Ten months ago, I wrote a post about an excellent online resource for chanting the Office at home, SingtheOffice.com. Now it is even better, as it has been upgraded so as to provide daily Offices from the English prayerbook tradition, fully pointed for Gregorian chant, and compliant with the rubrics of Divine Worship: Daily Office (Commonwealth Edition) of the Personal Ordinariate of Our Lady of Walsingham. You can read about the changes here.
Wednesday, January 24, 2024
Upgrade to SingtheOffice.com - Now Compliant with the Rubrics of the Daily Office of the Personal Ordinariate of Our Lady of Walsingham
David ClaytonWednesday, August 09, 2023
Pictures of an Ordinariate Mass at the National Shrine in D.C.
Gregory DiPippoOur thanks to Mr James Griffin of The Durandus Institute for Sacred Liturgy and Music for sharing with us these pictures (taken by Mr Alan Lopez) and this account of a Mass recently celebrated at the National Shrine in Washington DC in the Ordinariate Rite.
On August 3, the Durandus Institute for Sacred Liturgy and Music coordinated a solemn Mass according to the Ordinariate’s Divine Worship Missal at the crypt of the Basilica of the National Shrine of the Immaculate Conception in Washington, D.C. The liturgy was a votive Mass of St John Henry Newman, celebrated to open the 2023 academic conference of the St John Henry Newman Association of America. A music program sung by the renowned DC-area men’s ensemble The Suspicious Cheese Lords additionally commemorated the 400th anniversary of the death of composer William Byrd (July 4, 1623) this year, with his “Mass for Three Voices”, and “Ave verum corpus” sung during Holy Communion.
The Holy Mass was celebrated by a priest of the Ordinariate, Fr Jason Catania, assisted by Fr Christopher Woodall as deacon, and Fr Armando Alejandro, Jr. as subdeacon. Fr Nathan Davis preached the sermon, and the director of the Durandus Institute, James Griffin, assisted as the 1st Master of Ceremonies.Tuesday, June 20, 2023
The Daily Office of the Personal Ordinariate of the Chair of St Peter
David ClaytonI recently managed to get hold of a copy of Divine Worship - Daily Office (North American Edition), the version of the Office used by the Personal Ordinariate of the Chair of St Peter. I recently visited their beautiful cathedral in Houston, Texas, and the wonderful new high school established by Bishop Lopes on the cathedral campus (more on that in later posts). While there, I was delighted to be handed a copy of this book. It can be ordered online from the website of the Ordinariate of the Chair of St Peter.
The Psalter is from the 1928 American Book of Common Prayer, a beautiful poetic translation, set out in the familiar 30-day cycle of the Coverdale Psalter. Therefore by singing Morning and Evening Prayer (Matins and Evensong) it is possible to sing all 150 psalms, including the psalms omitted from the Paul VI Psalter. This is a very manageable form of the Office for lay people.Morning and Evening Prayer from the Book of Common Prayer offers Christians of different denominations the opportunity to worship together authentically without compromising their beliefs or practices, which makes it particularly good, it seems to me, for building up Christian communities in America. The BCP is a connection to English culture and prayer that pre-dates the Reformation, and as such, transmits the values of Judeo-Christian belief in a way that reinforces the Anglo-American cultural tradition from which the Republic emerged.
Our nation needs Christians to work and worship together to provide a united front against the threats to it from atheist-materialist ideologies, which are bent on the destruction of the family and all the familiar institutions of American society.
It is also a great tool for evangelization, and draws people to Christianity and the Catholic Church in particular. (It was the observation of this phenomenon and the recognition of the authentic nature of the forms of Anglican worship that, in part, cause the creation of the Ordinariate). The Divine Office is a preparation for the Mass, and as such it stimulates in us a natural desire for authentic Sunday worship, centered on Christ present in the Eucharist. The traditional Anglican forms work powerfully in the context of the Anglosphere, and in the UK and America particularly.
Through the Domestic Church, home-based communities of prayer can grow. If that prayer is combined with chant and sacred art, they can engage the person deeply in this dynamic that draws us to the common good.
Thursday, March 09, 2023
Ordinariate Mass of the Annunciation in Louisville
Gregory DiPippoOn Saturday, March 25th, beginning at 12:00pm, Our Lady and St John Catholic Church, the Ordinariate Parish in Louisville, Kentucky, will celebrate the solemnity of the Annunciation at St Martin of Tours Parish, located in downtown Louisville at 639 South Shelby Street. Music will include Bethlehem Down by Peter Warlock, Adam Lay Y’Bounden by Boris Ord, and the Missa L’Hora Passa by Ludovico da Viadana.
Tuesday, March 07, 2023
A Resource for Chanting the Office at Home in English - Singtheoffice.com
David ClaytonI have recently discovered the website singtheoffice.com, an excellent resource for people wishing to sing the Office at home (not for public worship). I imagine that some would adopt it’s basic structure and at times insert preferred hymns or prayers, while others might take parts of it, for example the psalm settings, and insert them into their preferred structure for the Office.
Praying the Divine Office in the home is the wellspring of Catholic culture |
Tuesday, January 03, 2023
Solemn Choral Evensong in Baltimore, January 25th
Gregory DiPippoSaint Timothy’s Ordinariate Church and the Cathedral of Mary Our Queen in Baltimore, Maryland, will hold a Solemn Choral Evensong in the Ordinariate Rite at the latter church on January 25, starting at 7 PM. The Evensong will commemorate the feast of the Conversion of Saint Paul, as well as the closing of the Week of Prayer for Christian Unity. Fr. Armando Alejandro, Parochial Administrator of Saint Timothy’s, will officiate, and the Most Reverend William E. Lori, Archbishop of Baltimore, will preach the sermon. The Evensong will be dedicated to the late Pope Emeritus, Pope Benedict XVI. The cathedral is located at 5200 North Charles Street in Baltimore; see the Facebook event page for further information. (Thanks to Mr James Griffin of the Durandus Institute, who will MC the ceremony, for letting us know about this.)
Friday, October 07, 2022
Mass for St John Henry Newman in Philadelphia Cathedral This Sunday
Gregory DiPippoThis coming Sunday, October 9th, a solemn Mass in the Ordinariate rite will be celebrated at the Cathedral of Ss Peter and Paul in honor of St John Henry Newman, taking the place of the cathedral’s regularly scheduled Sunday Mass at 6:30 pm.
Last year, this Mass, which has become an annual event, was offered by Bishop Steven Lopes of the Ordinariate of the Chair of St Peter, presiding from the faldstool in the presence of the Most Rev. Nelson Pérez, Archbishop of Philadelphia, who attended in-choir on the throne, and preached the homily. Here are some pictures provided to us by the Durandus Institute for Sacred Liturgy, which organized the ceremony in conjunction with the clergy of the Ordinariate: see the full set at this post from last year: https://www.newliturgicalmovement.org/2021/10/divine-worship-mass-for-st-john-henry.htmlThursday, September 08, 2022
Vespers of the Exaltation of the Holy Cross in Philadelphia
Gregory DiPippoOn Wednesday, September 14 at 7pm, the church of St Agatha - St James Church in Philadelphia, Pennsylvania, will hold a solemn choral Evensong according to the Ordinariate Divine Office for the Exaltation of the Holy Cross. The event is co-sponsored by the Durandus Institute for Sacred Liturgy & Music and the Collegium Institute for Catholic Thought & Culture. The featured music includes the Magnificat and Nunc dimittis from Orlando Gibbons’ Short Service, psalmody in Anglican chant, and the Phos hilaron of Sir John Stainer. St Agatha - St James, located at 3728 Chestnut Street, is home to the Newman Center for the University of Pennsylvania and Drexel University, the first Newman Center established in the United States.
A few photos of the same Vespers celebrated last year for the feast of the Nativity of the Virgin.Friday, March 04, 2022
An Ordinariate Rite Votive Mass for Peace in Ukraine
Gregory DiPippoThe following description was provided by James T.M. Griffin, executive director of the Durandus Institute for Sacred Liturgy and Music. Our thanks to him, and to Mrs Allison Girone for these photos. We strongly urge all our readers to fervently pray for a swift end to the hostilities in Ukraine, and particularly for the safety of the many Byzantine Rite Catholics in that country.
Wednesday, October 13, 2021
Divine Worship Mass for St John Henry Newman in Philadelphia
Gregory DiPippoThe choir of St John the Baptist Ordinariate Church in Bridgeport, together with associate choristers of the Durandus Institute, sang Byrd’s Mass for Five Voices, Purcell’s “O God, thou art my God” at the offertory, and a gradual psalm in Anglican chant, under the direction of visiting conductor Dr Kevin Clarke (director of music at St Theresa’s Catholic Church in Sugar Land, Texas). The choir of St Charles Seminary, under the direction of Dr Nathan Knutson, attended in the chancel stalls and assisted with the singing of the Proper chants from the Graduale Romanum, as well as Heinrich Isaac’s “O food to pilgrims given” at Communion.
Wednesday, September 29, 2021
Divine Worship Mass of Our Lady of Walsingham in NYC
Gregory DiPippoLast Friday, the Durandus Institute for Sacred Liturgy and Music--which debuted with the Sarum Vespers of Candlemas Eve in Philadelphia, and assisted with the recent Pontifical Latin Mass of the Assumption in the Philadelphia cathedral--organized the first-ever Mass celebrated in New York City according to the Divine Worship Missal of the Ordinariates, formerly known as the “Anglican Use.” An assortment of Ordinariate, Dominican, and diocesan clergy, and about 250 of the faithful, came to the church of Saint Vincent Ferrer in Manhattan to attend this historic celebration of the feast of Our Lady of Walsingham, enhanced by a special program of sacred music--including the Communion Service from Herbert Howells’ Collegium Regale, Alec Redshaw’s “I sing of a maiden”, Anglican chant psalmody, and proper chants from the Plainchant Gradual by Burgess and Palmer. (The complete program can be see here.) We are happy to share a video of the complete ceremony, and pictures by one of our favorite photographers, Mr Arrys Ortañez. (Arrys informs me that he used a grainier filter than usual to give the photos a more dramatic feel, one which suits the Gothic style of St Vincent’s very nicely. Thanks also to Mr James Griffin of the Durandus Institute for the write-up).
Thursday, September 02, 2021
Durandus Institute Sponsoring Feast of Our Lady of Walsingham in NYC, Friday, Sept. 24
Gregory DiPippoOn Friday, September 24th, the Durandus Institute for Sacred Liturgy and Music will host a solemn high Mass according to “Divine Worship”, the missal used by the Personal Ordinariates, at St Vincent Ferrer Catholic Church in New York City. The Mass will feature the Collegium Regale by Herbert Howells and other works of the English cathedral tradition, sung by the schola cantorum of St Vincent. The church is located at 869 Lexington Ave; the Mass will begin at 7pm. For more information and to RSVP, see the Durandus Institute’s website, and the Facebook event page.
This Mass will celebrate the Blessed Virgin Mary under her title of “Our Lady of Walsingham”, one of the major devotions of the Catholic Church in England before the Reformation. This devotion began from an apparition to Richeldis de Faverches in 1061, who built a “Holy House” in the village of Walsingham, which eventually grew to be a major pilgrimage site renowned throughout medieval Christendom. This shrine was destroyed in 1538, but devotion to Our Lady of Walsingham saw a resurgence in the early 20th century among both Catholics and High-Church Anglicans. The Ordinariate of the Chair of St Peter’s cathedral church in Houston, Texas is dedicated to the Virgin under this title.Sunday, November 10, 2019
Conference on the Anglican Tradition in the Catholic Church, Toronto, November 15-16
Peter KwasniewskiSessions will be hosted at St Michael’s Choir School, and will feature multiple speakers on the Anglican patrimonial tradition and community in the Catholic Church, including Bishop Steven Lopes of the Ordinariate, writer and former Anglican David Warren, Fr Jack Barker, and Fr Derek Cross of the Oratory. These talks will focus on the history of the community, what Pope Benedict XVI did for us a decade ago, and what the future holds in store.
The conference will be anchored by three solemn choral liturgies, taking place at St Michael’s Cathedral Basilica of the Archdiocese of Toronto: a Solemn Mass & Te Deum, Choral Mattins, and Evensong & Benediction. At the close of the weekend, we will join Toronto’s Ordinariate parish, St Thomas More, for their 12:30pm Sunday Mass. (Those who need to leave earlier to make it back home by Sunday morning will want to do so after the conclusion of Evensong & Benediction at 5 pm on Saturday.)
This is a historic occasion to meet and reconnect with fellow Catholics and Anglicans and to celebrate what God has given us through Anglicanorum Coetibus. Register now at anglicantradition2019.eventbrite.com.
Monday, June 10, 2019
What a Catholic Hymn Should Be
Peter KwasniewskiI suppose that not too many readers of NLM would disagree with this perspective. Most would probably also agree that vernacular hymns can and do have a place; however much we might debate what exactly that place is. The Anglican Ordinariate liturgies may freely help themselves to an immense patrimony of English hymnody. TLM parishes often sing vernacular hymns at the start and the conclusion of High Mass; between these pre- and post-liturgical hymns, only Latin chants, polyphony, and congregational responses are to be heard. The solutions that have been attempted in the Wild West of the Novus Ordo vary from alternating hymns and propers, to always pairing them (either the antiphon first and then a hymn, or vice versa), to finding hymns whose texts match the propers as closely as possible, and so forth. In any case, it seems that, for better or for worse, for richer or for poorer, hymns are here to stay.
Now, if we want the balance to tilt towards “for better” and “for richer,” we have to look at two things above all: the quality of the music, and the quality of the text. The music should be stately, well-crafted, soaring in melody but reasonable in range, rarely syncopated, and altogether lacking in sentimentality or schmalziness. The text, for its part, should be excellent poetry that actually rhymes, using proper English grammar and rhetorical tropes; it should be not only doctrinally orthodox (which rules out a great deal of the tripe sold by GIA and OCP), but vivid, robust, and insightful.
Two recent books analyze classic hymns that exemplify all these principles: Fr. George William Rutler’s The Stories of Hymns and Anthony Esolen’s Real Music: A Guide to the Timeless Hymns of the Church. For its part, the long-awaited Saint Jean de Brébeuf Hymnal from the folks who run Corpus Christi Watershed is, hands down, the best Catholic hymnal ever to be published, in spite of the unfortunate choice of wording for the cover. [1] Its copious selection of hundreds of tunes and texts, including favorites, forgotten gems, and new commissions, all beautifully formatted and presented in a surprisingly compact hardcover volume, is not only unparalleled by any other current hymnal, but well exceeds that of any hymnal I have seen from any period.
In honor of the upcoming feast of the Most Blessed Trinity, I would like to share here a French hymn that I encountered in my visit to St. Clement’s parish in Ottawa. This is what a church hymn should be, if it is to be at all: noble poetry, dogmatic content, and sturdy, artful music that has a certain formality and dignity to it, rather than a meandering melody and emotionally manipulative clichés. Naturally, the translation does not have the poetic qualities of the original, but it does show the strength of the text (with the possible exception of the first line of the second verse, which still has me scratching my head).
1. O Trinity, who will be able to fathom
The sublime heights of Thine immense being?
May our faith, in its humble silence,
At least know how to adore Thy greatness.
2. Thou unitest three august Persons
In the unity of one single and same God;
Saints, at His feet lay your crowns—
Glory to Him alone, in every time, in every place!
3. Divine Spirit! O Son! and Thou, O Father!
You possess the same divinity,
The same riches, the same brightness of light,
The same power and the same eternity.
4. O Seraphim! You cover with your wings
The radiant throne of the living God,
And your songs of His holy Name,
Spirits ever faithful, make the skies resound.
5. Holy Trinity, attend to our prayer,
And be propitious to the wishes of Thy children.
Grant that here below, walking in Thy light,
they may one day ascend triumphant to heaven.
NOTE
[1] The hymnal says on the cover: “Saint Jean de Brébeuf Hymnal for Both Forms of the Roman Rite.” I know from experience that this language of “two forms,” a clever canonical fiction of Benedict XVI deemed necessary to deal with an unprecedented rupture in tradition, has begun to wear thin on both sides of the liturgical divide; those who are still principled proponents of the NO resent the idea that their liturgical books are not the definitive Roman Rite as apparently willed by the Council and Paul VI, while traditionalists, including most FSSP and ICKSP clergy and laity known to me, do not believe for a second that there are two equal forms of the Roman Rite. Their position is that of Msgr. Klaus Gamber: there is one authentic Roman rite, and there is a modern deviation from it which does not deserve the same name. It would have sufficed if the hymnal cover had said “for the Roman Rite” (leaving it ambiguous, and therefore acceptable to anyone in the debate), or even “for the Catholic liturgy,” which is broad enough to include not only the TLM and the NO, but the Anglican Ordinariate as well. Perhaps a future edition will modify the cover accordingly. I have spoken with priests and music directors who have said that the cover, by itself, is the reason they could not adopt the Saint Jean de Brébeuf Hymnal, though I would think that a color image printed on card stock and carefully glued to the cover might do the trick. It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.
Visit www.peterkwasniewski.com for events, articles, sacred music, and classics reprinted by Os Justi Press (e.g., Benson, Scheeben, Parsch, Guardini, Chaignon, Leen).