjoy!
The church of the Holy Name of Jesus in Brooklyn, New York, will have a solemn Mass in the Extraordinary Form for the feast of Candlemas, featuring Tomás Luís de Victoria’s Mass O quam gloriosum. The Mass will begin at 7 pm; the church is located at 245 Prospect Park West. People are welcome to bring their own candles to be blessed.
The FSSP parish of Our Lady of Mount Carmel in Littleton, Colorado will celebrate High Mass on All Saints’ Day and All Souls’ Day, both starting at 7 pm. On All Saints, the music will include Mass II, the Gregorian propers of the day, and selected motets. On All Souls’ Day, the church will host both professional singers and members of the Vittoria Ensemble in Denver, joining with its own choir to sing Victoria’s Missa Pro Defunctis, along with several motets and the immemorial Gregorian Chants. The musicians will be performing the Victoria Requiem Mass for 4 voices, which is rarely used, since the 6-part requiem seems to have taken all the attention among Victoria’s works. The church is located at 5620 S. Hickory Circle.
We have received and are posting a large-than-usual number of liturgical announcements for All Saints’ and All Souls’, with a lot of great music by composers like Victoria and Mozart. This was the case last year as well, when Ben noted à propos of this the words of Sacrosanctum Concilium, “Zeal for the promotion and restoration of the liturgy is rightly held to be a sign of the providential dispositions of God in our time, as a movement of the Holy Spirit in His Church. It is today a distinguishing mark of the Church’s life, indeed of the whole tenor of contemporary religious thought and action.” (no. 43) If only this had remained true longer than it took the ink with which it was written to dry! So it seems to me at least that these requests, which show a desire not only to do the liturgy well and beautifully, but also to share the experience with as many people as possible, are a sign of something very positive happening in the Church today. Of course, in far too many places good music is still the exception in church, not the norm, but events such as these are less rare than they were 30 years ago, and will continue to become more common. If you have the opportunity to go to such a liturgy this weekend, remember to say a pray for those who would love to attend something like it and cannot.
Holy Innocents in NYC - Victoria Requiem on All Souls’
EF Masses in Naples, Italy
On Sunday, November 1, at the Church of the Archconfraternity “del Soccorso all’Arenella” (piazzetta G.Gigante), 5:15 p.m, Eucaristic Adoration and recitation of the Rosary; 6:00 p.m., Missa cantata celebrated by Don Andrew Southwell.
Monday, November 2, at the Church of St Mary of the Souls in Purgatory (S. Maria delle Anime del Purgatorio ad Arco, via Tribunali 39), 5:30 p.m. Missa cantata, followed by the Absolution at the Catafalque, celebrated by Don Andrew Southwell.
EF All Souls at the Shrine of Our Lady of Lebanon in North Jackson, Ohio
On the Commemoration of All Souls, Mass will be celebrated according in the traditional rite at the Basilica and National Shrine of Our Lady of Lebanon, 2759 North Lipkey Road, North Jackson, Ohio, starting at 7 p.m, followed by the Absolution at the Catafalque. Music will be provided by the Schola Basilicae and the Shrine St. Cecilia Chorale
On Monday November 2, the Commemoration of all the Faithful Departed, a Solemn Mass in the Extraordinary Form of the Roman Rite will be celebrated at 7.30 p.m. at the church of Holy Comforter-Saint Cyprian, in Washington, D.C. The Propers and Ordinary of the Mass will be sung by the Washington-based early music ensemble Chantry, and will include the complete polyphonic setting of the Requiem Mass by Tomás Luis de Victoria, and the two motets, Versa est in luctum and Taedet animam meam, from the Officium Defunctorum of 1605. The pastor, Msgr Charles Pope, will preach; the Mass will be followed by the Absolution at the catafalque.
The Society of St. Dominic, based in Winnipeg, is pleased to announce a major undertaking in connection with the Camerata Nova. If you are anywhere near Winnipeg, make sure you get this in your calendar!
Tomas Luis de Victoria's 1605 Requiem
In honor of Our Lady of Sorrows, an evening of renaissance sacred polyphony performed by Camerata Nova
Saturday September 26th, 2015, 8:00 pm, St Alphonsus Roman Catholic Church, 315 Munroe Avenue, Winnipeg, MB.
Doors open at 7:00 pm; concert begins at 8:00 pm. Admission is free. Free-will offerings gratefully accepted.
R. The two Seraphim cried one to another: Holy, holy, holy is the Lord, the God of hosts: * All the earth is full of his glory. V. There are three who give testimony in heaven, the Father, the Word, and the Holy Ghost. And these three are one. Holy. Glory be to the Father. All the earth.
