From Hymn melodies for the whole year from the Sarum service-books (and in honor of the Martyrs of Japan, whose feast day is today):

    On Feasts of Several Martyrs (or Confessors):

        1st Ev. & Matt.  Sanctorum meritis  
       
            At 1st Ev.. ........51
            At Matt.. ........52
            At First Ev. & M.ad libitum. ........53
            On Simple Feasts of the lowest class throughout the year (1st Ev. & M.) ...54

            [Matt. (York) Eterna Christi munera, Et (Martyrs only) ......61]

        L. & 2nd Ev. Rex gloriose martyrum
            At L. (except in Xmas and Paschal-tides) ....25
            At 2nd Ev. (& L. when no 2nd Ev.) ......49
            During Xmas-tide (L. & 2nd Ev.)  ....27
            On Simple Feasts of the lowest class throughout the year (L.) ...6 or 55

Follow along with the Offices for"Feasts of Many Martyrs Throughout the Year" at Breviary Offices, from Lauds to Compline Inclusive (Society of St. Margaret, Boston) (published in 1885). You'll find  all the Psalms, the collect, Chapter, antiphons, etc., for each of the offices of the day at that link, although no music is provided; also check the iFrame look-in at the bottom of this post.

So, at first Evensong (the Vespers on the eve of the feast), sing Sanctorum meritis to melody #51:

LLPB sings this hymn as "The Noble Deeds of Saints" (mp3) to melody #51.   This hymn is called "The Triumph of the Saints" at Cyberhymnal; the words at that link are credited to J.M. Neale.

Yet Hymntime.com says J.M. Neale wrote the following words, too, which are (with a few small variations) what you'll hear on the audio file:

The merits of the saints,
Blessèd for evermore,
Their love that never faints,
The toils they bravely bore—
For these the Church today
Pours forth her joyous lay—
These victors win the noblest bay.

They, whom the world of ill,
While it yet held, abhorred;
Its withering flowers that still
They spurned with one accord—
They knew them short lived all,
And followed at Thy call,
King Jesu, to Thy heavenly hall.

Like sheep their blood they poured,
And without groan or tear,
They bent before the sword,
For that their King most dear:
Their souls, serenely blest,
In patience they possessed,
And looked in hope towards their rest.

What tongue may here declare,
Fancy or thought descry,
The joys Thou dost prepare
For these Thy saints on high!
Empurpled in the flood
Of their victorious blood,
They won the laurel from their God.

To Thee, O Lord most high,
One in three Persons still,
To pardon us we cry,
And to preserve from ill:
Here give Thy servants peace,
Hereafter glad release,
And pleasures that shall never cease.

Not sure what the deal is there; perhaps Neale wrote several variations, or perhaps one of the sources is simply wrong.  Cyberhymnal says that the above text comes from The Hymnal Noted, 1854 - written by Neale, and available at Google Books for free. I will see what I can find out about the multiple hymn text versions, though; now I'm curious.


Sanctorum meritisis to be sung at Mattins to melody #52: 

I haven't found a recording of this tune anywhere so far.

Or, ad libitum, sing Sanctum Meritis at 1st Evensong and Matins to melody #53 instead:

No audio file for this one, either.

Finally, "on Simple Feasts of the lowest class throughout the year," use melody #54 to sing this hymn at at 1st Evensong and Matins:

That is this hymn tune, more or less, sung here by Giovanni Vianini:



The chant score definitely has the general shape of the tune, but there are some differences between the two versions.

I did find another melody used for this hymn; only the first couple of verses here, though.  Perhaps this is the melody used in the Roman  Breviary?




This, from CPDL, is the Latin text of Sanctorum Meritis.  That entry's referring to another sacred song of unknown origin (for "SSTT" voices), probably based on the Gregorian chant and its text:

Sanctorum meritis inclita gaudia
pangamus socii gestaque fortia
nam gliscit animus promere cantibus
victorum genus optimum.

Hi sunt quo retines mundis inhorruit
Ipsum nam sterile flore per aridum
Sprevere penitus teque secuti sunt,
Rex, Christe, bone cælitum.

Hi pro te furias sævaque sustinent;
non murmur resonat, non querimonia,
sed corde tacito mens bene conscia
conservat patientiam.

Quæ vox, quæ poterit lingua retexere
Quæ tu martyribus munera præparas?
Rubri nam fluido sanguine laureis
Ditantur bene fulgidis.

Te, Trina Deitas unaque, poscimus,
ut culpas abluas, noxia quoque gloriam
per cuncta tibi sæcula.
Amen!

A note at the CPDL page says that this is "A Martyrs' hymn transcribed from the Trent manuscript tr89."  Various sources give the author as "unknown" - or else Rabanus Maurus, the 8th-Century monk and archbishop of Mainz.

Hymnary.org says this:

Sanctorum meritis inclita gaudia. [Common of Martyrs.] This hymn is frequently referred to by Hinemar in his "De una et non trina Deitate," 857; but he distinctly says he could not discover its author. It is found in four manuscripts of the 11th century in the British Museum; and in the Latin Hymns of the Anglo Saxon Church, 1851, is printed from an 11th century manuscript at Durham. Also in a manuscript of the 10th century at Bern, No. 455; in a manuscript of the 11th century at Corpus Christi College, Cambridge (No. 391, p. 272); in the St. Gall manuscript 413 and 414, of the 11th century. It is in the Roman, Sarum, York, Aberdeen, Paris of 1643, and other Breviaries—-the Sarum use being at 1st Vespers and at Matins in the common of many martyrs… [Rev. James Mearns, M.A.]

Here's the Catholic Encyclopedia of 1913 on Sanctorum Meritis:

The hymn at First and Second Vespers in the Common of the Martyrs in the Roman Breviary. Its authorship is often attributed to Rabanus Maurus (d. 856), Archbishop of Mainz— e.g. by Blume (cf. HYMNODY, V, 2), who thinks his hymns show originality and "no small poetic power". Dreves also (Analecta hymnica, XL, 204) favours the ascription. The stanza, in classical prosody, comprises three Asclepiadic lines and one Glyconic. In Horace such a stanza indicates a grave and thoughtful frame of mind; but the breviary hymns using the stanza are usually suggestive of triumphant joy— e.g. the "Festivis resonent compita vocibus" (Most Precious Blood), the "Te Joseph celebrent agmina coelitum", and the "Sacris solemniis" in rhythmic imitation. Dom Johner ("A New School of Gregorian Chant", New York, 1906, p. 89) places hymns in this measure among those "in which the verbal accent preponderates and the metrical accent only makes itself noticeable in certain places (particularly in the fourth line and when a line closes with a word accentuated on the penultimate)". He illustrates the rhythmical stress by italics. Applying his scheme to the Asclepiadic lines we should have: Sa-ncto-rum me-ri-tis in-cly-ta gau-di-a. His illustration of the fourth line (Glyconic) is: Vi-cto-rum ge-nus o-pti-mum. The "Grammar of Plainsong" by the Benedictines of Stanbrook (London, 1905, p. 61) remarks that the long verses have the accents on the third, seventh, and tenth syllables; and the short verse, on the third and sixth syllables; and illustrates this scheme by the last two lines of the stanza (the acute accent marking the rhythmical stress):

Gliscens fért animus prómere cántibus
Victorúm genus óptimum.

In the following illustration (Holly, "Elementary Grammar of Gregorian Chant", New York, 1904, p. 44) the acute accent indicates the tonic accent of the word; the grave accent, the place where the rhythmical or metrical accent falls; the circumflex, the concurrence on a syllable of both metrical and tonic accents:

Sanctôrum mêritìs ínclyta gâudiâ
Pangâmus sôciì, gestâque fôrtiâ;
Glíscens fert ânimus prómere cântibus
Victôrum gênus ôptimùm.

Obviously, the metre is refractory for singing or public recitation. Dreves (loc. cit., pp. 180-1) notes that several references are made to the hymn by Hincmar of Reims, one of the most interesting being his objection to the theology of the last stanza ("Te trina Deitas", subsequently changed into the present form: "Te summa O Deitas"). Hincmar admits that he knew not the author of the hymn which "some people end with the chant or rather blasphemy [a quibusdam cantatur vel potius blasphematur] 'Te trina deitas'." The phrase objected to was nevertheless sung in the doxology of the hymn down to the revision of Urban VIII, and the Church still sings it in the doxology of the "Sacris solemniis" of the Angelic Doctor. The ParisBreviary kept the metre but entirely recast the hymn, writing the first stanza thus:

Christi martyribus debita nos decet,
Virtutis memores, promere cantica;
Quos nec blanditiis, nec potuit minis
Fallax vincere sæculum.

To the list of translators given by Julian ("Dict. of Hymnol.", 2nd ed., London, 1907, pp. 993, 1698) should be added Bagshawe ("Breviary Hymns and Missal Sequences", London, 1900, p. 164: "Let us sing, dear companions, the joys of the saints"). The (Baltimore) "Manual of Prayers" gives the translation of the Anglican hymnologist, Dr. Neale. There are twelve translations in English. The text is found in many manuscripts of the tenth century (cf. Dreves, "Analecta hymnica", L, 204-5); Hincmar, "De una et non trina Deitate" in P.L., CXXV, 478, 498, 500). For Latin text (omitting second and third stanzas) and English translation, plainsong, and modern musical setting, see "Hymns Ancient and Modern, Historical Edition" (London, 1909, pp. 289-90), which notes that Dreves assigns the hymn to Rabanus Maurus in his "Hymnologische Studien zu Venantius Fortunatus und Rabanus Maurus" (Munich, 1908, p. 135), "in spite of the fact that Raban wrote to Hincmar disapproving of the phrase 'Te trina Deitas'." The approved plainsong will appear in the forthcoming Vatican Antiphonary. Pothier ("Mélodies Grégoriennes" Tournai, 1880) illustrates the Asclepiadic metre by the "Sanctorum meritis", places the accents on the third, seventh, and tenth syllables of the Asclepiads and on the third and sixth of the Glyconic, and remarks that "in singing the Asclepiad and the Glyconic, the first three syllables should be gone over slowly, and the accents should be well marked, especially the last" (p.199). Egerton ("A Handbook of Church Music", New York, 1909, p. 180) places the principal accent on the tenth syllable, and secondary accents on the third and seventh, with a "mora vocis" after the sixth. Delaporte (Les Hymnes du bréviaire romain" in the "Rassegna Gregoriana", Nov.-Dec., 1907, col. 501) remarks that, when the edition of 1602 of the Roman Breviary was in preparation, Cardinal Gesualdo in 1588 wrote to various nuncios to get suggestions for emendations. The nuncio at Paris consulted "alcuni principali della Sorbona", with some curious results, one of which was the criticism demanding a change in the doxology of the "Sacris solemniis" from "Te trina Deitas" to "Te summa Deitas", for the reason that "it is impious to call the Deity, or the essence of God, threefold". As noted above, the Church still sings "Te Deitas" in the "Sacris solemniis" of the "Angel of the Schools", although it has changed the phrase in the doxology of the "Sanctorum meritis".

If, though, we were singing 1st Evensong or Matins at York on feasts of Martyrs, we'd go with Aeterna Christi Munera - in English, "The Eternal Gifts of Christ the King" (mp3).  That's LLPB's recording; here's the chant score of that melody:

Here's a set of words from Oremus, translation J.M. Neale; this translation, though, does not match up with the words used on the audio file:

The eternal gifts of Christ the King,
the apostles' glory, let us sing,
and all, with hearts of gladness, raise
due hymns of thankful love and praise.

For they the Church's princes are,
triumphant leaders in the war,
in heavenly courts a warrior band,
true lights to lighten every land.

Theirs is the steadfast faith of saints,
and hope that never yields nor faints;
and love of Christ in perfect glow
that lays the prince of this world low.

In them the Father's glory shone,
in them the will of God the Son,
in them exults the Holy Ghost,
through them rejoice the heavenly host.

To thee, Redeemer, now we cry,
that thou wouldst join to them on high
thy servants, who this grace implore,
for ever and for evermore.

There doesn't seem to be much online about Aeterna Christi munera - which is actually interesting; it may mean this is a local, Sarum hymn.  I'll keep searching for information, though, and will return to post what I find.


The other hymn on the day is Rex gloriose martyrum; we'd sing it at both Lauds (Morning Prayer) and 2nd Evensong (the Vespers of the feast day itself), to several different melodies, depending on time of year.

At 2nd Evensong (and at Lauds when there's no 2nd Evensong), we'd use  melody #49:

LLPB sings this 6th Century hymn as "O Glorious King of Martyr Hosts (MP3)," and uses melody #49, as given.   Here are the English words, from Oremus:

O glorious King of martyr hosts,
thou crown that each confessor boasts,
who leadest to celestial day
the saints who cast earth's joys away.

Thine ear in mercy, Savior, lend,
while unto thee our prayers ascend;
and as we count their triumphs won,
forgive the sins that we have done.

Martyrs in thee their triumphs gain,
confessors grace from thee obtain;
we sinners humbly seek to thee,
from sins offense to set us free.

All laud to God the Father be,
all praise, eternal Son, to thee;
all glory, as is ever meet,
to God the holy Paraclete.

At Lauds, except during Christmastide and Paschaltide, we'd sing Rex gloriose martyrum to melody #25:

Rex gloriose Martyrum
corona confitentium,
qui respuentes terrea
perducis ad coelestia.

Tu vincis in martyribus
parcisque Confessoribus:
Tu vince nostra crimina,
largitor indulgentiae.

Aurem benignam protinus
appone nostris vocibus
trophea sacra pangimus
ignosce quod deliquimus.

Gloria tibi Domine
qui surrexisti a mortuis
cum Patre et Sancto Spiritu
in sempiterna saecula.
Amen. 

Rex gloriose martyrum. [Common of Martyrs.] Probably of the 6th century. Included in the Bern manuscript 455 of the 10th century; in a manuscript of the 11th century, at Corpus Christi College, Cambridge (391, p. 273); and in four manuscripts of the 11th century, in the British Museum (Vesp. D. xii. f. 106; Jul. A. vi. f. 64 b; Harl. 2961 f. 248; Add. 30851 f. 152 b); and in the Latin Hymns of the Anglo-Saxon Church, 1851, is printed from an 11th century manuscript at Durham (B. iii. 32 f. 38 h). Also in an 11th century manuscript at St. Gall, No. 414; and in the Roman, Sarum, York, Aberdeen, and other Breviaries. The printed text is also in Mone, No. 732 ; Daniel, i., No. 237, and iv. p. 139; Cardinal Newman's Hymni Ecclesiae, 1838 and 1865; G. M. Dreves's Hymnarius Moissiacensis, 1888, from a 10th century manuscript, &c. [Rev. James Mearns, M.A.]

The hymn is of uncertain date and unknown authorship, Mone (Lateinische Hymnen des Mittelalters, III, 143, no. 732) ascribing it to the sixth century and Daniel (Thesaurus Hymnologicus, IV, 139) to the ninth or tenth century. The Roman Breviary text is a revision, in the interest of Classical prosody, of an older form (given by Daniel, I, 248). The corrections are: terrea instead of terrena in the line "Qui respuentes terrena"; parcisque for parcendo in the line "Parcendo confessoribus"; inter Martyres for in Martyribus in the line "Tu vincis in Martyribus"; "Largitor indulgentiæ" for the line "Donando indulgentiam". A non-prosodic correction is intende for appone in the line "Appone nostris vocibus". Daniel (IV, 139) gives the Roman Breviary text, but mistakenly includes the uncorrected line "Parcendo confessoribus". lie places after the hymn an elaboration of it in thirty-two lines, found written on leaves added to a Nuremberg book and intended to accommodate the hymn to Protestant doctrine. This elaborated form uses only lines 1, 2, 4, 5, 6, 8, 9 of the original. Two of the added strophes may be quoted here to illustrate the possible reason (but also a curious misconception of Catholic doctrine in the apparent assumption of the lines) for the modification of the original hymn:

Velut infirma vascula Ictus inter lapideos Videntur sancti martyres, Sed fide durant fortiter. Non fidunt suis meritis, Sed sola tua gratia Agnoscunt se persistere In tantis cruciatibus.

N.B.—In connection with the Hymnal Noted, are published :—

1. The ACCOMPANYING HARMONIES; for the use of Organists and Choirs.

2. The WORDS OF THE HYMNAL NOTED. 

The first part of the Hymnal Noted is complete in itself, and embraces the whole course of the Church's year.

The second part contains additional Hymns, for the sake of greater fulness and variety.

These two parts are combined in the complete edition, in the proper sequence for the whole course of the Church's year.

Published under the sanction of the Ecclesiologioal (late Cambridge Camden) Society.

The Evening Hymns on Festivals are put before the Morning Hymns, because, like the Collects, they are said at the Evensong of the day before, as well as on the day itself (except when otherwise marked)

The third instalment of Night Hours, now at last completed, must be prefaced by a few words in explanation of its variations from the two former volumes.

So difficult and so tentative is the whole work of preparing ancient offices for English use at the present day, that mistakes and imperfections could hardly be avoided, especially on the part of editors so inexperienced as those to whom the task, since Dr. Neale's death, has been committed; although much valuable help has most kindly been afforded them. But the history of the book is as follows.

On first founding his Sisterhood at East Grinsted, Dr. Neale felt it of the first importance to supply its members with offices of prayer. He considered the use of S. Osmund to be that alone, which, as English, it was our duty to adopt, but the Sarum Breviary was not within his reach, except in the partial reprint, by Mr. Leslie, which included the Psalter and ferial office, but not much more. He seems, therefore, to have translated the ferial day office from Mr. Leslie's book; but he took the Night Hours from the reformed Roman, inserting a Gallican office here and there when it pleased him better than the Roman. As long as the work was manuscript, and intended only for the use of one House, this eclecticism was, of course, perfectly allowable.

Not long before his death, he planned the publication of a translated Sarum Breviary, in which, however, the Lectionary was to be exchanged for that of the reformed Boman, on account of the revision undergone by the latter, to which the former, from the circumstances of the sixteenth century, never was subjected.

This plan, however, was not carried into effect. After our Founder was taken to rest, we were urged to publish the Matin offices he had given us; and we did so, filling up the blanks left by him with insertions from the same (Roman) book from which he had translated (as, for instance, the lessons of the third nocturns, which he had been wont to turn into English extempore, when saying the office). And thus we prepared the first and second volumes, and proposed, in a third, to print the offices for black-letter days.

After a time the Sarum Breviary was placed in our hands, and we were requested, on behalf of other Beligious Houses, to render its Day Offices into English, as exactly as might be practicable. Dr. Neale had laid the foundation for this by his abridged translation of the ferial and Sunday office over twenty years ago. Propers of Seasons and Saints were now added, and an office book was produced, essentially Sarum, though containing, as noted in its Preface, certain modifications which appeared desirable.

This being done, a considerable discrepancy became visible between our Night and Day Offices, and chiefly in the Services for Saints' Days. The Night Office for the Common of Seasons may be considered as nearly identical in the Roman and Sarum books, except that the responsories do not follow in the same order, that every Sarum office of nine lessons has nine responses, and that no office throughout Easter-tide has more than one nocturn of three psalms, three lessons and three responses: and as far as the Common of Seasons is concerned, the Roman Night Office can, quite practicably, be used together with the Sarum Day Office. But this cannot be done in the case of Saints' Days without producing a sense of dislocation. The present offices, therefore, are so arranged as to fit those for the day hours in our Breviary Offices, and have the same identity with Sarum and the same divergencies from it; the Lectionary being taken, in great measure, from the Boman Breviary, but supplemented from other sources and containing some of the old Sarum lessons, especially in the Octave of the Holy Name.

It will be a satisfaction to those who use this book if we set down in order the sources of the various offices.

From the Sarum, except usually the lessons, are: S. Andrew, Conversion of S. Paul, Annunciation, S. John Baptist, SS. Peter and Paul, Commemoration of S. Paul, S. Peter's Chains (except Invitatory), Transfiguration, Holy Name, S. Laurence, Repose of the Blessed Virgin, (abridged), Beheading of S. John Baptist, SS. Matthew and Luke, S. Michael and All Angels and All Saints. In the Conception of the Blessed Virgin, Invitatory, Antiphon, and Responses are Gallican. S. Thomas of Canterbury has the Common of a Martyr, instead of his Proper: S. Agnes, the Common of a Virgin Martyr, instead of Proper: (lessons of the second nocturn, from the Roman office for her feast). Purification; Inv. and Ants., Gallican: Responses; Sarum, (last Response abridged). Invention of the Cross. first Nocturn, Sarum. This festival falling in Easter-tide, has but one nocturn according to Sarum; but ae this practice is not carried out in the Easter-tide offices of vols. 1 and 2, other two nocturns are added: the third from the office of the Exaltation of the Cross, on which feast the second nocturn is devoted to the commemoration of a martyr: the second nocturn is therefore here drawn from a Carmelite breviary assimilating strongly with the Sarum. Visitation: Ants. and some Responses and lessons, Sarum: the rest Roman and Gallican. S. Mary Magdalene: Hymn and Ants., Sarum: Responses, Gallican, except Response 9, which is Sarum. Nativity of the Blessed Virgin: Gallican: except Response 9, which is Sarum. Guardian Angels: Roman. The rest are of the Common.

The Rev. Gerard Moultrie has been good enough to translate several hymns for this book, in their original metre.

A suggestion respecting the Kalendar was made and carried out by our learned friend, the Rev. F. LI. Bagshawe. It was his idea that, without presuming beyond our province, a Kalendar might be introduced into these office books which should present to the mind some view of Church history, and more especially of the history of the British Church: containing the names of Saints of primitive times and universal celebrity, of those who most notably taught and upheld the faith in our own country; and of the founders and reformers of religious orders. These added names are commemorated, by memorial only, at Vespers and Lauds in the forthcoming edition of the Breviary Day Offices; in which also the black-letter days of the Prayer Book Kalendar are similarly commemorated, when their full office does not occur in this present volume. It has seemed desirable to prefix the Kalendar, as thus arranged, to this book as well as to the Breviary Offices, in order to assimilate them for the convenience of persons in the habit of using the latter. Matin offices are given in this volume for those festivals alone which are commemorated with full day office in the other.

When a second edition of the first and second volumes of Night Hours appears, a body of Sarum rubrics will, it is hoped, be inserted : meanwhile, those in the Breviary Offices may suffice for the use of persons desirous of following Sarum practice; while others will without difficulty continue to use the Roman rubrics as already set down in volumes 1 and 2.

A few points should be mentioned.

The Sarum hymn for Common of Apostles is Annue Christe. This is inserted here for optional use : the Roman hymn, Eterna Christi munera, is to be found in the Common Office, vols. 1 and 2.

A ninth Response is supplied throughout, also for optional use, and a note at end of Appendix points out that which belongs to the Common of Apostles.

Te Deum, said on festivals in Advent according to the Roman use, was wholly omitted in the Sarum book during that season.

S. Margaret's, East Grinsted.
Feast of S. Osmund, 1877.

He that shall meditate day and night on the law of the Lord, shall bring forth his fruit in due season.

Ash Wednesday

The Wednesday after Quinquagesima Sunday, which is the first day of the Lenten fast.

The name dies cinerum (day of ashes) which it bears in the Roman Missal is found in the earliest existing copies of the Gregorian Sacramentary and probably dates from at least the eighth century. On this day all the faithful according to ancient custom are exhorted to approach the altar before the beginning of Mass, and there the priest, dipping his thumb into ashes previously blessed, marks the forehead — or in case of clerics upon the place of the tonsure— of each the sign of the cross, saying the words: "Remember man that thou art dust and unto dust thou shalt return." The ashes used in this ceremony are made by burning the remains of the palms blessed on the Palm Sunday of the previous year. In the blessing of the ashes four prayers are used, all of them ancient. The ashes are sprinkled with holy water and fumigated with incense. The celebrant himself, be he bishop or cardinal, receives, either standing or seated, the ashes from some other priest, usually the highest in dignity of those present. In earlier ages a penitentialprocession often followed the rite of the distribution of the ashes, but this is not now prescribed.

There can be no doubt that the custom of distributing the ashes to all the faithful arose from a devotional imitation of the practice observed in the case of public penitents. But this devotional usage, the reception of a sacramental which is full of the symbolism of penance (cf. the cor contritum quasi cinis of the "Dies Irae") is of earlier date than was formerly supposed. It is mentioned as of general observance for both clerics and faithful in the Synod of Beneventum, 1091 (Mansi, XX, 739), but nearly a hundred years earlier than this the Anglo-Saxon homilist Ælfric assumes that it applies to all classes of men. "We read", he says,

in the books both in the Old Law and in the New that the men who repented of their sins bestrewed themselves with ashes and clothed their bodies with sackcloth. Now let us do this little at the beginning of our Lent that we strew ashes upon our heads to signify that we ought to repent of our sins during the Lenten fast.

And then he enforces this recommendation by the terrible example of a man who refused to go to church for the ashes on Ash Wednesday and who a few days after was accidentally killed in a boar hunt (Ælfric, Lives of Saints, ed. Skeat, I, 262-266). It is possible that the notion of penance which was suggested by the rite of Ash Wednesday was was reinforced by the figurative exclusion from the sacred mysteries symbolized by the hanging of the Lenten veil before the sanctuary. But on this and the practice of beginning the fast on Ash Wednesday see LENT.  

Tempus quadragesimæ
Feria quarta cinerum
Ad ritus initiales et liturgiam verbi
Introitus: Sap. 11, 24-25.27; Ps. 56 Misereris omnium (3m44.9s - 3516 kb) score
Graduale: Ps. 56, 2. V. 4 Miserere mei, Deus (3m15.9s - 3064 kb) score
Tractus: Ps. 102, 10 et 78, 8 et 9 Domine, non secundum peccata nostra (3m27.7s - 3248 kb) score

Ad benedictionem et impositionem cinerum
Antiphona: Cf. Ioel 2, 13 Immutemur habitu (1m21.5s - 1276 kb) score
Responsorium: Cf. Bar. 3,2. V. Ps. 78,9 Emendemus in melius (2m24.7s - 2264 kb) score

Ad liturgiam eucharisticam
Offertorium: Ps. 29, 2.3 Exaltabo te (1m37.7s - 1528 kb) score
Communio: Ps. 1, 2b.3b Qui meditabitur (45.3s - 710 kb) score

The Ash Wednesday Introit: Misereris omnium
Ash Wednesday: Miserere Mei Deus (The Gradual)
Ash Wednesday:  Domine, non secundum (The Tract)
Ash Wednesday: Immutemur habitu and Emendemus in melius (antiphons sung during the imposition of ashes)
Exaltabo Te, Domine (The Offertory)
The Ash Wednesday Communion Song: Qui meditabitur

Photo taken by (Luca Galuzzi) * http://www.galuzzi.it

Call to remembrance, O Lord, thy tender mercies and thy loving kindness, which hath been ever of old. O remember not the sins and offences of my youth: but according to thy mercy think thou on me, O Lord, for thy goodness. (Psalm 25: 5-6)

He will overshadow you with his pinions, and you will find refuge under his wings. His faithfulness will encompass you with a shield.

Psalm 91 Qui habitat

1

He who dwells in the shelter of the Most High, * abides under the shadow of the Almighty.

2

He shall say to the LORD, "You are my refuge and my stronghold, * my God in whom I put my trust."

3

He shall deliver you from the snare of the hunter * and from the deadly pestilence.

4

He shall cover you with his pinions, and you shall find refuge under his wings; * his faithfulness shall be a shield and buckler.

5

You shall not be afraid of any terror by night, * nor of the arrow that flies by day;

6

Of the plague that stalks in the darkness, * nor of the sickness that lays waste at mid-day.

7

A thousand shall fall at your side and ten thousand at your right hand, * but it shall not come near you.

8

Your eyes have only to behold * to see the reward of the wicked.

9

Because you have made the LORD your refuge, * and the Most High your habitation,

10

There shall no evil happen to you, * neither shall any plague come near your dwelling.

11

For he shall give his angels charge over you, * to keep you in all your ways.

12

They shall bear you in their hands, * lest you dash your foot against a stone.

13

You shall tread upon the lion and the adder; * you shall trample the young lion and the serpent under your feet.

14

Because he is bound to me in love, therefore will I deliver him; * I will protect him, because he knows my Name.

15

He shall call upon me, and I will answer him; * I am with him in trouble; I will rescue him and bring him to honor.

16

With long life will I satisfy him, * and show him my salvation.

Missa - Offertorium / Mass - The Offertory

Scapulis suis obumbrabit tibi,
et sub pennis ejus sperabis,

* scuto circumdabit te veritas ejus.
Dicet Domino: Susceptor meus es,
non timebis a timore nocturno,
a sagitta volante per diem.
* Scuto ..

V) Quoniam Angelis suis mandavit de te,
ut custodiant te in omnibus viis tuis.
* Scuto ..

V) Super aspidem et basiliscum ambulabis,
et conculcabis leonem et draconem,
quoniam in me speravit liberabo eum.

* Scuto ..

Offertory

He will cover you with his feathers,
and under his wings you will find refuge,

* His faithfulness will be Your shield and rampart
V) I will say of the Lord: He is my refuge,

You will not fear the terror of the night,
nor the arrow that flies by day,
His faithfulness will be your shield ...
For he will command his angels concerning you
to guard you in all your ways"

* His faithfulness will be your shield...

You will tread upon the lion and the cobra;
you will trample the great lion and the serpent;
for he trusts me and I will save him.

* His faithfulness will be your shield...
*********************************
Sung in Latin by the Schola Hungarica:

The musicologists László Dobszay and Janka Szendrei founded the Schola Hungarica in Budapest in 1969. Concentrating their efforts on Gregorian chant, the Schola Hungarica has sung many works from late-medieval choral traditions and liturgies throughout Hungary, France, Italy, Sweden and Bohemia. In depth musicological research on the repertoire and a lively interpretive performance are the hallmarks of the ensemble. The characteristic sound of the Schola Hungarica is produced through a combination of children’s, men’s and women’s voices. Sources record that in the late Middle Ages children and adults (all male) sang in cathedral, collegiate and parish churches. The choir has made more than fifty records and compact discs, for which it received numerous international prizes. The Schola Hungarica has toured many European countries, and is one of the most recorded choral ensembles specialising in Early Music.'

Hebdomada prima quadragesimæ
DominicaIntroitus: Ps. 90, 15.16 et 1 Invocabit me(cum Gloria Patri) (4m21.1s - 4083 kb) score
Graduale: Ps. 90, 11-12 Angelis suis (4m03.3s - 3805 kb) score
Tractus: Ps. 90, 1-7 et 11-16 Qui habitat (2m59.0s - 2801 kb) score
Offertorium: Ps. 90, 4-5 Scapulis suis (1m04.4s - 1011 kb) score
Communio: Ps. 90, 4-5 Scapulis suis (4m32.5s - 4261 kb) score

• The Introit for the First Sunday in Lent: Invocabit me
• Angelis suis: the Lent I gradual
• Qui Habitat: "The First Sunday of Lent: A Note on the Tract" (also see, for interest, Josquin des Prez: Qui habitat)  
• The Lent I Offertory: Scapulis suis
• The Communio for the First Sunday in Lent: Scapulis suis

Let the Gentiles know that God is Thy Name: Thou alone art the Most High over all the earth.

Vs. O my God, make them like a wheel, and as stubble before the wind.

Psalm 83 is the last of the Psalms of Asaph, which include Psalms 50 and 73-83. It is also the last of the so-called "Elohist" collection, Psalms 42-83, in which the one of God's titles, Elohim is mainly used.^[1]:405[2]:7 It is generally seen as a national lament provoked by the threat of an invasion of Israel by its neighbors. The psalm has been seen by some commentators as being purely cultic in nature. Others have indicated that the fact that particular nations are specifically named indicates that it does refer to a specific historical period, even though the prayer itself would be offered in the Temple in Jerusalem.^[3] The dating of the composition of the Psalm is debated, but the reference in verse 9 to Assyria is by many sources seen as an indication that the Psalm was written during the time of Assyrian ascendancy, the ninth to seventh centuries BC.^[4] Others have placed the composition of the psalm between the time of Saul to the age of the Maccabees,^[3] suggested by Theodore of Mopsuestia.^[5]

The so-called Cantatorium of St. Gall, the earliest complete extant musical manuscript in the world with neume notation. It contains the solo chants of the Mass and constitutes one of the main sources for the reconstruction of Gregorian chant. Written and provided with fine neumes in the monastery of St. Gall between 922 and 926. Bound in a wooden box with an ivory panel on the front cover, most likely Byzantine c. 500, depicting scenes from the fight of Dionysos against the Indians. The ivory panel was once the possession of Charlemagne. (smu)

Hebdomada secunda quadragesimæ
Dominica
Introitus: Ps. 26, 8.9 et 1 Tibi dixit cor meum (cum Gloria Patri) (2m59.6s - 2808 kb)
Graduale: Ps. 82, 19. V. 14 Sciant gentes (3m00.8s - 2828 kb) score
Tractus: Ps. 59, 4.6 Commovisti (2m18.1s - 2160 kb) score
Offertorium: Ps. 118, 47.48 Meditabor (1m16.1s - 1192 kb) score
Communio: Mt. 17, 9 Visionem (2m36.4s - 2446 kb) score

• The Introit for the Second Sunday in Lent: Tibi dixit cor meum
• The EF Introit for Lent II: Reminiscere Miserationum ("Remember Your Mercies") 
• The Tract for Lent 2: Commovisti, Domine
• Meditabor in mandatis tuis: The Offertory for Lent 2 

Attende Domine, et miserere, quia peccavimus tibi.
Attende Domine, et miserere, quia peccavimus tibi.

Ad te Rex summe,
omnium Redemptor,
oculos nostros
sublevamus flentes:
exaudi, Christe,
supplicantum preces.

Attende Domine, et miserere, quia peccavimus tibi.

Dextera Patris,
lapis angularis,
via salutis,
ianua caelestis,
ablue nostri
maculas delicti.

Attende Domine, et miserere, quia peccavimus tibi.

Rogamus, Deus,
tuam maiestatem:
auribus sacris
gemitus exaudi:
crimina nostra
placidus indulge.

Attende Domine, et miserere, quia peccavimus tibi.

Tibi fatemur
crimina admissa:
contrito corde
pandimus occulta:
tua, Redemptor,
pietas ignoscat.

Attende Domine, et miserere, quia peccavimus tibi.

Innocens captus,
nec repugnans ductus;
testibus falsis
pro impiis damnatus
quos redemisti,
tu conserva, Christe.

Attende Domine, et miserere, quia peccavimus tibi.

Hear us, O Lord, have mercy upon us: for we have sinned against thee.

To thee, Redeemer, on thy throne of glory:
lift we our weeping eyes in holy pleadings:
listen, O Jesu, to our supplications.

Hear us, O Lord, have mercy upon us: for we have sinned against thee.

O thou chief cornerstone, right hand of the Father:
way of salvation, gate of life celestial:
cleanse thou our sinful souls from all defilement.

Hear us, O Lord, have mercy upon us: for we have sinned against thee.

God, we implore thee, in thy glory seated:
bow down and hearken to thy weeping children:
pity and pardon all our grievous trespasses.

Hear us, O Lord, have mercy upon us: for we have sinned against thee.

Sins oft committed, now we lay before thee:
with true contrition, now no more we veil them:
grant us, Redeemer, loving absolution.

Hear us, O Lord, have mercy upon us: for we have sinned against thee.

Innocent captive, taken unresisting:
falsely accused, and for us sinners sentenced,
save us, we pray thee, Jesu, our Redeemer.

Hear us, O Lord, have mercy upon us: for we have sinned against thee.

The justices of the Lord are right, rejoicing hearts; his ordinances are sweeter than honey and the honey-comb: therefore thy servant observeth them.

9 the fear of the Lord is clean,
    enduring forever;
the rules[d] of the Lord are true,
    and righteous altogether.
10 More to be desired are they than gold,
    even much fine gold;
sweeter also than honey
    and drippings of the honeycomb.
11 Moreover, by them is your servant warned;
    in keeping them there is great reward.

Psalm 19 is the 19th psalm in the Book of Psalms (the 18th in the Septuagint numbering). It is ascribed to David.

The psalm considers the glory of God in creation, and moves to reflect on the character and use of "the law of the LORD". A comparison is made between the law and the sun, which lends a degree of unity to the psalm. C. S. Lewis suggested that in verse 7, the Psalmist starts talking about something else, "which hardly seems to him like something else because it is so like the all-piercing, all-detecting sunshine."^[1] Like the Sun, the law is able to uncover hidden faults, and nothing can hide from it. As the Psalmist meditates on the excellencies of the law, he feels that his sins have been laid open before God's word, and asks for forgiveness and help.

.....

Verses 7–11: The law – sweeter than honey

Psalm 19:7 The law of the LORDis perfect, converting the soul: the testimony of the LORDis sure, making wise the simple.
8 The statutes of the LORDare right, rejoicing the heart: the commandment of the LORDis pure, enlightening the eyes.
9 The fear of the LORDis clean, enduring for ever: the judgments of the LORDare true and righteous altogether.
10 More to be desired are they than gold, yea, than much fine gold: sweeter also than honey and the honeycomb.
11 Moreover by them is thy servant warned: and in keeping of them there is great reward.

— Psalm 19:7–11 King James Version
Psalm 19:7-11 Other versions

In verses 7–11 the law of the LORD, that is the Torah, is presented as another source of revelation about God's character and expectations. The instructions are referred to as "direct" from the Hebrew yesharim meaning to make straight, smooth, right or upright. One commentator's^[7] interpretation indicates that since this law shows a person what to do and keep in mind, what to avoid, how to please God, and what help he can expect from God, they are highly desirable and valuable.

The description of the law as radiant and enlightening ties the earlier references to the lights of nature to the character of God and to his laws as revealing truths.^[2] The Torah is associated with light in other passages as well, such as Proverbs 6:23"For the commandment is a lamp; and the law is light; and reproofs of instruction are the way of life:"

Hebdomada tertia quadragesimæ
DominicaIntroitus: Ps. 24, 15.16 et 1-2 Oculi mei (3m02.3s - 2852 kb) score
Graduale: Ps. 9, 20. V. 4 Exsurge... non prævaleat (3m46.7s - 3546 kb) score
Tractus: Ps. 122, 1-3 Ad te levavi (1m45.2s - 1646 kb) score
Offertorium: Ps. 18, 9.11.12 Iustitiæ Domini (1m21.7s - 1278 kb) score
Communio:
                 Quando legitur Evangelium de Samaritana:
                 Io. 4, 13.14 Qui biberit aquam (3m02.3s - 2852 kb)

                 Quando legitur aliud Evangelium:
                 Ps. 83, 4.5 Passer invenit (3m30.3s - 3288 kb) score

• The Introit for the Third Sunday in Lent: Oculi Mei ("My Eyes")
• The Gradual for Lent 3: Exsurge Domine non praevaleat
• The Lent 3 Tract: Ad te levavi oculos meos and The Tract for Lent 3: de Lassus' Ad te levavi oculos meos
• The Lent 3 Offertory: Iustitiae Domini ("The judgements of the Lord")
• Passer Invenit  (The Communion Song)

Photine of Samaria

The holy and glorious Great-martyr Photine of Samaria (also Photini or Svetlana), Equal-to-the-Apostles, encountered Christ at the well of Jacob. Tradition relates that the Apostlesbaptized her with the name "Photine" meaning "enlightened one." Her feast days are celebrated on February 26 with those who suffered with her (Greek tradition), March 20 (Slavic tradition), and the Sunday of the Samaritan Woman.

The Gospel of John (4:5-42) relates the encounter of Photine, the Samaritan woman, with Christ at Jacob's well. She repented after a very gentle and wise conversation with Christ and went and told her townspeople that she had met the Christ. For this, she is sometimes claimed as the first to proclaim the Gospel of Christ.

She converted her five sisters (Ss. Anatole, Photo, Photis, Paraskeve, and Kyriake) and her two sons (St. Photinos, formerly known as Victor, and St. Joses). They all became tireless evangelists for Christ.
After the Apostles Paul and Peter were martyred, St. Photine and her family left their homeland of Sychar, in Samaria, to travel to Carthage to proclaim the Gospel of Christ there.

In 66 AD, under the persecutions of Emperor Nero, they all achieved the crown of martyrdom, along with the Duke St. Sebastianos, the close friend of St. Photinos.

Hymns

Kontakion[1]

O Almighty Saviour, Who did pour forth water for the Hebrews from a solid rock:

You did come to the Land of Samaria, and addressed a woman,

whom You did attract to faith in You,

and she has now attained life in the heavens everlastingly.

Commemorated on March 20 (also commemorated on February 26 & the “Sunday of the Samaritan Woman”)

St. Photini lived in first century Palestine. She was the Samaritan woman who Christ visited at the well asking her for water. It was she who accepted the “living water” offered her by Christ Himself after repenting from her many sins (John. 4:5-42). She went and told her townspeople that she had met the Christ. For this, she is sometimes recognized as the first to proclaim the Gospel of Christ. She converted her five sisters (Sts. Anatole, Photo, Photis, Paraskeve, and Kyriake) and her two sons (Victor and Joses). They all became tireless evangelists for Christ.

The apostles of Christ baptized her and gave her the name of Photini which means “the enlightened one.” She is remembered by the Church as a Holy Martyr and Equal to the Apostles. After Sts. Peter and Paul were martyred, St. Photini and her family left their homeland of Sychar, in Samaria, to travel to Carthage to proclaim the Gospel of Christ there.

During the reign of Emperor Nero in the first century, excessive cruelty was displayed against the Christians, St. Photini lived in Carthage with her younger son, Joses. Her eldest son, Victor, fought bravely in the Roman army against the barbarians, and was appointed military commander in the city of Attalia (Asia Minor). Later, Nero called him to Italy to arrest and punish Christians.

Sebastian, an official in Italy, said to Victor, “I know that you, your mother and your brother, are followers of Christ. As a friend I advise you to submit to the will of the emperor. If you inform on any Christians, you will receive their wealth. I shall write to your mother and brother, asking them not to preach Christ in public. Let them practice their faith in secret.”

Victor replied, “I want to be a preacher of Christianity like my mother and brother.” Sebastian said, “O Victor, we all know what woes await you, your mother and brother.” Then Sebastian suddenly felt a sharp pain in his eyes. He was dumbfounded, and his face was somber.

For three days Sebastian lay there blind, without uttering a word. On the fourth day he declared, “The God of the Christians is the only true God.” St. Victor asked why Sebastian had suddenly changed his mind. Sebastian replied, “Because Christ is calling me.” Soon he was baptized, and immediately regained his sight. St. Sebastian’s servants, after witnessing the miracle, were also baptized.

Reports of this reached Nero, and he commanded that the Christians be brought to him at Rome. The Lord Himself appeared to the confessors and said, “Fear not, for I am with you. Nero, and all who serve him, will be vanquished.” The Lord said to Victor, “From this day forward, your name will be Photinus, because through you, many will be enlightened and will believe in Me.” The Lord then told the Christians to strengthen and encourage Sebastian to persevere until the end.

All these things, and even future events, were revealed to St. Photini. She left Carthage in the company of several Christians and joined the confessors in Rome.

At Rome, Emperor Nero ordered the saints to be brought before him, and he asked them whether they truly believed in Christ. All the confessors refused to renounce the Savior. The emperor then gave orders to smash the martyrs’ finger joints. During the torture, the confessors felt no pain, and their hands remained unharmed.

Nero ordered that Sts. Sebastian, Photinus and Joses be blinded and locked up in prison, and St. Photini and her five sisters, Anatola, Phota, Photis, Paraskeva and Kyriake, were sent to the imperial court under the supervision of Nero’s daughter, Domnina. St. Photini converted both Domnina and her servants to Christ. She also converted a sorcerer, who had brought her poisoned food that was meant to kill her.

Three years passed, and Nero sent to the prison for one of his servants, who had been locked up. The messengers reported to him that Sts. Sebastian, Photinus and Joses, who had been blinded, had completely recovered, and that people were visiting them to hear their preaching. Indeed, the whole prison had been transformed into a bright and fragrant place where God was glorified.

Nero then gave orders to crucify the saints, and to beat their naked bodies with straps. On the fourth day, the emperor sent servants to see whether the martyrs were still alive. Approaching the place of the tortures, the servants fell blind. An angel of the Lord freed the martyrs from their crosses and healed them. The saints took pity on the blinded servants, and restored their sight by their prayers to the Lord. Those who were healed came to believe in Christ and were soon baptized.

In a rage, Nero gave orders to flay the skin from St. Photini and to throw her down a well. Sebastian, Photinus and Joses had their legs cut off, and they were thrown to dogs, and then had their skin flayed off. The sisters of St. Photini also suffered terrible torments. Nero gave orders to cut off their breasts and to flay their skin. An expert in cruelty, the emperor readied the fiercest execution for St. Photis: they tied her by the feet to the tops of two bent-over trees. When the ropes were cut, the trees sprang upright and tore the martyr apart. The emperor ordered the others beheaded. St. Photini was removed from the well and locked up in prison for twenty days.

After this, Nero had St. Photini brought to him and asked if she would now relent and offer sacrifice to the idols. St. Photini spat in his face, and laughing at him, said, “O most impious of the blind, you profligate and stupid man! Do you think me so deluded that I would consent to renounce my Lord Christ and instead offer sacrifice to idols as blind as you?”

Hearing such words, Nero gave orders to throw St. Photini down a well, where she surrendered her soul to God in the year 66.

Kontakion (Tone 1) –
O Almighty Saviour, Who did pour forth water for the Hebrews from a solid rock:
You did come to the Land of Samaria, and addressed a woman,
whom You did attract to faith in You,
and she has now attained life in the heavens everlastingly.

By permission of the Orthodox Church in America (www.oca.org)

On the Feast of the Annunciation of the B. V. Mary (Mar. 25): as on the Feast of the Conception.

Evensong: Ave! maris Stella ... ... ... 64
Mattins:  Quem terra, pontus, ethera  ... ... ... 63
Lauds: O gloriosa femina  ... ... ... 63

So I'm just grabbing content from that listing for this one.  The Mattins and Lauds hymns are the same, and sung to the same melody, at  The Conception of the B.V.M. (Dec. 8), at Purification (Candlemas, February 2), at Assumption (August 15), and at The Nativity of the B.V.M. (Sept. 8); the  Evensong hymn is the same one, again sung to the same melody, as at the Conception and the Nativity of the B.V.M. (Sept. 8).  So these hymns and melodies are most definitely associated with Mary throughout the year.

Follow along with the Offices for this feast at Breviary Offices, from Lauds to Compline Inclusive (Society of St. Margaret, Boston) (published in 1885). You can get all the Psalms, the collect, Chapter, antiphons, etc., for each of the offices of the day at that link, although no music is provided; also check the iFrame look-in at the bottom of this post.


Here is the score for the beautiful melody #64, used for the splendid hymn Ave! Maris Stella on this day (as, again, at the Conception and the Nativity of the B.V.M.); below that is a video of the hymn sung by the Benedictine Monks of the Abbey at Ganagobie.:

 

CPDL has the Latin and English words; non-metrical English translation is by Allen H Simon:

Ave, maris stella,
Dei Mater alma,
Atque semper Virgo,
Felix caeli porta.

Sumens illud Ave
Gabrielis ore,
Funda nos in pace,
Mutans Evae nomen.

Solve vincla reis,
Profer lumen caecis,
Mala nostra pelle,
Bona cuncta posce

Monstra te esse matrem,
Sumat per te preces,
Qui pro nobis natus
Tulit esse tuus.

Virgo singularis,
Inter omnes mitis,
Nos culpis solutos,
Mites fac et castos.

Vitam praesta puram,
Iter para tutum,
Ut videntes Jesum,
Semper collaetemur.

Sit laus Deo Patri,
Summo Christo decus
Spiritui Sancto,
Tribus honor unus. Amen.
   


Hail, star of the sea,
loving Mother of God,
and also always a virgin,
Happy gate of heaven.

Receiving that Ave
from Gabriel's mouth
confirm us in peace,
Reversing Eva's name.

Break the chains of sinners,
Bring light to the blind,
Drive away our evils,
Ask for all good.

Show yourself to be a mother,
May he accept prayers through you,
he who, born for us,
Chose to be yours.

O unique virgin,
Meek above all,
Make us, absolved from sin,
Gentle and chaste.

Keep life pure,
Make the journey safe,
So that, seeing Jesus,
We may always rejoice together.

Let there be praise to God the Father,
Glory to Christ in the highest,
To the Holy Spirit,
One honor to all three. Amen.

CPDL also offers a brief write-up about the hymn:

Hymn to the Virgin Mary (8th cent., author anon.)
Liturgical use: Hymn at Vespers on feasts of the Virgin Mary.

Mary's title of stella maris was first proposed by St. Jerome, in his treatise Liber de nominibus hebraicis (probably around AD 390), in which he explains the etymology of Hebrew names. He quotes unidentified sources as explaining the name of Mary as smyrna maris, literally bitterness of the sea. The Hebrew word miriam indeed refers to bitterness - it is explained as such in the anonymous Jewish account The life of Moses. St. Jerome dismisses the 'bitter' etymology, however, and proposes to change her title to stella maris. In order to justify his proposal, he quotes Syrus, most likely his contemporary St. Ephraem Syrus, who had insisted on Mary's status as domina or mistress.

View Wikipedia article for Ave maris stella.

This is from that Wikipedia link:

Ave Maris Stella (Latin, "Hail Star of the Sea") is a plainsongVespershymn to Mary. It was especially popular in the Middle Ages and has been used by many composers as the basis of other compositions. The creation of the original hymn has been attributed to several people, including Bernard of Clairvaux (12th century), Saint Venantius Fortunatus (6th century)^[1] and Hermannus Contractus (11th century).^[2] The text is found in 9th-century manuscripts, kept in Vienna^[3] and in the Abbey of Saint Gall.^[1]

The melody is found in the Irish plainsong "Gabhaim Molta Bríde", a piece in praise of St. Bridget. The popular modern hymn Hail Queen of Heaven, the Ocean Star, is loosely based on this plainsong original.

It finds particular prominence in the "Way of Consecration to the Blessed Virgin Mary" by Saint Louis de Montfort.

Here's a (very faint) recording of the same hymn, sung by the Benedictines of Brazil.

This is Guillame Dufay's beautiful chant/polyphony alternatim arrangement of the hymn, using the same melody in the chant portions.



Or, you can listen to 32 different versions of the hymn (!) in the below playlist:






Here is the chant score for melody #63 from Hymn Melodies; this tune is used for both the Mattins and Lauds hymns on this feast day, and, again, at the Conception of the B.V.M. (Dec. 8), on Purification (AKA Candlemas, February 2), at Assumption (August 15), and at the Nativity of the B.V.M. (Sept. 8).

Here's an mp3 the cantor from LLPB singing melody #63; it's the Mattins hymn Quem terra, pontus, ethera, called "The God Whom Earth and Sea and Sky" in English.

Here are the words from Oremus; the note says "Words: attributed to Fortunatus, sixth century; trans. John Mason Neale, 1854."

The God whom earth and sea and sky
adore and laud and magnify,
whose might they own, whose praise they swell,
in Mary's womb vouchsafed to dwell.

The Lord whom sun and moon obey,
whom all things serve from day to day,
was by the Holy Ghost conceived
of her who through his grace believed.

How blessed that Mother, in whose shrine
the world's Creator, Lord divine,
whose hand contains the earth and sky,
once deigned, as in his ark, to lie.

Blessed in the message Gabriel brought,
blessed by the work the Spirit wrought;
from whom the great Desire of earth
took human flesh and human birth.

O Lord, the Virgin-born, to thee
eternal praise and glory be,
whom with the Father we adore
and Holy Ghost for evermore.

The Lauds hymn, O gloriosa femina (sometimes "O gloriosa domina"), is sung to the same melody today;  O gloriosa domina is also sung at Lauds on Purification (Candlemas)

This set of words comes from the SSM Breviary mentioned above (p.291);  it uses the same meter as Quem terra, pontus, ethera, so just sing it to the same tune, as prescribed.

O GLORIOUS Virgin, throned in rest
Amidst the starry host above,
Who gavest nurture from thy breast
To God with pure maternal love:

What we had lost through sinful Eve
The Blossom sprung from thee restores.
And granting bliss to souls that grieve.
Unbars the everlasting doors.

O gate, through which hath passed the King:
O hall, whence light shone through the gloom;
The ransomed nations praise and sing,
Life given from the virgin womb.

All honour, laud, and glory be,
O Jesu, Virgin-born, to Thee;
All glory, as is ever meet,
To Father and to Paraclete. Amen.

CPDL has the words to O gloriosa Domina, in Latin and English; the words above are clearly taken from the same original Latin text, so it's definitely the same song:

O gloriosa Domina
excelsa super sidera,
qui te creavit provide,
lactasti sacro ubere.

Quod Eva tristis abstulit,
tu reddis almo germine;
intrent ut astra flebiles,
Caeli fenestra facta es.

Tu regis alti janua
et porta lucis fulgida;
vitam datam per Virginem,
gentes redemptae, plaudite.

Gloria tibi, Domine,
qui natus es de Virgine,
cum Patre et Sancto Spiritu
in sempiterna secula. Amen.


O Heaven's glorious mistress,
elevated above the stars,
thou feedest with thy sacred breast
him who created thee.

What miserable Eve lost
thy dear offspring to man restors,
the way to glory is open to the wretched
for thou has become the Gate of Heaven.

Thou art the door of the High King,
the gate of shining light.
Life is given through a Virgin:
Rejoice, ye redeemed nations.

Glory be to Thee, O Lord,
Born of a Virgin,
with the Father and the Holy Spirit,
world without end. Amen.

Here's a page from the Poissy Antiphonal that includes both of these hymns - but the melodies seem quite different:





Here's that peek-through to the SSM Breviary for today:




Here's a bit from Wikipedia about the history of this feast:

Annunciation by Paolo de Matteis, 1712. The white lily in the angel's hand is symbolic of Mary's purity [1] in Marian art.[2]

The Annunciation (anglicised from the Latin Vulgate Luke 1:26-39 Annuntiatio nativitatis Christi), also referred to as the Annunciation to the Blessed Virgin Mary or Annunciation of the Lord, is the Christian celebration of the announcement by the angelGabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Jesus, meaning "Saviour". Many Christians observe this event with the Feast of the Annunciation on 25 March, nine full months before Christmas, the ceremonial birthday of Jesus. According to Luke 1:26, the Annunciation occurred "in the sixth month" of Elizabeth's pregnancy with John the Baptist.^[3]Irenaeus (c.130-202) of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion.^[4] Approximating the northern vernal equinox, the date of the Annunciation also marked the New Year in many places, including England, where it is called Lady Day. Both the Roman Catholic and Eastern Orthodox Churches hold that the Annunciation took place at Nazareth, but differ as to the precise location. The Basilica of the Annunciation marks the site preferred by the former, while the Greek Orthodox Church of the Annunciation marks that preferred by the latter. The Annunciation has been a key topic in Christian art in general, as well as in Marian art in the Catholic Church, particularly during the Middle Ages and Renaissance.

In the Bible, the Annunciation is narrated in the book of Luke, Luke 1:26-38:

²⁶ And in the sixth month the angel Gabriel was sent from God unto a city of Galilee, named Nazareth, ²⁷ To a virgin espoused to a man whose name was Joseph, of the house of David; and the virgin's name was Mary. ²⁸ And the angel came in unto her, and said, Hail, thou that art highly favoured, the Lord is with thee: blessed art thou among women. ²⁹ And when she saw him, she was troubled at his saying, and cast in her mind what manner of salutation this should be. ³⁰ And the angel said unto her, Fear not, Mary: for thou hast found favour with God. ³¹ And, behold, thou shalt conceive in thy womb, and bring forth a son, and shalt call his name JESUS. ³² He shall be great, and shall be called the Son of the Highest: And the Lord God shall give unto him the throne of his father David: ³³ And he shall reign over the house of Jacob for ever; and of his kingdom there shall be no end. ³⁴ Then said Mary unto the angel, How shall this be, seeing I know not a man? ³⁵ And the angel answered and said unto her, The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee: therefore also that holy thing which shall be born of thee shall be called the Son of God. ³⁶ And, behold, thy cousin Elisabeth, she hath also conceived a son in her old age: and this is the sixth month with her, who was called barren. ³⁷ For with God nothing shall be impossible. ³⁸ And Mary said, Behold the handmaid of the Lord; be it unto me according to thy word. And the angel departed from her.

A separate annunciation, which is more brief but in the same vein as the one in Luke, is given to Joseph in Matthew 1:18-21:

¹⁸ Now the birth of Jesus Christ was on this wise: When as his mother Mary was espoused to Joseph, before they came together, she was found with child of the Holy Ghost. ¹⁹ Then Joseph her husband, being a just man, and not willing to make her a public example, was minded to put her away privily. ²⁰ But while he thought on these things, behold, the angel of the Lord appeared unto him in a dream, saying, Joseph, thou son of David, fear not to take unto thee Mary thy wife: for that which is conceived in her is of the Holy Ghost. ²¹ And she shall bring forth a son, and thou shalt call his name JESUS: for he shall save his people from their sins.

Eastern traditions

In Eastern Christianity Mary is referred to as Theotokos (Θεοτόκος="God-bearer"). The traditional Troparion (hymn for the day) of the Annunciation which goes back to Saint Athanasius of Alexandria is:^[5]

Today is the beginning of our salvation,

And the revelation of the eternal mystery!

The Son of God becomes the Son of the Virgin

As Gabriel announces the coming of Grace.

Together with him let us cry to the Theotokos:

"Rejoice, O Full of Grace, the Lord is with you!"

The Feast of the Annunciation, celebrated March 25, is one of the twelve Great Feasts of the church year, and is among the eight of them that are counted as feasts of the Lord. As the action initiating the Incarnation of Christ, Annunciation has such an important place in Orthodox Christian theology that the festal Divine Liturgy of St. John Chrysostom is always celebrated on the feast, even if it falls on Great and Holy Friday, the day when Christ's Crucifixion is remembered. Indeed, the Divine Liturgy is celebrated on Great and Holy Friday only when the latter coincides with the feast of the Annunciation. If the Annunciation falls on Pascha (Easter Sunday) itself, a coincidence which is called Kyriopascha, then it is celebrated jointly with the Resurrection, which is the focus of Easter. Due to these and similar rules, the rubrics surrounding the celebration of the feast are the most complex of all in Orthodox Christian liturgics. The Annunciation is called Euangelismos (Evangelism) in Greek, literally meaning "spreading the Good News".

St. Ephraim the Syrian taught that the date of the conception of Jesus Christ fell on 10 Nisan on the Hebrew Calendar, the day in which the passover lamb was selected according to Exodus 12. Some years 10 Nisan falls on March 25, which is the traditional date for the Feast of the Annunciation and is an official holiday in Lebanon.

The feast of the Annunciation is usually held on March 25; it is moved in the Catholic Church, Anglican and Lutheranliturgical calendars when that date falls during Holy Week or Easter Week or on a Sunday.^[6] The Eastern Orthodox Church, Oriental Orthodoxy and Eastern Catholic Churches do not move the feast, having special combined liturgies for those years when the Annunciation coincides with another feast; in fact in these churches a Divine Liturgy is celebrated on Good Friday when it coincides with the Annunciation.

When the calendar system of Anno Domini was first introduced by Dionysius Exiguus in AD 525, he assigned the beginning of the new year to March 25 since, according to Catholic theology, the era of grace began with the Incarnation of Christ. The first certain mentions of the feast are in a canon, of the Council of Toledo (656), where it is described as celebrated throughout the church., and another of the Council of Constantinople "in Trullo" (692), forbidding the celebration of any festivals during Lent, excepting the Lord's Day (Sunday) and the Feast of the Annunciation. An earlier origin has been claimed for it on the ground that it is mentioned in various works of which the earliest surviving manuscripts are later and may have been added to.^[6]

The Annunciation in the Qur'an

The Annuciation in Qur'an explains that the angel Gabriel (two angels in another part of Qur'an) announced to Mary that She will have Jesus. The Annunciation is also described in the Qur'an, in Sura 003:045 (Al-i-Imran – The Family of Imran) verses 45-51 (Yusuf Ali translation):

⁴⁵Behold! the angels said: "O Mary! Allah giveth thee glad tidings of a Word from Him: his name will be Christ Jesus, the son of Mary, held in honour in this world and the Hereafter and of (the company of) those nearest to Allah;"

And Sura 019:016 (Maryam – Mary) verses 16-26 also refers to it. Muslim tradition holds that the Annunciation took place during the month of Ramadan.^[7]

Here are some Annuncation images I haven't used before.  (There is a great plethora of Annunciation art in the world, so we'll never run out of imagesto post and view!)

This is the  "Annunciation Ustyuzhskoe (from Ustyuzh)."  It's a Novgorod icon. and c. 1130, now at the Tretyakov Gallery (Russia):

This one is "The Annunciation" by Jan van Eyck, from 1434; love those rainbow wings!

 Finally, this one is "The Virgin Annunciate," by Italian painter Carlo Crivelli, created sometime in the 1400s.  It's now at the Städelsches Kunstinstitut und Städtische Galerie in Frankfurt am Main.

Ave Maria, gratia plena,
Dominus tecum—virgo serena.
Benedicta tu in mulieribus—
que peperpisti pacem hominibus
et angelis gloriam.

Et benedictus fructus ventris tui -
qui coheredes ut essemus sui
nos, fecit per gratiam.

Per hoc autem Ave
Mundo tam suave,
Contra carnis iura

Genuisti prolem
Novum stella solem
Nova genitura.

Tu parvi et magni,
Leonis et agni,
Salvatoris Christi
Templum extitisti,
Sed virgo intacta.

Tu floris et roris,
Panis et pastoris,
Virginum regina
Rosa sine spina,
Genitrix es facta.

Tu civitas regis iusticie,
Tu mater es misericordie,
De lacu fæcis et miseriæ
Pænitentem reformans gratie.

Te collaudat celestis curia,
Tibi nostra favent obsequia,
Per te reis donatur venia.
Per te justis confertur gratia.

Ergo maris stella,
Verbi Dei cella
Et solis aurora,
Paradisi porta,
Per quam lux est orta,
Natum tuum ora,

Ut nos solvat a peccatis,
Et in regno claritatis
Quo lux lucet sedula,
Collocet per secula. Amen.

Hail Mary, full of grace,
The Lord is with you—O serene virgin.
Blessed are you among women,
you who bore peace for humankind
and glory for the angels.

And blessed is the fruit of your womb—
he who makes us his heirs through grace,
so that we might be his.

But though this “Ave” —
So pure and sweet,
Contrary to the law of the flesh—

You, O star, through a new birth
Brought forth your offspring,
The new sun.

You stand out as the temple
Of the humble and the great,
Of the lion and the lamb,
Of Christ the savior—
Yet you remain a virgin.

You have been made mother
Of the bud and the dew,
Of the bread and the shepherd
You are queen of virgins,
Rose without thorns.

You are the city of the king of justice,
You are mother of mercy,
From the pool of impurity and misery
You recast one who through grace
becomes a lover of God.

You the celestial curia together praises in song,
To You our services are devoted,
You who are mother and daughter of God,
Through You the pardon for guilt is offered.

Therefore star of the sea,
Sanctuary of the word of God
And dawn of the sun,
Door of paradise
Through which the Light is born:

Pray to Him your Son,
That He might free us from sins,
And place us in the kingdom of clarity,
Where the sedulous light shines
Through all ages.
Amen.

Praise the Lord, for he is loving; sing in honour of his name, for he is gracious.  He has accomplished whatever he resolved to do in heaven and on earth.

3 Praise the Lord, for the Lord is good;
    sing to his name, for it is pleasant![a]
4 For the Lord has chosen Jacob for himself,
    Israel as his own possession.

5 For I know that the Lord is great,
    and that our Lord is above all gods.
6 Whatever the Lord pleases, he does,
    in heaven and on earth,
    in the seas and all deeps.

Judaism

• Is recited in its entirety during the Pesukei Dezimra on Shabbat, Yom Tov, and Hoshana Rabbah.^[1]
• Is recited on the fifth day of Passover in some traditions.^[2]
• Verse 13 is the fifth verse of Yehi Kivod in Pesukei Dezimra. Verse 4 is the fifteenth verse of Yehi Kivod.^[3]
• Verse 21 is the second verse of Baruch Hashem L'Olam in Pesukei Dezimra and Baruch Hashem L'Olam during Maariv.^[4]

Eastern Orthodox Church

• Along with Psalm 136 (LXX numbers as 134 & 135 respectively) is called the Polyeleos or translated to "Many Mercies", named such after the refrain used "for His mercy endures forever". The Polyeleos is sung at Orthros (Matins) of a Feast Day and at Vigils. In some Slavic traditions and on Mt. Athos it is read every Sunday at Orthros.
• On Mt. Athos it is considered one of the most joyful periods of Matins-Liturgy, and the highest point of Matins. In Athonite practice, all the candles are lit, and the chandeliers are made to swing as the Psalms are sung, it is also accompanied by a joyful peal of the bells and censing of the church, sometimes with a hand censer which has many bells on it.
• At vigils, it accompanies the opening of the Royal Doors and a great censing of the nave by the Priest(s) or Deacon(s).

1 How long, O Lord? Will you forget me forever?
    How long will you hide your face from me?
2 How long must I take counsel in my soul
    and have sorrow in my heart all the day?
How long shall my enemy be exalted over me?

3 Consider and answer me, O Lord my God;
    light up my eyes, lest I sleep the sleep of death,
4 lest my enemy say, “I have prevailed over him,”
    lest my foes rejoice because I am shaken.

5 But I have trusted in your steadfast love;
    my heart shall rejoice in your salvation.
6 I will sing to the Lord,
    because he has dealt bountifully with me.

Hebdomada quarta quadragesimæ  Dominica
Introitus: Cf. Is. 66, 10.11; Ps. 121 Lætare Ierusalem (3m46.5s - 3540 kb) chant score
Graduale: Ps. 121, 1. V. 7 Lætatus sum (1m58.9s - 1858 kb) chant score
Tractus: Ps. 124, 1.2 Qui confidunt (3m13.4s - 3024 kb) chant score
Offertorium: Ps. 134, 3.6 Laudate Dominum (1m37.4s - 1524 kb) chant score
                 quando legitur Evangelium de filio prodigo:
                  Ps. 12, 4.5 Illumina oculos meos (1m33.8s - 1468 kb) chant score
Communio:  Ps. 121, 3.4 Ierusalem, quæ ædificatur chant score (1m09.7s - 1092 kb)

                 quando legitur Evangelium de cæco nato:
                  Io. 9, 6.11.38 Lutum fecit (39.3s - 616 kb)

                 quando legitur Evangelium de filio prodigo:
                  Lc. 15, 32 Oportet te (28.9s - 454 kb)

• The Introit for the Fourth Sunday in Lent: Laetare Jerusalem ("Rejoice, O Jerusalem")
• The Lent 4 Gradual: Laetatus sum
• The Tract for Lent 4: Qui confidunt in Domino  
• The Lent 4 Offertory: Laudate Dominum and Illumina oculos meos

The Lord is my Shepherd, I have all I need,
She makes me lie down in green meadows,
Beside the still waters, She will lead.

She restores my soul, She rights my wrongs,
She leads me in a path of good things,
And fills my heart with songs.

Even though I walk through a dark and dreary land,
There is nothing that can shake me,
She has said She won't forsake me,
I'm in her hand.

She sets a table before me, in the presence of my foes,
She anoints my head with oil,
And my cup overflows.

Surely, surely goodness and kindness will follow me
All the days of my life,
And I will live in her house,
Forever, forever and ever.

Glory be to our Mother and Daughter,
And to the Holy of Holies,
As it was in the beginning, is now and ever shall be,
World, without end. Amen

I want to walk as a child of the light;
I want to follow Jesus.
God set the stars to give light to the world;
The star of my life is Jesus.

Refrain:
In him there is no darkness at all;
The night and the day are both alike.
The Lamb is the light of the city of God.
Shine in my heart, Lord Jesus.

I want to see the brightness of God;
I want to look at Jesus.
Clear Sun of Righteousness, shine on my path
And show me the way to the Father. [Refrain]

I’m looking for the coming of Christ;
I want to be with Jesus.
When we have run with patience the race,
We shall know the joy of Jesus. [Refrain]

O love, how deep, how broad, how high,
how passing thought and fantasy,
that God, the Son of God, should take
our mortal form for mortals' sake!

For us baptized, for us he bore
his holy fast and hungered sore;
for us temptations sharp he knew;
for us the tempter overthrew.

For us he prayed; for us he taught;
for us his daily works he wrought:
by words and signs and actions, thus
still seeking not himself, but us.

For us to wicked hands betrayed,
scourged, mocked, in purple robe arrayed,
he bore the shameful cross and death;
for us gave up his dying breath.

For us he rose from death again;
for us he went on high to reign;
for us he sent his Spirit here
to guide, to strengthen, and to cheer.

All glory to our Lord and God
for love so deep, so high, so broad;
the Trinity whom we adore
forever and forevermore.

The melody appears to date from the middle to the late eighteenth century and may be categorized as a French church melody.  The tune's opening outlines a major-key tonic chord, and the remainder of the melody establishes the tonal nature of its construction.  Its distinct triple-metre rhythmic setting also emphasizes the dating of the tune from the common practice era*.  The metre of the text reflects the standard practice of most eighteenth-century French church melodies, which are eithe rset in the Sapphic* design of 11.11.11.5. or in Long Metre in triple time; DEUS TUORUM MILITUM is of the latter type.  The harmonization is after a setting by Basil Harwood as found in H40.

How passing thought and fantasy,
that God, the Son of God, should take
our mortal form for mortals' sake!

For us baptized, for us he bore
his holy fast and hungered sore;
for us temptations sharp he knew;
for us the tempter overthrew.

Thomas of Kempen, commonly known as Thomas à Kempis, was born at Kempen, about fifteen miles northwest of Düsseldorf, in 1379 or 1380. His family name was Hammerken. His father was a peasant, whilst his mother kept a dame's school for the younger children of Kempen. When about twelve years old he became an inmate of the poor-scholars' house which was connected with a "Brother-House" of the Brethren of the Common Life at Deventer, where he was known as Thomas from Kempen, and hence his well-known name. There he remained for six years, and then, in 1398, he was received into the Brotherhood. A year later he entered the new religious house at Mount St. Agnes, near Zwolle. After due preparation he took the vows in 1407, was priested in 1413, became Subprior in 1425, and died according to some authorities on July 26. and others on Aug. 8, 1471.

Webb, Benjamin, M.A., was born in London in 1820, and was educated in St. Paul's School; whence he passed to Trinity College, Cambridge, in 1838, B.A. 1842, M.A. 1845. Ordained by the Bishop [Monk] of Gloucester and Bristol he was Assistant Curate of Kemeston in Gloucestershire, 1843-44; of Christ Church, St. Pancras, 1847-49; and of Brasted, Kent, 1849-51; at which date he was presented to the P. C. of Sheen in Staffordshire, which he held until 1862, when he became Vicar of St. Andrews, Wells Street, London. In 1881 the Bishop [Jackson] of London collated him to the Prebend of Portpool in St. Paul's Cathedral. Mr. Webb was one of the Founders of the Cambridge Camden, afterwards the Ecclesiological Society; and the Editor of the Ecclesiologist from 1842 to 1868, as well as the General Editor of the Society's publications. His first appearance in print was as joint editor of Bishop Montague's Articles of Inquiry in 184; in 1843 he was joined with Mr. J. M. Neale in An Essay on Symbolism, and A Translation of Durandus; in 1847 he put forth his valuable work on Continental Ecclesiology; in 1848 he was joint editor with Dr. Mill of Frank’s Sermons, for the Anglo-Catholic Library, and with the Rev. J. Fuller-Russell of Hierurgia Anglicana. After the decease of his father-in-law (Dr. Mill), he edited Dr. Mill's Catechetical Lectures, 1856; a second edition of Dr. Mill's Christian Advocates Publications on the Mythical Interpretation of the Gospels, 1861; and of Dr. Mill's Sermons on our Lord's Temptation, 1873. He was also one of the editors of the Burntisland reprint of the Sarum Missal. One of his most valuable works is Instructions and Prayers for Candidates for Confirmation, of which the third edition was published in 1882. Mr. Webb was one of the original editors of the Hymnal Noted, and of the sub-Committee of the Ecclesiological Society, appointed to arrange the words and the music of that book; and was also the translator of some of the hymns. In conjunction with the Rev. Canon W. Cooke he was editor of the Hymnary, 1872, for which office his habitual reconstruction and composition of the words of the anthems used at St. Andrew's, Wells Street, as well as his connection with theHymnal Noted, eminently qualified him. His original hymns contributed to the Hymnary, 1871 and 1872, were:--
1. Assessor to thy King. St. Bartholomew. In the Hymnary, 1872.
2. Behold He comes, thy King most holy. Advent. Originally written to be sung in St. Andrew's Church, Wells Street, as an anthem to the music of Schumann'sAdvent-lied, and afterwards published in the Hymnary, 1872.
3. Praise God, the Holy Trinity. Hymn of Faith. Originally written for use in St. Andrew's, Wells Street, and subsequently in the Hymnary, 1872.
4. Praise the Rock of our salvation. Dedication of a Church. Published in the Hymnary, 1872. Mr. Webb's authorised text is in the Westminster Abbey Hymn Book, 1883.
5. Ye angel hosts above. Universal Praise to God. In the Hymnary, 1872.
He died in London, Nov. 27, 1885. [Rev. William Cooke, M.A.]

-- John Julian, Dictionary of Hymnology (1907)

From October 2013 King's College is providing regular recordings of
choral services in the Chapel. For the first time in 500 years, these
services are available on demand thanks to a new recording system. For
information about forthcoming services, see the Chapel services page.

When the Lord saw the sisters of Lazarus in tears near the tomb, he wept in the presence of the Jews and cried:  "Lazarus, come forth."  And out he came, hands and feet bound, the man who had been dead for four days.

This is my body which shall be delivered for you:  this is the chalice of the new Testament in my blood, saith the Lord:  do this as often as you receive it, in commemoration of me.

Until 1959, the fifth Sunday of Lent was known as Passion Sunday.^[7] It marked the beginning of a two-week-long period known as Passiontide, which is still observed by various denominations in Protestantism and by some traditionalist Catholics. In 1960, Pope John XXIII's Code of Rubrics changed the name for that Sunday to "First Sunday of the Passion"^[8] bringing the name into harmony with the name that Pope Pius XII gave, five years earlier, to the sixth Sunday of Lent, "Second Sunday of the Passion or Palm Sunday".

Pope Paul VI's revision in 1969 removed a distinction that existed (although with overlap) between Lent and Passiontide, which began with the fifth Sunday of Lent. The distinction, explicit in the 1960 Code of Rubrics,^[9] predates it.^[10] He removed from the fifth Sunday of Lent the reference to the Passion.

Although Passiontide as a distinct liturgical season was thus abolished, the Roman Rite liturgy continues to bring the Passion of Christ to mind, from Monday of the fifth week of Lent onward, through the choice of hymns, the use on the weekdays of the fifth week of Lent of Preface I of the Passion of the Lord, with Preface II of the Passion of the Lord being used on the first three weekdays of Holy Week, and the authorization of the practice of covering crosses and images from the fifth Sunday of Lent onward, if the Conference of Bishops so decides. Where this practice is followed, crucifixes remain covered until the end of the Good Friday celebration of the Lord's Passion; statues remain covered until the beginning of the Easter Vigil.^[11]

Hebdomada quinta quadragesimæ  Dominica
Introitus: Ps. 42, 1.2.3 Iudica me, Deus (3m09.1s - 1293 kb) chant score
Graduale: Ps. 142, 9.10. V. Ps. 17, 48.49 Eripe me, Domine (3m49.9s - 1572 kb) chant score
Tractus: Ps. 128, 1-4 Sæpe expugnaverunt (1m50.9s - 759 kb) chant score
Offertorium: Ps. 118, 7.10.17.25 Confitebor tibi, Domine (1m41.8s - 697 kb) chant score
Communio:
                 quando legitur Evangelium de Lazaro:
                 Io. 11, 33.35.43.44.39 Videns Dominus (3m43.2s - 1526 kb)

                 quando legitur Evangelium de muliere adultera:
                 Io. 8, 10.11 Nemo te condemnavit (2m35.9s - 1213 kb)

                 quando legitur aliud Evangelium:
                 Io. 12, 26 Qui mihi ministrat (49.0s - 382 kb)

• The Introit for the Fifth Sunday in Lent: Judica Me ("Vindicate Me")
• Lent 5: The Gradual Eripe me Domine and the Tract Saepe Expugnaverunt
• The Lent 5 Offertory: Confitebor tibi, Domine 

Masaaki Suzuki conducts the Bach Collegium Japan in a performance of Bach's St. John Passion BWV 245 at the Suntory Hall in Tokyo on July 28, 2000.

Midori Suzuki, soprano; Robin Blaze, countertenor; Gerd Türk, tenor; Chiyuki Urano, bass baritone, Stephan MacLeod, bass; Bach Collegium Japan; Masaaki Suzuki, conductor; Shokichi Amano, director; Akira Sugiura, producer for NHK; Paul Smaczny, producer for EuroArts Music International

R. As the Lord entered the holy city, the children of the Hebrews proclaimed the resurrection of life. Waving their branches of palm, they cried: Hosanna in the highest.

V, When the people heard that Jesus was coming to Jerusalem, they went out to meet him. Waving their branches of palm, they cried: Hosanna in the highest.

[The assembly] followed the Rue Saint-Pierre, which led from the Benedictine house of Saint-Père up the hill and into the upper town (haute ville).  Along the route the succentor intoned and the multitude sang after him a succession of antiphons and responsories, the texts of which were mainly reworkings of the four evangelists' accounts of Christ's entry into Jerusalem:  A. Ceperunt omnes, A. Cum audiesset populus, A. Ante sex dies, R. Cum audisset turbe, R. Dominus Jhesus ante sex dies, and R. Ingrediente domino.  At the Porte Cendreuse, one of the half-dozen gates leading through the old walls into the upper town of Chartres, the clergy sang this last responsory, Ingredient domino.  This chant, a Matins responsory of Palm Sunday at Chartres and elsewhere, was reserved for this special moment of "entry into Jerusalem" here in Chartres and in most of the other dioceses in northern France.  Finally, as the procession passed through the west door of the cathedral of Notre-Dame, the spiritual theme, as communicated in the text of the plainsong, switched from on extolling Christ's triumph to one honoring the Virgin Mary (A. Letare virgo v. Post partum virgo).

Although this was a standard liturgical practice - to change to chants honoring the patron of the church at the moment of entry - the transition from chants for Palm Sunday to one for the Virgin is of interest here, for it occurred beneath a similar thematic transition represented in sculpture and glass.  The typmpanum of the west side of the famous royal portal, as is well known, is constructed around an imposing sculpture of Christ in Majesty surrounded by four apocalyptic animals symbolizing the four evangelists.  Those in the procession celebrating the First Coming of Christ looked up to vision of the ultimate prophecy, the majestic Second Coming of Christ, when He would judge the quick and the dead.

Passing through the portal and into the church, the sudden darkness brought to light, then as now, three of the finest examples of stained glass ever created, the dazzling twelfth-century lancet windows immediately below the great west rose.  The largest and most central of these lancet windows, the one directly above the royal portal, is the Incarnation Window, which recounts the story of the principal events in the life of Christ up to, but not including, His passion and resurrection.  At the top of the central Incarnation Window are three panels depicting Christ's entry into Jerusalem on Palm Sunday.  The telling in glass of the story of Palm Sunday concludes the history of His earthly life.  Accordingly, these panels are then immediately surmounted by a great crowned Virgin and Child in Glory, a fitting capstone to the theme of the Word made flesh.  Thus, just as the processional chants proceed from a theme commemorating Christ's final triumphant arrival to one honoring the Virgin, so the sculpture and stained glass directly above the heads of the clergy and laity of Chartres depict the same subjects.  At this moment musical and visual arts stood in perfect harmony.

As the faithful reentered the cathedral the bells of the church rang again.  Inside a candelabrum holding seven candles was illuminated, and the crosses and relics were left uncovered for the remainder of the day.  Having entered the chancel and mounted to their choir stalls, the canons and chaplains of the cathedral again celebrated the office of Terce, just as they had earlier that morning at Saint-Cheron.  High Mass then immediately followed.

The Disciples

Christ riding a donkey

The City's Welcome

The origin of the Palm Sunday procession in the Latin West can be traced back to Jerusalem and the scriptural account of Christ's triumphant entry into the Holy City as a prelude to His final great work of Redemption.  The joyful scene, described in varying degrees of detail in the four Gospels, naturally lent itself to vivid re-creation.  As early as the late fourth century the nun Egeria, a pilgrim to the Holy Land from Spain or southern France, observed the people of Jerusalem reenacting the entry of the conquering Christ.  From the top of the Mount of Olives they led their bishop back to the celestial City, the children running before him shouting "Blessed is he who comes in the name of the Lord."  From Jerusalem the Palm Sunday ceremony moved westward, to th elands of the Gallican rite, undoubtedly carried by pilgrims such as Egeria and by later monastic refugees fleeing the Holy Lands.  The Bobbio Missal, a Gallican source of the early eighth century, contains a blessing of the palms ("Benedictio palme et olivae super altario"), which implies that  a procession followed thereafter (Hermann Graef 1959, II; and Tyrer 1932, 50).  And although there are suggestions that a procession was known in Spain by this time, documents of the ninth century originating in northern France are the first to prove incontrovertibly its existence.  Most important among these is the statement by Amalarius of Metz indicating that the tradition of a Palm Sunday procession was already widespread.  Later, the custom was carried into Italy, though apparently not until the twelfth century was it officially adopted in Rome.

Thus, invoking Amalarius as the witness, we can say with confidence that the clergy of the principal monasteries and cathedrals of the Carolingian Empire were accustomed to celebrate Palm Sunday with an appropriate procession by the ninth century.

Accordingly at the seventh hour all the people go up to the Mount of Olives, that is, to Eleona, and the bishop with them, to the church, where hymns and antiphons suitable to the day and to the place are said, and lessons in like manner. And when the ninth hour approaches they go up with hymns to the Imbomon, that is, to the place whence the Lord ascended into heaven, and there they sit down, for all the people are always bidden to sit when the bishop is present; the deacons alone always stand. Hymns and antiphons suitable to the day and to the place are said, interspersed with lections and prayers.

And as the eleventh hour approaches, the passage from the Gospel is read, where the children, carrying branches and palms, met the Lord, saying; Blessed is He that cometh in the name of the Lord, and the bishop immediately rises, and all the people with him, and they all go on foot from the top of the Mount of Olives, all the people going before him with hymns and antiphons, answering one to another: Blessed is He that cometh in the name of the Lord.

And all the children in the neighbourhood, even those who are too young to walk, are carried by their parents on their shoulders, all of them bearing branches, some of palms and some of olives, and thus the bishop is escorted in the same manner as the Lord was of old.

For all, even those of rank, both matrons and men, accompany the bishop all the way on foot in this manner, making these responses, from the top of the mount to the city, and thence through the whole city to the Anastasis, going very slowly lest the people should be wearied; and thus they arrive at the Anastasis at a late hour. And on arriving, although it is late, lucernare takes place, with prayer at the Cross; after which the people are dismissed.

To the sounds of now a great general pealing, they exited [the cathedral] through the royal west door, preceded by crosses, Gospel books for the clergy of each church, and feretories bearing the relics of saints.  The succentor soon sang forth the incipit of the first of the responsoria de historia, the succession of nine great responsories that tell the story of Christ's triumphant entry into Jerusalem.  This cycle had already been sung at the cathedral that morning at Matins and now was chanted again as the procession made its way through the streets of Chartres.  Moving towards the east, the assembly passed beyond the walls of the city and to the first station, a cemetery outside the priory of Saint-Barthélemy, where it was joined by processions coming from other churches.  The route of the procession had obviously been chosen so as to traverse a topography reminiscent of that of ancient Jerusalem.  The cemetery at Saint-Barthélemy corresponds to Golgotha, the site of Christ's crucifixion to the east and beyond the walls of Jerusalem.  From there the procession of Chartres ascended a hill to the abbey church of Saint-Cheron.  Again, the topography was perfectly chosen.  Saint-Cheron, then as now, sits atop a hill, a substitute Mount of Olives, whence one can see the celestial Jerusalem of Chartres some four kilometers distant to the west.

.....

At the great cross in the cemetery the clergy and populace stopped in station and divided themselves into two distinct performing groups.  The bishop, cantor, priests, and deacons, and the multitude of townsfolk (populus multus) remained on the est side of the cross looking west.  The succentor, subdeacons, and choir-boys, all in a prearranged order, moved to their customary place (consuetus locus) on the west side and faced the other group to the east.  With the choirboys singing the verses and the bishop's group and succentor's group alternating with the refrain, the chanted the ninth-century processional hymn Gloria laus et honor [Palm Sunday: Gloria, laus et honor tibi ("All Glory, Laud, and Honor")].  This antiphonal singing of the Gloria laus was a musical and dramatic high point of the ceremony.

Hebdomada SanctaDominica in Palmis de Passione Domini

Antiphona: Hosanna filio David(34.9s - 548 kb) score

Ad processionem
Procedamus(8.3s - 133 kb) score
Antiphona: Pueri... portantes(2m24.9s - 2266 kb) score
Antiphona: Pueri... vestimenta(1m18.4s - 1228 kb) score
Hymnus ad Christum Regem: Gloria, laus(2m43.7s - 2558 kb) score
Responsorium: Ingrediente Domino(3m34.2s - 3350 kb) score

Ad Missam

Tractus: Ps. 21, 2-9.18.19.22.24.32 Deus, Deus meus(1m54.7s - 1794 kb) score
Graduale: Phil. 2, 8. V. 9 Christus factus est(2m19.3s - 2178 kb) score
Offertorium: Ps. 68, 21.22 Improperium... et dederunt(2m40.2s - 2504 kb) score
Communio: Mt. 26, 42 Pater, si non potest(3m28.0s - 3252 kb) score

• Palm Sunday: Hosanna, Filio David
• Palm Sunday: Gloria, laus et honor tibi ("All Glory, Laud, and Honor")
• A Responsory for Palm Sunday: Ingrediente Domino 
• The Palm Sunday Tract: Deus, Deus Meus
• The Palm Sunday Gradual: Christus factus est
• The Palm Sunday Offertory: Improperium expectavit cor meum

RELIGION in America is clearly changing, but it can be difficult to fathom where it is going. While Evangelical Protestantism is declining and Liberal Protestantism is in freefall, some groups which demand a deep commitment—from the Mormons to the Pentecostalists—are still gaining members. Yet the fastest-growing category seems to be that of the "spiritual but not religious"–people who have a sense of connection with a higher power and want to share it with others, without signing up to formal rules or beliefs. Generally, religion seems to do best at the extremes: either rigorously conservative or free and easy.

In Seattle, one of America's least "churched" cities, academics are impressed by the success of a religious phenomenon that appeals to both extremes at once. Compline, as old-fashioned Christians know, is the last service in the daily cycle of monastic prayer. Every Sunday evening, an 18-strong male choir performs that service at Saint Mark's Episcopal Cathedral (pictured above). They attract an enormous crowd. Some 600 people, mostly young and bohemian, pack the building and thousands more listen on the radio or a podcast.  The atmosphere is come-as-you-are. The pews and concrete floors are packed with worshippers who sit or lie down; some bring blankets and close their eyes, while others meditate or cuddle up with partners.

The sound is mesmerising. And the very fact that the service consists of music rather than a sermon seems to be a selling point, allowing everyone to interpret the message in his or her own way. “Whatever they’re saying, you hear but you don’t necessarily recognise it as part of the Bible or something that’s religious,” says Becky Doubles, a teacher who calls herself “spiritual” not “religious” and travels for an hour to attend. “It’s very much a spiritual experience, a beautiful way to centre yourself and find that inner peace,” said Mary Weston, another devotee.

Jodi O'Brien, a professor of sociology at Seattle University, thinks the key to Compline's success is that it "offers connection with no obligation”. Susan Pitchford, a lecturer at the University of Washington, reckons that young people may be drawn to this unchanging rite because everything else in their lives is shifting. “A liturgy that's changed only modestly in 2,000 years, and music that goes so far back as to be unconnected to any musical movements in their or their parents' lifetimes, gives them a sense of being anchored in something lasting.”

Maybe so. But for some of the bohemians and hipsters who crowd into Compline, even that statement might go too far in pinning down something which they prefer to leave vague. What people take away from Compline seems at least as varied as the styles and age groups that throng the cathedral every Sunday.