Introductory Rites:
Introit (literally, “he enters”, referring to the priest or celebrant; Proper). |
The Introit consists of a short poetic text, called an antiphon, followed by a psalm verse, and concluding with the repetition of the antiphon. There are numerous antiphons, so the particular day or event would dictate the choice of the appropriate one for the Mass. One antiphon needs special mention: “Requiem aeternam dona eis Domine” (Give him eternal rest, Lord). This opening of the Introit of the Mass for the Faithful Departed is the source of the term “Requiem Mass”.
Duruflé Requiem, Op. 9 I. Introit and Kyrie
Maurice Duruflé, conductor Hélene Bouvier, mezzo-soprano | Xavier Depraz, bass | Marie-Madeleine Duruflé-Chevalier, organ | Philippe Caillard and Stéphanie Caillat Chorales | Orchestra des Concerts Lamoureux At different times in the evolution of the practice of the liturgy entire psalms would be sung, using special formulas called psalm tones. Usually, the psalm would be concluded with the “Gloria Patri” (the lesser doxology, or “glory-giving”), consisting of the words: “Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen” (Glory be to the Father and to the Son and to the Holy Spirit. As it was in the beginning, is now and always and to the ages of ages. Amen). Essentially, this textual formula conferred a Christian usage to a Jewish text from the Old Testament.
Gloria Patri (Gregorian Chant)
Rebecca Gorzynska Kyrie (Ordinary).
This one word is the short title for a two-phrase text, “Kyrie eleison, Christe eleison”, Greek phrases meaning “Lord have mercy, Christ have mercy”. The phrases originated in both Pagan antiquity and the Old Testament. In liturgical use, each phrase is said three times, and then the first phrase is given again three times. Thus:
Kyrie eleison, Kyrie eleison, Kyrie eleison; Christe eleison, Christe eleison, Christe eleison; Kyrie eleison, Kyrie eleison, Kyrie eleison. The three-times-three structure of the Kyrie vividly identifies it as Trinitarian, reflecting God as Father, Son, and Holy Spirit, and thereby marks it as a Christian text regardless of its origins. Kyrie I from Mass I
Gregorian Chant (Brébeuf Hymnal) Matthew J. Curtis, Vocalist Gloria (Ordinary).
Again, this single word is the short-hand way of referring to a much longer text, “Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis”, “Glory to God in the highest, and peace on earth to men of good will”. Also an ancient text of the church, this first phrase can be found in the gospel of Luke when the angels announce Jesus’s birth to the shepherds. There is much more to follow in this long element, which is an extended glorification of God that also incorporates many instances of belief statements about the person of Jesus. This text is called the “greater doxology” to distinguish it from the “lesser doxology”.
The Gloria, a joyful text, is omitted in penitential seasons (Lent and Advent) and in the Requiem Mass. Gloria
Church Music Association of America Collect (Proper). (Spoken/intoned.)
This is a short opening prayer, concluding the Introductory Rites. Collect · Bonaventure Choir
Liturgy of the Word:
Epistle (Proper). (Spoken/intoned.)
The Epistles are letters, most of them from St. Paul, to individuals or to church communities in the mid- to late first century. In the earliest years of the church, they would have encouraged, corrected, and sustained the far-flung Christian movement, being read in the assembly as a part of the gathering for the Lord’s Supper. On occasion, an Old Testament text might be read in place of a New Testament Epistle, but was nevertheless called “the Epistle”. Gradual (Proper). (Spoken/intoned.)
The response to the Epistle was a psalm (or, occasionally, a reading from other books of the Bible). Originally an entire psalm was chanted by a cantor, to which the congregation would respond with a short verse or part of a verse from the psalm. The Gradual became the focus of musical endeavor, for the verse response to the psalm grew into a long, ornate plainchant composition. We will discuss this further in a later section of this essay. Tu es Deus (6th Sunday in Ordinary Time, Gradual)
Performed live by the monks of St. Benedict's Monastery in São Paulo (Brazil) Alleluia, Tract, and Sequence (Proper).
The ancient word of praise precedes and follows a verse, similar to the antiphon-psalm-antiphon pattern. In penitential or sorrowful times, the Alleluia is replaced by a more solemn text called a Tract. According to the New Grove Dictionary, the term “Tract” is thought to have originated from the Latin “to draw”—texts that were drawn up from the heart in grief. Both Alleluia and Tract melodies end in a long melisma—a series of notes on only one syllable, for example the “-a” of Alleluia. This long melisma was called the “Jubilus”. By the ninth century, words were being created to underlie the Jubilus to facilitate memorizing the melody. Eventually these melodies with their added text became independent chants, called Sequences. A late 9th- early 10th century Frankish composer, Notker of St. Gall, not only wrote many Sequences but discussed them in the preface to his collection of Sequence texts. In the way of creative folk at every time, more and more Sequences were devised to the point of superabundance, until a moratorium was called; of all of these only four Sequences were retained (a fifth to be added in the 18th century). The most well-known Sequence today is “Dies irae”, the long poem about the Day of Judgement, used in the Requiem Mass. Gospel (Proper). (Spoken/intoned.)
The reading is from one of the first four books of the New Testament—Matthew, Mark, Luke, or John—in which Jesus’s life and work are narrated. Homily (Proper). (Spoken.)
The sermon. Credo (Ordinary).
This is the first word of a long statement of belief, one of a number that were devised over the early centuries of the church. This particular text was created in a kind of “committee” agreement during the great Council of Nicea in 325 CE, and so was called the Nicene Creed. Although created early in the history of the church, the Nicene Creed was the last addition to the Ordinary, appearing first at the end of the eighth century. Credo in unum Deum, Patrem omnipotentem, I believe in one God, Father almighty, factorem caeli et terra, visibilium omnium et invisibilium. maker of heaven and earth, all things visible and invisible. Et in unum Dominum, Jesum Christum, Filium Dei unigenitum. And in one Lord, Jesus Christ, only begotten Son of God. Et ex Patre natum ante omnia saecula. And born of the Father before all ages. Deum de Deo, lumen de lumine, Deum verum de Deo vero. God from God, light from light, true God from true God. Genitum, non factum, consubstantialem Patri: per quem Omnia facta sunt. Born, not made, of one substance with the Father: through whom all things were made. Qui propter nos homines, et propter nostrum salute descendit de caelis. Who for us men, and for our salvation, came down from heaven. Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est. And was incarnate by the Holy Spirit, of the Virgin Mary, and was made man. Crucifixus etiam pro nobis sub Pontio Pilato: passus, et sepultus est. He was crucified also for us under Pontius Pilate: suffered, and was buried. Et resurrexit tertia die, secundum Scripturas. And he arose on the third day, according to the Scriptures. Et ascendit in caelum: sedet ad dexteram Patris. And he ascended into heaven: he sits at the right hand of the Father. Et iterum venturus est cum Gloria judicare vivos et mortuos: cujus regni non erit finis. And he will come again with glory to judge the living and the dead; of his reign there will be no end. Et in Spiritum Sanctum Dominum, et vivificantem: qui ex Patre, Filioque procedit. And in the Holy Spirit, the Lord, and giver of life, who proceeds from the Father and the Son. Qui cum Patre, et Filio simul adoratur, et conglorificatur: qui locutus est per Prophetas. Who together with the Father and the Son is adored and glorified: who has spoken through the Prophets. Et unam, sanctam, catholicam et apostolicam Ecclesiam. And in one holy catholic and apostolic Church. Confiteor unum baptisma in remissionem peccatorum. I confess one baptism for the remission of sins. Et expecto resurrectionem mortuorum. Et vitam venture saeculi. Amen. And I await the resurrection of the dead and the life of the world to come. Amen. English Chant Mass - Credo (Creed)
Richard Rice, vocalist Liturgy of the Eucharist:
Offertory (Proper).
A time to receive gifts, including the elements of bread and wine that were to be consecrated for the Eucharist, the Offertory texts and chants are “time fillers”. They were originally psalms, but non-psalm texts developed even in early times. OFFERTORY • Passion (Palm) Sunday • SIMPLE ENGLISH PROPERS
Church Music Association of America Preface (Proper). (Spoken/intoned.)
A few short sentences by the officiant and responses from the communicants set the tone of thanksgiving for the coming sacrament; the celebrant then declaims the obligation of all in heaven and earth to glorify God. The text leads directly to the angels’ song of praise: Preface Dialogue (New Translation)
Church Music Association of America Sanctus (Ordinary).
This short but powerful text originated in both the Old Testament and the New; it became a part of the Mass by about 400 CE. By the eighth century, both clergy and congregation were to sing the texts. Sanctus, sanctus, sanctus, Dominus Deus sabaoth. Holy, holy, holy, Lord God of hosts. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Hosanna in excelsis. Sanctus (Latin)
Church Music Association of America Canon (Ordinary, with some Proper passages). (Spoken/intoned.)
This section contains St. Paul’s words of the institution of the Last Supper and the prayer of consecration. The Canon of the Mass @ St. John's Detroit
Pater Noster (Ordinary). (Spoken/intoned.)
The Lord’s Prayer: Pater noster, qui es in caelis: sanctificetur nomen tuum; Our Father who art in heaven, hallowed be your name; Adveniat regnum tuum; fiat voluntatis tua, sicut in caelo, et in terra. Thy kingdom come; Thy will be done on earth as in heaven. Panem nostrum quotidianum da nobis hodie; Give us today our daily bread; et dimitte nobis debita nostra, sicut et nos dimittimus debitoribus nostris. And forgive us our debts as we forgive our debtors. Et ne nos inducas in tentationem. Sed libera nos a malo. Amen. And do not lead us into temptation. But deliver us from evil. Amen. Our Father (Pater Noster)
Church Music Association of America Agnus Dei (Ordinary).
Here is the point at which St. John’s description of Jesus as the Lamb of God intersects with the sacrificial lamb of the Day of Atonement and the Passover, as discussed earlier. The three-fold statement replicates the three-fold Kyrie eleison. The variant of the Agnus Dei for the Requiem Mass will be shown at the end of the usual text. Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, who bears the sins of the world, have mercy on us. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. Lamb of God, who bears the sins of the world, give us peace. For a Requiem Mass: Agnus Dei, qui tollis peccata mundi, dona eis requiem. Lamb of God, who bears the sins of the world, give him rest. Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam. Lamb of God, who bears the sins of the world, give him rest eternal. Agnus Dei
Church Music Association of America Communion (Proper).
Like the Offertory, this portion of the Mass fills time as communicants receive the bread (and wine, in some cases); texts are from psalms or other sources. Invitation to Holy Communion
Church Music Association of America Post-Communion Prayer (Proper). (Spoken/intoned.)
Prayers of thanksgiving and continuation in the faith. Post Communion Prayer
St. Alban's Catholic Church Ita, missa est (Ordinary). (Now spoken/intoned.)
The dismissal, or an alternative such as “Benedicamus Domino—Let us bless the Lord”, is followed by the response “Thanks be to God”. |
Mozart's Great Mass in C minor, K. 427
Radio Philharmonic Orchestra, Markus Stenz, conductor Sophie Harmsen, soprano | Lenneke Ruiten, soprano | Attilio Glaser, tenor | Morgan Pearse, bass |
Schubert's Mass No. 6 in E flat major, D. 950
Chorus Viennensis, Wiener Sängerknaben Orchestra of the Age of Enlightenment, Bruno Weil Stefan Preyer, soprano | Thomas Weinhappel, alto | Jörg Hering, tenor | Harry van der Kamp, bass |