Burying the Alleluia

From ancient times in the West, the liturgical usage of the word Alleluia ceased at Septuagesima (the first Sunday of the pre-Lenten season) all the way until the Paschal vigil. This cessation of the Alleluia in the Western liturgies stands in contrast with the Eastern practice of increasing the usage of Alleluia liturgically during Lent. Why this move in opposite directions between the two traditions? Is this an instance or example of the Eastern and Western rites having different spirits?

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In Paradisum

The antiphon “In paradisum” is one of those unique chants in the Western liturgical repertoire which is not exactly liturgical, per se, but is liturgy-adjacent. It’s sung at the very conclusion of the Requiem Mass (Mass for the dead), when the body of the deceased is being borne from the church to the grave. The composer of the text and music is unknown, and I’ve had a hard time tracking down even what century it entered the service books. Its provenance seems shrouded in mystery, but its message is so powerfully universal.

The words to the chant are:

In paradisum deducant te Angeli; in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctam Ierusalem. Chorus angelorum te suscipiat, et cum Lazaro quondam paupere æternam habeas requiem.

Into paradise may the Angels lead thee; at thy coming, may the martyrs receive thee, and bring thee into the holy city Jerusalem. May the choir of Angels receive thee, and with Lazarus, who was once poor, mayest thou have eternal rest.

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The Arma Christi

A centuries old devotion practiced throughout the middle ages and beyond was the meditation on the Arma Christi, or the weapons of Christ—things associated with the Passion and Death of the Lord. The reason the instruments of Jesus’ suffering and death came to be known as his arms is because when they were used against him, they exhausted their powers of evil on him, only to be subverted by his willingness to accept them and to turn them into his own triumphs of patience, self-sacrifice, and love. Having disarmed evil, they became Christ’s own weapons of victory.

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Day of Wrath – And Hope

The Dies Irae is probably one of the most famous pieces in the entire repertoire of Latin chant. Its first opening notes have proven to be one of the most enduring musical phrases in our culture, prominently quoted by composers like Mozart, Haydn, Berlioz, and Rachmaninoff, and even in the film scores of movies from Citizen Cane and It’s Wonderful Life, to The Shining, Home Alone, The Lion King, Star Wars: A New Hope, and many, many more.

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Kinetic Composition

I’ve been fascinated for a while now with a particular artistic motif which depicts King David, ruler of ancient Israel and credited author of many of the Psalms, in the rapturous throes of composing. Many images of David with his harp/lyre can be found dating right back through the early middle ages, but many of these are also of a somewhat static, poised David. As art became more expressive of emotion in the Renaissance and beyond, the figure of David became more dramatic. And David, as an artistic figure, is particularly suited for drama.

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The Last First Step: A Conversion Story

I was born to and raised by Christian parents, God-fearing people who taught me to love God, taught me that God is good, that God is Father, Son, and Holy Spirit. They brought me to church every Sunday morning, most Sunday nights, and most Wednesday nights for youth group. This church was a Southern Baptist congregation where I attended from 0 to 18 years old, when I moved away for college. It would be impossible to overstate how formative growing up in that congregation was for me; it grounded me in a culture, a philosophy, and a faith. It grounded me so deeply in that faith that when I graduated high school I went on to a Southern Baptist college and earned a degree from a Baptist seminary.

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An Aid for Washing

The Asperges is a rite in which the priest sprinkles the people with holy water before the Mass while verses from Psalm 51 (50) are sung, followed by short responses and a Collect. This rite is performed throughout the year, Sunday by Sunday, though during Eastertide the antiphon Vidi Aquam from Ezekiel 47 is used with verses from Ps. 117 (116). The Asperges runs:

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A Visual for Lent

This handy visual provides some useful imagery for the season of Lent. At the center and dominating the picture is the Cross, because this entire season has at its center the Cross.

The steps leading up to the beginning of Lent are the preparatory Sundays of Septuagesima, Sexagesima, and Quinquagesima. On the right side of the Cross is a censer with incense rising up representing prayer (Ps. 141:2; Rev 5:8, 8:4), because prayer undergirds everything we do in Lent and should even be increased now. On the left side of the Cross is a burning palm branch, because the palms used in procession on Palm Sunday the previous year are burned to become the ashes applied to our heads which remind us that we ourselves are the same dust (Gen 3:19).

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The Threefold Epiphany

The Feast of Epiphany in the Western tradition is an extravaganza of themes. On the feast day itself, January 6, it’s true that the primary theme is that of the visit of the magi to the Christ child. But in the various antiphons and hymns of that day, it’s linked to its octave day (8 days later) and the Sunday following its octave. On those days, the themes of Christ’s baptism in the Jordan and of his first miracle at the wedding in Cana are observed, respectively. While these themes get their due attention individually on their own days, they all stay linked together through at least some of the language in each of their liturgies.

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