Illa autem, quæ sursum est Jerúsalem, líbera est, quæ est mater nostra...

Concéde, quǽsumus, omnípotens Deus: ut, qui ex merito nostræ actiónis afflígimur, tuæ grátiæ consolatióne respirémus. Per Dóminum.

Today is Sunday, the fourth in Lent; the Mass is Laetare Jerusalem. The page for today at Liturgia, the website of the Schola Sainte-Cécile, is here; the libellus for Holy Mass is here, and for Vespers, here.

I've included the orations for the feast of the Holy Martyrs; not added at Saint-E., apparently, but we shall see if they are at Le Barroux. The feast of the Holy Martyrs was not commemorated at Le Barroux.

Dr DiPippo posted an article about these Forty Martyrs today, writing in part:

... Their feast was originally kept in the West on March 9, the same day it still has in the East. St Frances of Rome died on that day in 1440; when she was canonized in 1608, she was assigned to that day, and the martyrs moved forward to the 10th. In the rubrical reform of 1960, ferias of Lent were given precedence over the majority of feasts, and the Forty were permanently reduced to a commemoration, since March 10th cannot occur outside Lent; notwithstanding the great veneration in which they are held in the East, and the antiquity of the feast, it was abolished from the calendar of the Novus Ordo....

Am not sure why their feast was not commemorated at Le Barroux and Saint-E. Eh. In the Missale Romanum there is a rubric directing that this or that commemoration (I don't recall the specifics) be omitted at conventual Masses-- which custom might explain why there was none at Le Barroux earlier. In any event, the witness of the martyrs is truly a living representation of the Paschal Mystery; someone glancing at these pages might presume from them that I 'have my priorities mixed up' but that is in fact not the case.  

Durandus on today's Mass, translated by Dr DiPippo at New Liturgical Movement. Guillaume Durand (c 1230-1296), was bishop of Mende and a well-respected canonist, active in the service of the Papal Court. He is most famous, for our purposes here, as the author of the Rationale divinorum officiorum, a sort of summa of matters liturgical and ritual. 

Another important work by Durand was the Rationale divinorum officiorum, a liturgical treatise written in Italy before 1286, on the origin and symbolic sense of Christian ritual. It presents a picture of the liturgy of the 13th century in the West, studied in its various forms, its traditional sources, and its relation to the church buildings and furniture.

I've got it in this machine and, as one or two readers may recall, I have tried putting excerpts of it here on the corresponding days (along with passages of Blessed Cardinal Ildefonso and Venerable Dom Prosper); alas, my resolve at this sort of thing doesn't long survive the daily grind.

Statio ad S. Crucem in Jerusalem

Introitus. Is. 66, 10 et 11. Lætáre, Jerúsalem: et convéntum fácite, omnes qui dilígitis eam: gaudéte cum lætítia, qui in tristítia fuístis: ut exsultétis, et satiémini ab ubéribus consolatiónis vestræ. Ps. 121, 1. Lætátus sum in his, quæ dicta sunt mihi: in domum Dómini íbimus. ℣. Glória Patri.

At Saint-Eugène, the Missa secunda (1599) of Hans Leo Hassler (1564-1612), organist at the Cathedral of Augsburg and elsewhere, and Kapellmeister in Nuremburg and Dresden, will be sung, with the exception of its Credo and of course the Gloria. Dr Ratovondrahety's beautiful organwork is featured today, and I notice that M D'Oliveira with his violoncello is, also: the Schola is perhaps concentrating on Victoria, Padre Martini et alii for Holy Week. 


Concéde, quǽsumus, omnípotens Deus: ut, qui ex merito nostræ actiónis afflígimur, tuæ grátiæ consolatióne respirémus. Per Dóminum.

Oratio. Præsta, quǽsumus, omnípotens Deus: ut, qui gloriosos Mártyres fortes in sua confessióne cognóvimus, pios apud te in nostra intercessióne sentiámus. Per Dóminum.

Léctio Epístolæ beáti Pauli Apóstoli ad Gálatas.
Gal. 4, 22-31.

Fratres: Scriptum est: Quóniam Abraham duos fílios habuit: unum de ancílla, et unum de líbera. Sed qui de ancílla, secúndum carnem natus est: qui autem de líbera, per repromissiónem: quæ sunt per allegóriam dicta. Hæc enim sunt duo testaménta. Unum quidem in monte Sina, in servitútem génerans: quæ est Agar: Sina enim mons est in Arábia, qui conjúnctus est ei, quæ nunc est Jerúsalem, et servit cum fíliis suis. Illa autem, quæ sursum est Jerúsalem, líbera est, quæ est mater nostra. Scriptum est enim: Lætáre, stérilis, quæ non paris: erúmpe, et clama, quæ non párturis: quia multi fílii desértæ, magis quam ejus, quæ habet virum. Nos autem, fratres, secúndum Isaac promissiónis fílii sumus. Sed quómodo tunc is, qui secúndum carnem natus fúerat, persequebátur eum, qui secúndum spíritum: ita et nunc. Sed quid dicit Scriptura? Ejice ancillam et fílium ejus: non enim heres erit fílius ancíllæ cum fílio líberæ. Itaque, fratres, non sumus ancíllæ fílii, sed líberæ: qua libertáte Christus nos liberávit.

Graduale. Ps. 121, 1 et 7. Lætátus sum in his, quæ dicta sunt mihi: in domum Dómini íbimus. ℣. Fiat pax in virtúte tua: et abundántia in túrribus tuis.

Tractus. Ps. 124, 1-2. Qui confídunt in Dómino, sicut mons Sion: non commovébitur in ætérnum, qui hábitat in Jerúsalem. ℣. Montes in circúitu ejus: et Dóminus in circúitu pópuli sui, ex hoc nunc et usque in sǽculum.

✠ Sequéntia sancti Evangélii secúndum Joánnem.
Joann. 6, 1-15.

In illo témpore: Abiit Jesus trans mare Galilǽæ, quod est Tiberíadis: et sequebátur eum multitúdo magna, quia vidébant signa, quæ faciébat super his, qui infírmabántur. Súbiit ergo in montem Jesus: et ibi sedébat cum discípulis suis. Erat autem próximum Pascha, dies festus Judæórum. Cum sublevásset ergo óculos Jesus et vidísset, quia multitúdo máxima venit ad eum, dixit ad Philíppum: Unde emémus panes, ut mandúcent hi? Hoc autem dicebat tentans eum: ipse enim sciébat, quid esset factúrus. Respóndit ei Philíppus: Ducentórum denariórum panes non suffíciunt eis, ut unusquísque módicum quid accípiat. Dicit ei unus ex discípulis ejus, Andréas, frater Simónis Petri: Est puer unus hic, qui habet quinque panes hordeáceos et duos pisces: sed hæc quid sunt inter tantos? Dixit ergo Jesus: Fácite hómines discúmbere. Erat autem fænum multum in loco. Discubuérunt ergo viri, número quasi quinque mília. Accépit ergo Jesus panes, et cum grátias egísset, distríbuit discumbéntibus: simíliter et ex píscibus, quantum volébant. Ut autem impléti sunt, dixit discípulis suis: Collígite quæ superavérunt fragménta, ne 
péreant. Collegérunt ergo, et implevérunt duódecim cóphinos fragmentórum ex quinque pánibus hordeáceis, quæ superfuérunt his, qui manducáverant. Illi ergo hómines cum vidíssent, quod Jesus fécerat signum, dicébant: Quia hic est  vere Prophéta, qui ventúrus est in mundum. Jesus ergo cum cognovísset, quia ventúri essent, ut ráperent eum et fácerent eum regem, fugit íterum in montem ipse solus. 


Offertorium. Ps. 134, 3 et 6.
Laudáte Dóminum, quia benígnus est: psállite nómini ejus, quóniam suávis est: ómnia, quæcúmque vóluit, fecit in cœlo et in terra.

Secreta. Sacrifíciis præséntibus, Dómine, quǽsumus, inténde placátus: ut et devotióni nostræ profíciant et salúti. Per Dóminum.

Secreta. Preces, Dómine, tuórum réspice oblationésque fidélium: ut et tibi gratæ sint pro tuórum festivitáte Sanctórum, et nobis cónferant tuæ propitiatiónis auxílium. Per Dóminum.

Sanctus, Benedictus, Agnus Dei.

The people at Neumz, in this morning's email, discuss the Communio, which is the same in both the Pauline Rite and the Traditional Rite. 

... The first phrase corresponds to the exclamation of the pilgrims who, on contemplating the heavenly Jerusalem, let their admiration flow forth, Jerusalem quae aedificatur ut civitas, Jerusalem that is built like a city. It is affirmed that it is built like a city because those who enter to form this spiritual city are like living stones. Its foundation is Christ and its foundation is in heaven, we build towards heaven. For when we are spiritually built, the foundation is laid in the heights. Therefore, let us run there so that we may be built as living stones of this heavenly Jerusalem, whose parts form a unique whole (cujus participatio ejus in idipsum). In this communion chant, at the moment when the faithful receive the sacrament that unites them, because it carries within it the grace of incorporation into Christ, this union of all souls is contemplated and the faithful are fixed on this vision of peace (behold the meaning of Jerusalem). The new Jerusalem, built upon Christ, is a city of souls connected to the cornerstone and united by charity, is a compacted city ordered by the wisdom and will of Him who is its King. Indeed, there the tribes will go up, the tribes of the Lord, to acclaim your name, Lord, illuc enim ascenderunt tribus, tribus Domini, ad confitendum nomini tuo, Domine. For Jerusalem is the one to which all the tribes of all nations and races have come, to which they come for the Passover which is about to begin, to which they will not cease to come until the day of its eternal and perfect splendor, to the praise of your name, O Lord, in the glorious sacrifice of your Son....

I will add the rest of the discussion infra.

Communio. Ps. 121,3-4.
Jerúsalem, quæ ædificátur ut cívitas, cujus participátio ejus in idípsum: illuc enim ascendérunt tribus, tribus Dómini, ad confiténdum nómini tuo, Dómine.

Postcommunio. Da nobis, quǽsumus, miséricors Deus: ut sancta tua,
quibus incessánter explémur, sincéris tractémus obséquiis, et fidéli semper mente sumámus. Per Dóminum.

Postcommunio. Sanctórum tuórum, Dómine, intercessióne placatus: præsta, quǽsumus; ut, quæ temporáli celebrámus actióne, perpétua salvatióne capiámus. Per Dóminum.

The video-recording of Vespers at Saint-Eugène; with the time change here, Vespers were begun at 0945 instead of 0845 so I only missed a few minutes of it.

The remainder of the Neumz text, an analysis of the melody of the Communio. I've stopped treating the Latin terms (bivirga, salicus, e.g.) as Latin, that is, am not putting them into bold text.

... As for the melody, it is composed in mode IV. It is perfectly suited for this celestial vision of eternity. The fundamental, the Mi, often leaves in the cadences a feeling of something unfinished, under continuous construction. Furthermore, the scope of mode IV, generally very reduced (Mi-Sol), makes it very inward, but above all ecstatic and contemplative in this piece. However, we can observe some passages where the melody develops above the La, and the chanting takes on an enthusiastic and lyrical character. It is a chant full of exaltation and joy. Undoubtedly, this is to take us out of the sadness in which the soul runs the risk of sinking in this time of penitence and to invite us to raise our gaze and rest it with hope and consolation on the vision of our destiny: the Heavenly Jerusalem. Nonetheless, unlike the Introit or the gradual responsory of this fourth Sunday of Lent, mode IV allows us to express at the moment of communion a joy that is somewhat restrained, discreet, rather deep, and interior.

The entire first part is very contemplative, the prayerful one ecstatic in the evocation of the heavenly homeland, chants to Jerusalem letting himself be carried away from the interior of his being. The melody descends step-by-step from the Mi to the Do, until a very brief burst of joy in the post-tonic syllable with a beautiful leap of a fourth, Re-Sol, arrives to touch the La. But, that is contained and appeased immediately in the cadence of Fa-Mi. In quae aedificatur ut civitas, which is built as a city, the melodic movement develops around this semitonal interval, Mi-Fa, which brings a nuance of happiness, the prayerful one sees the city and admires it, chants his closeness to it. Observe how the Sol in the accent of aedificatur makes this word shine masterfully. But above all, the touch of the compositional genius of the salicus at the beginning of the piece, Mi-Mi-Fa, which is repeated at the end of this first part in civitas, confers a circular structure to this first part, and a certain look of eternity, something mysterious, infinite, unfinished, that prolongs the beatific vision.

Little by little in cujus participatio ejus in idipsum, which parts form a unique whole (compact together), this vision becomes clearer and shines with more force. The prayerful person becomes aware of the marvelous unity of souls in Christ and is exalted before this marvel. The Sol finally dawns with its light, in a movement identical to that of aedificatur, Fa-Re Re-Fa-Mi Fa-Sol (with the torculus of the Einsiedeln Manuscript restored in the Graduale Novum). The melody comes to life: it rises to the Sol, then to the La in the accent of participatio, and ends by crowning the ascent in the high Do, in a brief burst of great enthusiasm in ejus. From there, it returns to the Sol in a reverent leap of a fourth. The melody again subsides and finally settles on the Mi of the cadence.

However, the exaltation of the glory of the heavenly Jerusalem takes over in the second part: illuc enim ascenderunt tribus, in effect, there the tribes ascended. The melody suddenly returns to the high register with a leap of a fourth in the adverb illuc (Sol-Si Si in the Graduale Novum) and rises to the Do which, in this flourishment of immense joy and exaltation, is even surpassed in the accent of ascenderunt, reaching the Re. This time, it is appropriate to emphasize the semitonal interval in the high range, Si-Do, which magnificently captures that closeness of the prayerful one with the celestial Jerusalem, his longed-for destiny. In tribus, tribus Domini, the tribe, the tribe of the Lord, the melodic movement traces a beautiful arc from the Do to the Mi that covers practically the entire range of the piece: with two majestic leaps, a fourth, Do-Sol, and a third, La-Fa. The melody so faithfully expresses the ecstatic vision of the innumerable tribes and peoples that direct their steps towards Jerusalem. The incise ends by returning to the fundamental, the Mi, with a mood of tender veneration and fervent reverence in Domini: note the insistence on the semitonal interval of Mi-Fa.

In the last part, ad confitendum nomini tuo, Domine, to praise the name of the Lord, the contemplative vision is continued. This time the gaze is placed on the Lord, on his praise, for that is the ultimate goal of this Jerusalem: to chant eternal praise to the Heavenly Father. The melody is full of peace, and simplicity. It develops around the Fa, then in the accent of confitendum sing with great admiration, Re-Sol, in a beautiful leap of a fourth. From a majestic pes quadratus of La-Sol, in the accent of nomini, the melody bows with great reverence toward the Re, and in tuo, after the sublime bivirga, Fa-Fa, the prayerful person kneels, Re-Mi-Do, and then rises with impetus, full of devotion toward the La in a magnificent and very graceful quilismatic movement, unique in the piece. This fervent devotion is intimately and delicately prolonged in the cadential formula of the vocative Domine, which concludes this jewel of the Gregorian repertoire.


Saint-Eugène-Sainte-Cécile, Augustin d'Oliveira, Hans Leo Hassler, Dominica IVa in Quadragesima, Gulielmus Durandus