101: 2  Domine, exaudi orationem meam, et clamor meus ad te [per]veniat.

101: 3 Ne avertas faciem tuam a me: in quacumque die tribulor, inclina ad me aurem tuam; in quacumque die invocavero te, velociter exaudi me.
   

102:1 Hear my prayer, O Lord: and let my crying come unto thee.

102:2 Hide not thy face from me in the time of my trouble: incline thine ear unto me
when I call; O hear me, and that right soon.

Feria sexta in Passione Domini

Ad liturgiam verbi

Tractus: Domine exaudi (2m23.6s - 2246 kb)  score
Graduale: Christus factus est(2m15.2s - 2114 kb)  score


Adoratio Santæ Crucis

Invitationem: Ecce lignum Crucis (prima 42.6s - 668 kb, secunda altius quam prima 43.9s - 688 kb, tertia altius quam secunda 43.4s - 682 kb)  score
Antiphona: Crucem tuam (1m39.1s - 1550 kb)  score
Improperia: Popule meus (in four parts because of size: 1 - Popule meus - 2m18.7s - 2170 kb  score; 2 - Quia eduxi te - 4m34.7s - 4294 kb  score; 3 - Ego propter te flagellavi Ægyptum - 4m17.8s - 4030 kb  score; 4 - Ego te potavi - 3m22.1s - 3160 kb, 1+2+3+4=14m31s)  score
Hymnus: Crux fidelis (7m01.9s - 6594 kb)  score
Communio: Hoc corpus (2m51.7s - 2684 kb)  score, Vexilla Regis (3m22.7s - 3168 kb)  score

The earth trembled and was still, when God arose in judgment, Alleluia.

Matthew 28

Now after the Sabbath, toward the dawn of the first day of the week, Mary Magdalene and the other Mary went to see the tomb. And behold, there was a great earthquake, for an angel of the Lord descended from heaven and came and rolled back the stone and sat on it. His appearance was like lightning, and his clothing white as snow.  And for fear of him the guards trembled and became like dead men.  But the angel said to the women, “Do not be afraid, for I know that you seek Jesus who was crucified.  He is not here, for he has risen, as he said. Come, see the place where he[a] lay.  Then go quickly and tell his disciples that he has risen from the dead, and behold, he is going before you to Galilee; there you will see him. See, I have told you.”  So they departed quickly from the tomb with fear and great joy, and ran to tell his disciples.  And behold, Jesus met them and said, “Greetings!” And they came up and took hold of his feet and worshiped him.  Then Jesus said to them, “Do not be afraid; go and tell my brothers to go to Galilee, and there they will see me.”

Dominica Paschæ in Resurrectione Domini

Ad Missam in Die
Introitus: Ps. 138, 18.5.6 et 1-2 Resurrexi (cum Gloria Patri)(5m29.3s - 5148 kb) score
Graduale: Ps. 117, 24 et 1 Hæc dies... V. Confitemini(2m58.6s - 2794 kb) score
Alleluia: 1 Cor. 5, 7 Pascha nostrum(1m59.3s - 1866 kb) score
Sequentia: Victimæ paschali laudes(1m36.6s - 1510 kb) score
Offertorium: Ps. 75, 9.10 Terra tremuit(1m21.9s - 1282 kb) score
Communio: 1 Cor. 5, 7.8Pascha nostrum(1m25.2s - 1334 kb) score
ad dimitendum populum: Ite, Missa est (28.7s - 451 kb) score

• The Introit for Easter Day: Resurrexi Et Adhuc ("I am risen and behold"
• Haec dies (the Gradual for Easter Day)
• Easter Day: Pascha Nostrum  (the Alleluia and Communio for Easter Day)
• The Easter Sequence: Victimae Paschali Laudes
• The Offertory for Easter Day: Terra Tremuit ("The earth trembles") 

• Dominica in albis (or, Quasi Modo) Sunday:  The Introit
• In die resurrectionis meae, the first Alleluia for the Sunday after Easter
• The Easter Sequence: Victimae Paschali Laudes

This hymn was written by Jean Tisserand, O.F.M. (d. 1494) and originally had only nine stanzas. Stanzas "Discipulis adstantibus", "Ut intellexit Didymus", "Beati qui non viderunt" are early additions to the hymn. There are several different versions of the hymn. The one below is one of the more common versions.

Alleluia, Alleluia, Alleluia.	Alleluia, Alleluia, Alleluia.
O filii et filiae, Rex caelestis, Rex gloriae morte surrexit hodie. R. Alleluia	Ye sons and daughters of the Lord, the King of glory, King adored, this day Himself from death restored. R. Alleluia
Ex mane prima Sabbati ad ostium monumenti accesserunt discipuli. R. Alleluia	All in the early morning gray went holy women on their way, to see the tomb where Jesus lay. R. Alleluia
Et Maria Magdalene, et Iacobi, et Salome Venerunt corpus ungere R. Alleluia	Of spices pure a precious store in their pure hands these women bore, to anoint the sacred Body o'er. R. Alleluia
In albis sedens angelus praedixit mulieribus: In Galilaea est Dominus. R. Alleluia	The straightaway one in white they see, who saith, "seek the Lord: but He is risen and gone to Galilee." R. Alleluia
Et Ioannes apostolus cucurrit Petro citius, monumento venit prius. R. Alleluia	This told they Peter, told John; who forthwith to the tomb are gone, but Peter is by John outrun. R. Alleluia
Discipulis astantibus, in medio stetit Christus, dicens: Pax vobis omnibus. R. Alleluia	That self-same night, while out of fear the doors where shut, their Lord most dear to His Apostles did appear. R. Alleluia
Ut intellexit Didymus quia surrexerat Iesus, remansit fere dubius. R. Alleluia	But Thomas, when of this he heard, was doubtful of his brethren's word; wherefore again there comes the Lord. R. Alleluia
Vide Thoma, vide latus, vide pedes, vide manus, noli esse incredulus. R. Alleluia	"Thomas, behold my side," saith He; "My hands, My feet, My body see, and doubt not, but believe in Me." R. Alleluia
Quando Thomas vidit Christum, pedes, manus, latus suum, dixit: Tu es Deus meus. R. Alleluia	When Thomas saw that wounded side, the truth no longer he denied; "Thou art my Lord and God!" he cried. R. Alleluia
Beati qui non viderunt et firmiter crediderunt; vitam aeternam habebunt. R. Alleluia	Oh, blest are they who have not seen their Lord and yet believe in Him! eternal life awaitheth them. R. Alleluia
In hoc festo sanctissimo sit laus et iubilatio: benedicamus Domino. R. Alleluia	Now let us praise the Lord most high, and strive His name to magnify on this great day, through earth and sky: R. Alleluia
Ex quibus nos humillimas devotas atque debitas Deo dicamus gratias. R. Alleluia	Whose mercy ever runneth o'er; Whom men and Angel hosts adore; to Him be glory evermore. R. Alleluia

---

Latin from March, Latin Hymns. Translation by Fr. Edward Caswall (1814-1878).

The collection of manuscripts known today as Marc-Antoine Charpentier’s “Meslanges autographes” is a wonderfully rich and rare corpus of material―virtually all the composer’s music in one manuscript collection, and written almost entirely in the composer’s own hand. 

Alleluia.  The disciples knew the Lord Jesus in the breaking of the bread.

Antiphonary from St. Gall for the liturgy of the divine office, as sung by St Gall monks, dating from the 12th century, with addenda until the late 14th century. Illustrated with several initials and (at the beginning) with a miniature of the crucified Christ with Mary and John. (smu)

All precisely the same as on Easter Sunday, except the following.

First Lesson.

The Lesson is taken from the HolyGospel according to Luke (xxiv. 13.)

AT that time: Two of Jesus' disciples went that same day to a village, called Emmaus, which was from Jerusalem about threescore furlongs.  And so on.

Homily by Pope St Gregory [the Great,] (23rd on the Gospels.)

Dearly beloved brethren, ye hear how that while two of His disciples walked together in the way, not believing in His Resurrection, but talking together concerning Him, the Lord manifested Himself unto them, but yet held their eyes that they should not know Him. This holding of the eyes of their body, wrought by the Lord, was a figure of the spiritual veil which was yet upon the eyes of their heart. For in their heart they loved and yet doubted: even as the Lord drew near to them outwardly, but showed not Who He was. To them that talked together of Him, He revealed His immediate presence; but hid, from them that doubted, the knowledge of His Person.

First Responsory.

Mary Magdalene and the other Mary went very early to the sepulchre. That Jesus Whom ye seek, is not here: for He is risen, as He said: He goeth before you into Galilee; there shall ye see Him. Alleluia, Alleluia.

Verse. And very early in the morning, the first day of the week, they came unto the sepulchre, at the rising of the sun; and, entering into the sepulchre, they saw a young man sitting upon the right side, who saith unto them:

Answer. That JESUS Whom ye seek is not here: for He is risen, as He said: He goeth before you into Galilee : there shall ye see Him. Alleluia, Alleluia.

Second Lesson.

HE spoke to them; He rebuked the hardness of their heart; "He expounded unto them in all the Scriptures the things concerning Himself:" and, nevertheless, seeing that He was yet a stranger to faith in their hearts, "He made as though He would have gone further." These words—"He made as though"— would here seem to mean "He feigned," but He Who is simple Truth doth nothing with feigning: He only showed Himself to them in bodily manners, as He was towards them spiritually; but they were put to the proof whether, though they loved Him not yet as their God, they could love Him at least as a wayfarer.

Second Responsory.

The Good Shepherd, Who laid clown His life for the sheep, yea, Who was contented even to die for His flock, the Good Shepherd is risen again.
Answer. Alleluia, Alleluia, Alleluia.

Verse. For even Christ our Passover is sacrificed for us.
Answer. Alleluia, Alleluia, Alleluia.

Verse. Glory be to the Father, and to the Son, and to the Holy Ghost.
Answer. Alleluia, Alleluia, Alleluia.

Third Lesson.

BUT since it was impossible, that they with whom Truth walked, should be loveless, they asked Him as a wayfarer to take of their hospitality. But why say we that they asked Him, when it is written: "And they constrained Him?" From their ensample we learn that we ought not only to bid, but also to urge, wayfarers to our hospitable entertainment. They laid a table therefore, and set before Him bread and meat; and that God Whom they had not known in the expounding of the Holy Scripture, they knew in the breaking of bread. In hearing the commandments of God they were not enlightened, but they were enlightened in the doing of them: as it is written: "Not the hearers of the law are just before God, but the doers of the law shall be justified." (Rom. ii. 13.) Whosoever therefore will understand that which he heareth, let him make haste to practise in his works that which he hath already been able to hear. Behold, the Lord was not known while He spake, but He was contented to be known when He brake bread.

Hebdomada tertia paschæ
DominicaIntroitus: Ps. 65, 1.2.3 Iubilate Deo(2m58.9s - 2798 kb) score
Alleluia: Lc. 24, 35Cognoverunt discipuli(2m40.0s - 2504 kb) score
Alleluia: Lc. 24, 32 Oportebat (3m20.3s - 3132 kb) score
Offertorium: Ps. 145, 2 Lauda, anima mea(1m33.8s - 1468 kb) score
Communio:
(anno A) Lc. 24, 34Surrexit Dominus(44.8s - 702 kb) score
                   (anno B)Ps. 95, 2Cantate Domino(1m22.5s - 1292 kb) score
                   (anno C) Io. 21, 15.17 Simon Ioannis(1m23.7s - 1310 kb)

• The Introit for the Third Sunday of Easter: Jubilate Deo
• Cognoverunt discipuli: The First Alleluia for the Third Sunday in Easter

[The LORD] sent redemption to his people;
    he has commanded his covenant forever.
    Holy and awesome is his name!

I am the good shepherd; I know my sheep, and my sheep know me.

O God, whose Son Jesus is the good shepherd of your people: Grant that when we hear his voice we may know him who calls us each by name, and follow where he leads; who, with you and the Holy Spirit, lives and reigns, one God, for ever and ever. Amen.

Jesus said, "Very truly, I tell you, anyone who does not enter the sheepfold by the gate but climbs in by another way is a thief and a bandit. The one who enters by the gate is the shepherd of the sheep. The gatekeeper opens the gate for him, and the sheep hear his voice. He calls his own sheep by name and leads them out. When he has brought out all his own, he goes ahead of them, and the sheep follow him because they know his voice. They will not follow a stranger, but they will run from him because they do not know the voice of strangers." Jesus used this figure of speech with them, but they did not understand what he was saying to them.

So again Jesus said to them, "Very truly, I tell you, I am the gate for the sheep. All who came before me are thieves and bandits; but the sheep did not listen to them. I am the gate. Whoever enters by me will be saved, and will come in and go out and find pasture. The thief comes only to steal and kill and destroy. I came that they may have life, and have it abundantly."

One of the images represented the most in the art of the catacombs is the Good Shepherd. While the model is taken from pagan culture, it immediately takes on a Christological significance inspired by the parable of the lost sheep. Christ is thus represented as a humble shepherd with a lamb on his shoulders as he watches over his little flock that is sometimes made up of only two sheep placed at his sides.

Hebdomada quarta paschæ
DominicaIntroitus: Ps. 32, 5.6 et 1 Misericordia Domini(cum Gloria Patri) (5m12.2s - 4882 kb) score
Alleluia: Ps. 110, 9 Redemptionem (1m42.2s - 1600 kb) score
Alleluia: Io. 10, 14 Ego sum pastor bonus(2m31.5s - 2370 kb) score
Offertorium: Ps. 62, 2.5 Deus, Deus meus(1m19.4s - 1242 kb) score
Communio: Io. 10, 11 Ego sum pastor bonus(47.3s - 742 kb) score

• Misericordia Domini ("The Mercy of the Lord"):  the Introit for the Fourth  Sunday of Easter
• The First Alleluia for the Fourth Sunday of Easter: Redemptionem misit Dominus ("He sent redemption to his people")

The right hand of God has wrought strength; the right hand of the Lord has exalted me.

Dextera Domini fecit virtutem,
Dextera Domini exaltavit me:
non moriar, sed vivam,
et narrabo opera Domini.

Hebdomada quinta paschæ
DominicaIntroitus: Ps. 97, 1.2 Cantate Domino(cum Gloria Patri) (4m35.5s - 4308 kb) score
Alleluia: Ps. 117, 16 Dextera Dei(2m02.2s - 1912 kb) score
Alleluia: Rom. 6, 9 Christus resurgens(3m10.5s - 2978 kb) score
Offertorium: Ps. 65, 1.2.16 Iubilate Deo universa terra(3m31.6s - 3306 kb) score
Communio:
                (anno A)Io. 14, 9 Tanto tempore(1m24.6s - 1324 kb) score
                        Io. 15, 5 Ego sum vitis vera (1m01.1s - 956 kb)

• The Introit for the Fifth Sunday of Easter: Cantate Domino ("Sing to the Lord")
• The First Alleluia for the Fifth Easter Sunday: Dextera Dei ("The right hand of God")

The Hand of God, or Manus Dei in Latin, also known as Dextera domini/dei, the "right hand of God", is a motif in Jewish and Christian art, especially of the Late Antique and Early Medieval periods, when depiction of Jehovah or God the Father as a full human figure was considered unacceptable. The hand, sometimes including a portion of an arm, or ending about the wrist, is used to indicate the intervention in or approval of affairs on Earth by God, and sometimes as a subject in itself. It is an artistic metaphor that is generally not intended to indicate that a hand was physically present or seen at any subject depicted. The Hand is seen appearing from above in a fairly restricted number of narrative contexts, often in a blessing gesture (in Christian examples), but sometimes performing an action. In later Christian works it tends to be replaced by a fully realized figure of God the Father, whose depiction had become acceptable in Western Christianity, although not in Eastern Orthodox or Jewish art.^[1] Though the hand of God has traditionally been understood as a symbol for God's intervention or approval of human affairs, it is also possible that the hand of God reflects the anthropomorphic conceptions of the deity which may have persisted in late antiquity.^[2]

The largest group of Jewish imagery from the ancient world, the 3rd century synagogue at Dura-Europas, has the hand of God in five different scenes, including the Sacrifice of Isaac,^[3] and no doubt this was one of the many iconographic features taken over by Christian art from what seems to have been a vigorous tradition of Jewish narrative art. Here and elsewhere it often represents the bath Kol (literally "daughter of a voice") or voice of God,^[4] a use also taken over into Christian art.

The hand may also relate to older traditions in various other religions in the Ancient Near East.^[5] Like the hamsaamulet, the hand is sometimes shown alone on buildings, although it does not seem to have existed as a portable amulet-type object in Christian use. It is found from the 4th century on in the Catacombs of Rome, including paintings of Moses receiving the Law and the Sacrifice of Isaac.^[6]

There are numerous references to the hand, or arm, of God in the Hebrew Bible, some clearly metaphorical in the way that remains current in modern English, but others capable of a literal interpretation.^[7] They are usually distinguished from references to a placement at the right hand of God. Later rabbinic literature also contains a number of references. There are three occasions in the gospels when the voice of God is heard, and the hand often represents this in visual art.^[8] Gertrud Schiller distinguishes three functions of the hand in Christian art: as symbol of either God's presence or the voice of God, or signifying God's acceptance of a sacrifice.^[9]

Ezekieldescribesinchapter37 avision in whichGodbringsthe deadbonesof the peopleback to life.Itis strongly reminiscent ofthecreation storiesof Genesis1 and2. Herethe idea of ​​aresurrection from the deadisfirst formulated.

Ezekiel(Ezekiel) connects theproclamationof the approachingfinal judgment(Ez 7)withvisions thatlook back onpast historyandthis"project": not only the "abominations"(Ezekiel 8) that the destructionof the First Temple(Ez 9) andcausedpullthe downfallof the monarchy(Ez 19), but alsothe victoryof Nebuchadnezzarover Egypt(Ezek.29-32). Yetunconnectedwith itnowalso occursthe ideaof an otherworldlyRaise Deadshows(Ez 37).

Published on May 19, 2014

England was converted to the faith when St Augustine of Canterbury arrived on the island of Thanet with forty companions. They might have offered service and they probably preached, but they certainly settled down to Benedictine stability and contemplated God. That is one out of thousands of examples of the mystical process of spiritual power. It is mysterious but indisputable.

When we look at our contemporary trouble spots, at violence in the inner cities, at racial hatred, or torture, murder and rape, I can muster little faith in the efficacy of ‘praying about it’. I have absolute confidence in the efficacy of planting a contemplative community in the middle of it and letting God manifest his power. Prayer, real prayer, is no last resort but the first priority.

Martin Thornton, A Joyful Heart.

/via @martin_thornton

The Christian Church was established in the British Isles well before 300. Some scholars believe that it was introduced by missionaries from the Eastern or Greek-speaking half of the Mediterranean world. Celtic Christianity had its own distinctive culture, and Greek scholarship flourished in Ireland for several centuries after it had died elsewhere in Western Europe.

However, in the fifth century Britain was invaded by non-Christian Germanic tribes: the Angles, Saxons, and Jutes. They conquered the native Celtic Christians (despite resistance by, among others, a leader whose story has come down to us, doubtless with some exaggeration, as that of King Arthur), or drove them north and west into Cornwall, Wales, Scotland, and Ireland. From these regions Celtic Christian missionaries returned to England to preach the Gospel to the heathen invaders. 

Meanwhile, the Bishop of Rome, Gregory the Great, decided to send missionaries from Rome, a group of monks led by their prior, Augustine (not to be confused with the more  famous Augustine of Hippo). They arrived in Kent (the southeast corner of England) in 597, and the king, whose wife was a Christian, allowed them to settle and preach. Their preaching was outstandingly successful, the people were hungry for the Good News of salvation, and they made thousands of converts in a short time. In 601 the king himself was converted and baptised. Augustine was consecrated bishop and established his headquarters at Canterbury. From his day to the present, there has been an unbroken succession of archbishops of Canterbury.

In 603, he held a conference with the leaders of the already existing Christian congregations in Britain, but failed to reach an accomodation with them, largely due to his own tactlessness, and his insistence (contrary, it may be noted, to Gregory's explicit advice) on imposing Roman customs on a church long accustomed to its own traditions of worship. It is said that the British bishops, before going to meet Augustine, consulted a hermit with a reputation for wisdom and holiness, asking him, "Shall we accept this man as our leader, or not?" The hermit replied, "If, at your meeting, he rises to greet you, then accept him, but if he remains seated, then he is arrogant and unfit to lead, and you ought to reject him." Augustine, alas, remained seated. It took another sixty years before the breach was healed.

PRAYER (traditional language)

O Lord our God, who by thy Son Jesus Christ didst call thine Apostles and send them forth to preach the Gospel to the nations: We bless thy holy name for thy servant Augustine, first Archbishop of Canterbury, whose labors in propagating thy Church among the English people we commemorate today; and we pray that all whom thou dost call and send may do thy will, and bide thy time, and see thy glory; through Jesus Christ our Lord, who liveth and reigneth with thee and the Holy Spirit, one God, for ever and ever.

PRAYER (contemporary language)

O Lord our God, who by your Son Jesus Christ called your Apostles and sent them forth to preach the Gospel to the nations: We bless your holy name for your servant Augustine, first Archbishop of Canterbury, whose labors in propagating your Church among the English people we commemorate today; and we pray that all whom you call and send may do your will, and bide your time, and see your glory; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever.

2 Corinthians 5:17-20a
Luke 5:1-11
Psalm 66:1-8 or
Psalm 103:1-4, 13-18

¹⁷ And these signs will accompany those who believe: in my name they will cast out demons; they will speak in new tongues;¹⁸ they will pick up serpents with their hands; and if they drink any deadly poison, it will not hurt them; they will lay their hands on the sick, and they will recover.”

¹⁹ So then the Lord Jesus, after he had spoken to them, was taken up into heaven and sat down at the right hand of God.²⁰ And they went out and preached everywhere, while the Lord worked with them and confirmed the message by accompanying signs.

³³ to him who rides in the heavens, the ancient heavens;
    behold, he sends out his voice, his mighty voice.
³⁴ Ascribe power to God,
    whose majesty is over Israel,
    and whose power is in the skies.

Here's a very nice polyphonic Psallite Domino:  this piece was composed by Sebastiaan Van Steenberge, performed by Koristen van Keizersberg (Director: Peter Maus), and recorded at Keizersberg Abbey in Leuven, Belgium in May 2008:

In Ascensione Domini
DominicaIntroitus: Act. 1, 11; Ps. 46 Viri Galilæi(2m48.4s - 2635 kb) score here
Alleluia: Ps. 46, 6 Ascendit Deus(1m50.2s - 1725 kb) score here
Alleluia: Ps. 67, 18.19 Dominus in Sina(2m33.9s - 2409 kb) score here
Offertorium: Ps. 46, 6 Ascendit Deus(1m33.8s - 1469 kb MONO due to problems with my recording set) score here
Communio:
(anno A)Mt. 28, 18.19 Data est mihi(1m21.9s - 1283 kb) score here
(anno B)Mc. 16, 17.18 Signa(1m05.5s - 1027 kb)
(anno C)  Ps. 67, 33.34 Psallite Domino(59.0s - 925 kb MONO due to problems with my recording set) score here

• The Introit for the Feast of the Ascension: Viri Galilaei ("O men of Galilee")
• The 1st Alleluia and Offertory for Ascension:  Ascendit Deus ("God has gone up")
• The 2nd Alleluia for Ascension Day: Dominus in Sina ("The Lord is in Sinai")
• The Communion Song(s) for the Feast of the Ascension 
• The Sarum Ascension Office

Johann Sebastian Bach
Ascension Oratorio, BWV 11
(Cantata, Lobet Gott in seinen Reichen, BWV 11)

Part I
1 Chorus. Lobet Gott in seinen Reichen
2 Evangelista. Der Herr Jesus hub seine Hände auf
3 Recitativo. Ach, Jesu, ist dein Abschied
4 Aria. Ach, bleibe doch, mein liebstes Leben
5 Evangelista. Und ward aufgehoben zusehends
6 Chorale. Nun lieget alles unter dir

Part II
7 Evangelista. Und da sie ihm nachsahen
8 Recitativo. Ach ja! so komme bald zurück
9 Evangelista. Sie aber beteten ihn an
10 Aria. Jesu, deine Gnadenblicke
11 Chorale. Wenn soll es doch geschehen

Hannah Morrison, soprano
Meg Bragle, mezzo-soprano
Nicholas Mulroy, tenor
Peter Harvey, bass

Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner, conductor

I will not leave you orphans. I am going, but I will come back to you, and your hearts will be full of joy.

Traditionally, the Paschal Candle was extinguished following the reading of the  Gospel on Ascension Day. The gentle ascent and disappearance of the smoke from the smoldering wick was a poignant symbol of the departure of the Risen Lord from the earth.  Now, it is customary in many places to keep the Candle burning until Pentecost and to omit entirely any special ceremony of extinguishing it. There are credible reasons for this change. On the other hand, it is noteworthy that so little attention is given to the extinguishing of this Candle which was lit with major ceremony at the beginning of the Paschal Vigil and holds a place of such prominence in the church building throughout the season.

Like the Church at large, we at FHD are not of one mind on this practice. However, apart from the rites of the Church set forth by authority (i.e., The Book of Common Prayer), it is never our intent to prescribe, only to suggest. The rubric regarding the Paschal Candle in the American Prayer Book (p. 287) says "It is customary that the Paschal Candle burn at all services from Easter Day through the Day of Pentecost." At the risk of being accused of nitpicking, we note that "customary" is a relative term. Customs vary over both time and space and we are simply pointing out that this is one that is not universal. It has changed before and it could change again. Some of us see value in the old custom, and like it enough to keep it alive.

There are other liturgical customs for this day which have also fallen by the way. One such custom was the lifting up of a statue or picture of Christ. In some places, this was quite elaborate, with ropes or chains rigged to elevate the image. In some places, it disappeared behind a veil or into a representation of clouds, while in others it went through a hole in the ceiling. After the image vanished, the congregation would be showered with rose petals and other flowers, symbolizing the gifts which the ascended Christ gives to his Church:  When he ascended on high he made captivity itself a captive; he gave gifts to his people....that some would be apostles, some prophets, some evangelists, some pastors and teachers.... (Ephesians 4:7,11)

In Germany, it was the custom for the priest to lift high a crucifix after the reading of the Ascension Gospel.  This custom has much to recommend it. It makes visible the symbolic link between the Cross and the Ascension which is implicit in Jesus' words when he says, And I, when I am lifted up from the earth, will draw all people to myself. (John 12:32)   On the Cross, Jesus is glorified. When he ascends, he ascends to reign in glory. It could be a simple, yet effective, bit of liturgical drama to revive this custom. An extra acolyte, carrying a crucifix, could be added to the Gospel procession on Ascension Day. Or, if the parish owns a processional cross which has a figure of Christ on it, that should be carried at the head of the Gospel procession. It is important for this particular ceremony that the cross not be empty. While in many contexts an empty cross is an effective symbol, here the focus is on Christ himself, so a crucifix is needed. At the conclusion of the reading of the Gospel, instead of lifting the Gospel book and proclaiming "The Gospel of the Lord," the deacon or priest should exchange the book for the crucifix, and lift it high. It is still appropriate to say "The Gospel of the Lord," for the uplifted figure of Christ on the cross is indeed the Good News (Gospel) that we proclaim and celebrate. A processional crucifix would be especially dramatic as it would enable the Gospeller to lift the figure very high.

Hebdomada septima paschæ
DominicaIntroitus: Ps. 26, 7.8.9 et 1 Exaudi, Domine... tibi dixit (not available)
Alleluia: Ps. 46, 9 Regnavit Dominus (not available)
Alleluia: Io. 14, 18 Non vos relinquam (3m32.2s - 3316 kb)
Offertorium: Ps. 46, 6 Ascendit Deus (1m33.8s - 1469 kb MONO)
Communio: Io. 17, 12.13.15 Pater, cum essem (not available)

• The Introit for the Seventh Sunday of Easter: Exaudi, Domine  ("Lord, hear my voice")
• The Seventh Sunday in Easter: Alleluia. Non vos reliquam orphanos  ("I will not leave you orphans") 

Rome, May 23, 2010: Solemnity of Pentecost at the Pantheon; rose petals are dropped from the open oculus at twelve o'clock noon in commemoration of the descent of the Holy Ghost on the day of Pentecost, the birthday of the Church. As the "dew" falls, the choir chants the sequence Veni Sancte Spiritus!

The Pantheon (/ˈpænθiən/ or US/ˈpænθiɒn/;^[1]Latin: Pantheon^{[nb 1]}) is a building in Rome, Italy, commissioned by Marcus Agrippa during the reign of Augustus (27 BC - 14 AD) as a temple to all the gods of ancient Rome, and rebuilt by the emperor Hadrian about 126 AD.^[2]

The building is circular with a portico of large granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment. A rectangular vestibule links the porch to the rotunda, which is under a cofferedconcretedome, with a central opening (oculus) to the sky. Almost two thousand years after it was built, the Pantheon's dome is still the world's largest unreinforced concrete dome.^[3] The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft).^[4]

It is one of the best-preserved of all Ancient Roman buildings. It has been in continuous use throughout its history, and since the 7th century, the Pantheon has been used as a Roman Catholicchurch dedicated to "St. Mary and the Martyrs" but informally known as "Santa Maria Rotonda."

Vigile de la Pentecôte

1. Antienne D'Introit  DUM SANCTIFICATUS
2  KYRIE XII
3. GLORIA XII
4. Antienne d'Offertoire EMITTE
5. SANCTUS XII
6. AGNUS DEI XII
7. Antienne de Communion ULTIMO


Messe du Jour de la Pentecôte

8. Antienne d'Introit SPIRITUS DOMINI
9.  KYRIE III A
10. GLORIA III B
11. ALLELUIA EMITTE
12. ALLELUIA VENI SANCTE SPIRITUS
13. Sequence VENI SANCTE SPIRITUS
14. Antienne d"Offertoire CONFIRMA HOC
15. SACTUS III
16. AGNUS DEI III
17. Antienne de Communion FACTUS EST

Vepres de la Pentecôte

18.  Verset DEUS IN ADJUTORUM
19.  Antienne DUM COMPLERENTUR et Psaume 109
20.  Antienne SPIRITUS DOMINI et Psaume 110
21.  Antienne REPLETI SUNT et Psaume 111
22   Antienne LOQUEBANTUR et Psaume 112
23.  Capitule CUM COMPLERENTUR
24.  Repons bref SPIRITUS PARACLITUS
25.  Hymne VENI CREATOR
26.  Verset LOQUENBANTUR
27.  Antienne HODIE et Cantique MAGNIFICAT
28.  KYRIE PATER, Oraison DEUS QUI HODIERNA
29.  Verset BENEDICAMUS DOMINO

Voici une très belle interprétation du chant grégorien (sans accompagnement de l'orgue) et dans la pure tradition de l'abbaye de Solesmes dont Fontgombault est une abbaye-fille de Saint-Pierre de Solesmes. Le ton est parfait et la prononciation latine l'est aussi. Il est à noter comme je l'ai déjà fait dans l'office de Pâques et de l'Assomption que le ton est plus haut que les régions nordiques, belges et espagnoles. Santo Domingo de Silos chante plus bas dû par l'influence du mozarabe.

Cet office de Pentecôte est admirable car le chant du propre et XII et de la III sont difficile à interpréter et d'ailleurs peu connus.

A.G. O.S.B.

Here's a beautiful interpretation of Gregorian Chant (without organ accompaniment) and in the pure tradition of the Abbey of Solesmes;  Fontgombault is a daughter-abbey of Saint-Pierre de Solesmes.  The tone is perfect and the Latin pronunciation is, too.  As I've previously noted on the videos of the Offices of Easter and the Assumption, the tone is higher than the Nordic, Belgian and Spanish regions.  Santo Domingo de Silos sings lower because of the Mozarabic influence.

The Pentecost Office is admirable because the chant propers of (Masses) XII and III are difficult to sing and are less well-known.

Troparion of Pentecost, sung by the choir of the convent of Sameba-Jikheti. It can be found on their CD "Chant melodies."

"Blessed art Thou, O Christ our God, Who hast revealed the fishermen as most wise by sending down upon them the Holy Spirit - through them Thou didst draw the world into Thy net. O Lover of Man, glory to Thee!"

A troparion (Greekτροπάριον, plural: troparia, τροπάρια; Church Slavonic: тропа́рь, tropar′) in Byzantine music and in the religious music of Eastern Orthodox Christianity is a short hymn of one stanza, or one of a series of stanzas. The word probably derives from a diminutive of the Greek tropos (“something repeated”, “manner”, “fashion”). The early troparion was also called sticheron^{[citation needed]} (probably from stichos, “verse”); but currently the two terms are treated separately, with different melodies used for each.

Most troparia are chanted to one of the Eight Tones used in the Eastern liturgical tradition, though some have unique melodies to which they are chanted. Sometimes, troparia will be interpolated between verses of a psalm or other scripture.

In casual, unqualified use, troparion usually refers to the apolytikion (Greek: ἀπολυτίκιον), or "dismissal hymn", a troparion chanted near the end of Vespers which establishes the overall theme for the liturgical day, for which it is called the "troparion of the day". It is chanted again at the beginning of Matins, read at each of the Little Hours, and chanted at the Divine Liturgy following the Little Entrance.

The complete LP you see in the video above. Recorded in 1951.

The Choir of Ely Cathedral, under the direction of David Price & Paul Trepte, sing the hundredth and second Psalm to an Anglican chant for choir and organ. A sorrowful complaint of great afflictions. (1-11) Encouragement by expecting the performances of God's promises to his church. (12-22) The unchangeableness of God. (23-28)

Text:

Psalm 102. Domine, exaudi

HEAR my prayer, O Lord : and let my crying come unto thee.
2. Hide not thy face from me in the time of my trouble : incline thine ear unto me when I call; O hear me, and that right soon.
3. For my days are consumed away like smoke : and my bones are burnt up as it were a firebrand.
4. My heart is smitten down, and withered liked grass : so that I forget to eat my bread.
5. For the voice of my groaning : my bones will scarce cleave to my flesh.
6. I am become like a pelican in the wilderness : and like an owl that is in the desert.
7. I have watched, and am even as it were a sparrow : that sitteth alone upon the house-top.
8. Mine enemies revile me all the day long : and they that are mad upon me are sworn together against me.
9. For I have eaten ashes as it were bread : and mingled my drink with weeping;
10. And that because of thine indignation and wrath : for thou hast taken me up, and cast me down.
11. My days are gone like a shadow : and I am withered like grass.
12. But thou, O Lord, shalt endure for ever : and thy remembrance throughout all generations.
13. Thou shalt arise, and have mercy upon Sion : for it is time that thou have mercy upon her, yea, the time is come.
14. And why? thy servants think upon her stones : and it pitieth them to see her in the dust.
15. The heathen shall fear thy Name, O Lord : and all the kings of the earth thy majesty;
16. When the Lord shall build up Sion : and when his glory shall appear;
17. When he turneth him unto the prayer of the poor destitute : and despiseth not their desire.
18. This shall be written for those that come after : and the people which shall be born shall praise the Lord.
19. For he hath looked down from his sanctuary : out of the heaven did the Lord behold the earth;
20. That he might hear the mournings of such as are in captivity : and deliver the children appointed unto death;
21. That they may declare the Name of the Lord in Sion : and his worship at Jerusalem;
22. When the people are gathered together : and the kingdoms also, to serve the Lord.
23. He brought down my strength in my journey : and shortened my days.
24. But I said, O my God, take me not away in the midst of mine age : as for thy years, they endure throughout all generations.
25. Thou, Lord, in the beginning hast laid the foundation of the earth : and the heavens are the work of thy hands.
26. They shall perish, but thou shalt endure : they all shall wax old as doth a garment;
27. And as a vesture shalt thou change them, and they shall be changed : but thou art the same, and thy years shall not fail.
28. The children of thy servants shall continue : and their seed shall stand fast in thy sight.

Recording available on the disk 'Psalms of David: Vol. 8' (Priory Records UK).
www.prioryrecords.co.uk

Sir Ivor Algernon Atkins (29 November 1869 – 26 November 1953) was the choirmaster and organist at Worcester Cathedral for over 50 years (1897-1950). He is well known for editing Allegri's Miserere with the famous top-C part for the treble. He is also well known for The Three Kings, an arrangement of a song by Peter Cornelius as a choral work for Epiphany.

Born into a Welsh musical family at Llandaff, Atkins graduated with a bachelor of music degree from The Queen's College, Oxford in 1892, and subsequently obtained a Doctorate in Music (Oxford). He was assistant organist of Hereford Cathedral (1890-1893) and organist of St Laurence Church, Ludlow from 1893 to 1897.
He composed songs, church music, service settings and anthems. With Edward Elgar he prepared an edition of Bach's St. Matthew Passion. Knighted in 1921 for services to music, Atkins was President of the Royal College of Organists from 1935 to 1936. He died in Worcester.

He was a friend of Edward Elgar, who in 1904 dedicated the third of his Pomp and Circumstance Marches to Atkins.

A service of Compline, sung live by the Choir of Clare College, Cambridge, directed by Graham Ross

Recorded in Chapel of Clare College, Cambridge, UK

www.clarecollegechoir.com
www.grahamross.com

Introit: Robert White (1538-1574): 'Christe qui lux es et dies'

Christe qui lux es et dies,
Noctis tenebras detegis,
Lucisque lumen crederis,
Lumen beatum praedicans.

Precamur sancte domine,
Defende nos in hac nocte,
Sit nobis in te requies,
Quietam noctem tribue.

Ne gravis somnus irruat,
Nec hostis nos surripiat,
Nec caro illi consentiens,
Nos tibi reos statuat.

Oculi somnum capiant,
Cor ad te semper vigilet,
Dextera tua protegat
Famulos qui te diligunt.

Defensor noster aspice,
Insidiantes reprime,
Guberna tuos famulos,
Quos sanguine mercatus es.

Memento nostri domine
In gravi isto corpore,
Qui es defensor animae,
Adesto nobis domine.

Deo patri sit gloria,
Ejusque soli filio,
Cum spiritu paraclyto,
Et nunc et in perpetuum. Amen.

Christ, who art the light and day,
You drive away the darkness of night,
You are called the light of light,
For you proclaim the blessed light.

We beseech you, Holy Lord,
Protect us this night.
Let us take our rest in you;
Grant us a tranquil night.

Let our sleep be free from care;
Let not the enemy snatch us away,
Nor flesh conspire within him,
And make us guilty in your sight.

Though our eyes be filled with sleep,
Keep our hearts forever awake to you.
May your right hand protect
Your willing servants.

You who are our shield, behold;
Restrain those that lie in wait.
And guide your servants whom
You have ransomed with your blood.

Remember us, O Lord,
Who bear the burden of this mortal form;
You who are the defender of the soul,
Be near us, O Lord.

Glory be to God the Father,
And to his only Son,
With the Spirit, Comforter,
Both now and evermore. Amen.

Anthem: Josef Rheinberger (1839-1901): 'Abendlied'

Bleib bei uns, denn es will Abend werden, und der Tag hat sich geneiget

Bide with us, for evening shadows darken, and the day will soon be over.

Pierre the Venerable was one of the most remarkable men in 12th-century Europe: he was abbot of Cluny (France), the most influential monastery of its day; he sheltered Peter Abelard after the Pope condemned Abelard's teachings; he had the Koran translated into Latin; he defended Jews from persecution. On top of all this, he was a fine composer. The enterprising French ensemble Venance Fortunat performs here Pierre's hymns for the Feast of the Transfiguration. Director Anne-Marie Deschamps uses only unaccompanied voices, generally solo or in unison (occasionally with a drone), without rhythmic pulse but with careful attention paid to long-versus-short note values--in effect, the long notes of basic chant melodies are embellished with Pierre's quick, almost improvisatory ornaments. The impression created by the music and text (and magnified by the extraordinary "Clunisian" acoustic in which the recording was made) is one of intense, rhapsodic devotion--somewhat reminiscent of Hildegard of Bingen, though without her extravagant metaphor and wide vocal ranges. Deschamps and her musicians deserve high praise for finding this music and performing it so sympathetically. -- Matthew Westphal

1. Ecce Nubes Lucida
2. Assumens Ihesus
3. Invitatoire
4. Assumptis Hodie
5. Coram Tribus Discipulis
6. Primo Genitus
7. Ihesus Ad Discipulos
8. O Nata Lux De Lumine
9. Antienne: Ton 1. Visionem Quam Vidistis
10. Antienne: Ton 2. Accessit Ihesus
11. Antienne: Ton 3. Ut Testimonium Haberet
12. Antienne: Ton 4. Lex Per Moysen
13. Antienne: Ton 5. Descendentibus Illis
14. Antienne: Ton 6. Celi Aperti Sunt
15. Antienne: Ton 7. Tribus Discipulis
16. Antienne: Ton 8. Celi Aperti Sunt
17. Claruit Magnitudo Dei
18. Hodie In Monte
19. Discipuli Christi
20. Sicut Unius Dei Trinitas
21. Videns Petrus
22. Ave Stella Matutina