Vespers at the Venerable English College in Rome

I received some exciting news from the Venerable English College in Rome last week:

This Tuesday [Today!] marks a very important day in the calendar of the VEC. 1st December is Martyrs’ Day. During the recusant period, students would gather around the Martyrs’ Picture in the chapel to sing a Te Deum whenever news reached Rome of a martyrdom of a former student. This tradition continues today, and includes the veneration of the relics of the Martyrs, including proto-martyr St Ralph Sherwin.

The VEC produced forty-four martyrs for the Faith, of whom ten are canonized saints. They are referred to as “the Forty-four.”

The VEC will have a live-stream via You Tube of the evening liturgy on Tuesday, with veneration of the relics and singing of the Te Deum. 

The link is here and it will be live at 20:15 Central European time /2:15 p.m. Eastern Time/1:15 p.m. Central Time.

The College Martyrs, Canonized, Beatified, and declared Venerable:

St Ralph Sherwin, 1581
St Luke Kirby, 1582
St Polydore Plasden, 1591
St Eustace White, 1591
St Robert Southwell S.J., 1595
St Henry Walpole S.J., 1595
St John Almond, 1612
St Henry Morse S.J., 1645
St David Lewis S.J., 1679
St John Wall O.F.M., 1679

Bl. John Shert, 1582
Bl. Joseph Lambton, 1592
Bl. William Lacey, 1582
Bl. Thomas Pormort, 1592
Bl. Thomas Cottam, 1582
Bl. John Cornelius S.J., 1594
Bl. William Hart, 1583
Bl. John Ingram, 1594
Bl. George Haydock, 1584
Bl. Edward Thwing, 1594
Bl. Thomas Hemerford, 1584

Bl. Robert Middleton, 1601
Bl. John Munden, 1584
Bl. Robert Watkinson, 1602
Bl. John Lowe, 1586
Bl. Edward Oldcorne, 1606
Bl. Robert Morton, 1588
Bl. Richard Smith, 1612
Bl. Richard Leigh, 1588
Bl. John Thules, 1616
Bl. Edward James, 1588
Bl. John Lockwood, 1642
Bl. Christopher Buxton, 1588
Bl. John Woodcock O.F.M., 1646
Bl. Christopher Bales, 1590
Bl. Anthony Turner S.J., 1679
Bl. Edmund Duke, 1590
Ven. Thomas Tichborne, 1602
Ven. Brian Tansfield S.J., 1643
Ven. Edward Morgan, 1642
Ven. Edward Mico S.J., 1678

The video will available later in the day; you may also view a report on last year's Martyrs' Day here. I've also been informed that the relics won't be displayed on the Altar because of some COVID-19 restrictions. The relics normally displayed are of St Ralph Sherwin, St Edmund, King and Martyr, St Thomas of Canterbury, and St Philip Howard.

The Vespers Hymn for the Feast of the Seven Sorrows of Mary

I admit that when I read the first line of this hymn for the Vespers (Evening Prayer) for today's feast, I had to read it again: "Iam toto subitus vesper eat polo"--"eat polo"?!?!?

Iam toto subitus vesper eat polo,
Et sol attonitum præcipitet diem,
Dum sævæ recolo ludibrium necis,
Divinamque catastrophen.

Spectatrix aderas supplicio parens,
Malis uda, gerens cor adamantinum:
Natus funerea pendulus in cruce
Altos dum gemitus dabat.

Pendens ante oculos Natus, atrocibus
Sectus verberibus, Natus hiantibus
Fossus vulneribus, quot penetrantibus
Te confixit aculeis!

Heu! sputa, alapæ, verbera, vulnera,
Clavi, fel, alœ, spongia, lancea,
Sitis, spina, cruor, quam varia pium
Cor pressere tyrannide!

Cunctis interea stas generosior
Virgo martyribus: prodigio novo,
In tantis moriens non moreris parens,
Diris fixa doloribus.

Sit summæ Triadi gloria, laus, honor,
A qua suppliciter, sollicita prece,
Posco virginei roboris æmulas
Vires rebus in asperis. Amen.

According to this website, this hymn dates to the eighteenth century:

Office hymn that was historically sung, first at Matins, subsequently at Vespers, on the feast of the Seven Sorrows of Our Lady. Its composition is ascribed to Callisto Palumbella, a bishop of the 18th century, who was a member of the Servites, and to whom the feast had been granted in 1688. The meter is minor asclepiadic in the first three lines of each strophe and glyconic in the fourth line. Within the space of its six stanzas the hymn details the sufferings of Christ upon the cross and stresses their effect on His Mother.

You probably won't be surprised to learn that Father Edward Caswall of the Oratory translated this hymn into English:

Come, darkness, spread o’er Heav’n thy pall,
And hide, O sun, thy face;
While we that bitter death recall,
With all its dire disgrace.

And thou, with tearful cheek, wast there;
But with a heart of steel,
Mary, thou didst his moanings hear,
And all his torments feel.

He hung before thee crucified;
His flesh with scourgings rent;
His bloody gashes gaping wide;
His strength and spirit spent.

Thou his dishonour’d countenance,
And racking thirst, didst see;
By turns the gall, the sponge, the lance,
Were agony to thee.

Yet still erect in majesty,
Thou didst the sight sustain ;—
Oh, more than Martyr! not to die
Amid such cruel pain!

Praise to the blessed Three in One;
Oh, may that strength be mine,
Which, sorrowing o’er her only Son,
Did in the Virgin shine!

And if you would like a beautiful image of the Seven Sorrows of the Blessed Virgin Mary, I recommend this one from Cedars & Stars!

More about this feast here.

From 2008: Pope Benedict XVI at the Cathedral of Notre Dame

When I came home from Mass and lunch yesterday, the news story about the devastating fire at Notre Dame de Paris was on television. I remembered all the times Mark and I visited Notre Dame, attended Mass at Notre Dame, or just walked by it. When Pope Benedict XVI prayed Vespers in Notre Dame on September 12, 2008, we watched it on EWTN. He spoke about the Cathedral in terms of its legacy and its beauty as a gift of God:

Blessed be God who has brought us together in a place so dear to the heart of every Parisian and all the people of France! Blessed be God, who grants us the grace of offering him our evening prayer and giving him due praise in the very words which the Church’s liturgy inherited from the synagogue worship practised by Christ and his first disciples! Yes, blessed be God for coming to our assistance – in adiutorium nostrum – and helping us to offer him our sacrifice of praise!

We are gathered in the Mother Church of the Diocese of Paris, Notre-Dame Cathedral, which rises in the heart of the city as a living sign of God’s presence in our midst. My predecessor, Pope Alexander III, laid its first stone, and Popes Pius VII and John Paul II honoured it by their presence. I am happy to follow in their footsteps, a quarter of a century after coming here to offer a conference on catechesis. It is hard not to give thanks to the Creator of both matter and spirit for the beauty of this edifice. The Christians of Lutetia had originally built a cathedral dedicated to Saint Stephen, the first martyr; as time went on it became too small, and was gradually replaced, between the twelfth and fourteenth centuries, by the great building we admire today. The faith of the Middle Ages built the cathedrals, and here your ancestors came to praise God, to entrust to him their hopes and to express their love for him. Great religious and civil events took place in this shrine, where architects, painters, sculptors and musicians have given the best of themselves. We need but recall, among so many others, the architect Jean de Chelles, the painter Charles Le Brun, the sculptor Nicolas Coustou and the organists Louis Vierne and Pierre Cochereau. Art, as a pathway to God, and choral prayer, the Church’s praise of the Creator, helped Paul Claudel, who attended Vespers here on Christmas Day 1886, to find the way to a personal experience of God. It is significant that God filled his soul with light during the chanting of the Magnificat, in which the Church listens to the song of the Virgin Mary, the Patroness of this church, who reminds the world that the Almighty has lifted up the lowly (cf. Lk 1:52). As the scene of other conversions, less celebrated but no less real, and as the pulpit from which preachers of the Gospel like Fathers Lacordaire, Monsabré and Samson transmitted the flame of their passion to the most varied congregations, Notre-Dame Cathedral rightly remains one of the most celebrated monuments of your country’s heritage. Following a tradition dating back to the time of Saint Louis, I have just venerated the relics of the True Cross and the Crown of Thorns, which have now found a worthy home here, a true offering of the human spirit to the power of creative Love.

We agreed with this sentiment as we had often felt it during Mass or before the Blessed Sacrament behind the High Altar:

Dear friends, during Vespers this evening, we are united in thought and prayer with the voices of the countless men and women who have chanted this psalm in this very place down the centuries. We are united with the pilgrims who went up to Jerusalem and to the steps of its Temple, and with the thousands of men and women who understood that their earthly pilgrimage was to end in heaven, in the eternal Jerusalem, trusting Christ to guide them there. What joy indeed, to know that we are invisibly surrounded by so great a crowd of witnesses!

Today, by the way, is Joseph Ratzinger's birthday: April 16, 1927.

This is a precious document of the Vespers of the Monday of Holy Week, chanted in Notre Dame before it closed its doors yesterday--before the fire. 

Seeing the great cathedral on fire, being destroyed before my eyes through those digital images, was heart-breaking to me. I looked through our photo albums and cried: I was there with Mark and he was there with me and we were in awe.

Je vous salue Marie,
pleine de grâce
Le Seigneur est avec vous,
vous êtes bénie entre toutes les femmes
et Jésus, le fruit de vos entrailles, est béni.
Sainte Marie,
Mère de Dieu,
priez pour nous,
pauvres pécheurs
maintenant et à l’heure de notre mort.
Amen.

Image credit, published under a Creative Commons License

Choral Evensong

From the Religion News Service, a story about how Choral Evensong is catching on in England, attracting people who otherwise don't attend Church of England services:

Evensong is a creation of the English Reformation, derived from monastic prayer traditions. Its liturgy is drawn from the Church of England’s Book of Common Prayer, created by Archbishop Thomas Cranmer in 1549. It usually lasts about 45 minutes and includes Scripture readings, psalms and the Nunc Dimittis (Song of Simeon) and Magnificat, both taken from the Gospel of Luke.

Some of the greatest choral music sung at evensong was written at the time of Queen Elizabeth I, soon after its liturgy was first designed, by composers such as Thomas Tallis and William Byrd. The works of other English composers, such as Ralph Vaughan Williams, Richard Ayleward, Hubert Parry and Herbert Howells, are also frequently featured.

Of course, the BBC has been broadcasting Choral Evensong--or Catholic Vespers more recently--for years.

The Anglican Ordinariate prominently presents Choral Evensong as one of its primary examples of Anglican Patrimony brought with them to their unity with the Catholic Church.

The Religious News Service story concludes, however, with this sad note (get it?):

Then there’s the more practical reason to come to evensong. Cathedrals in England often charge high admission fees — about $25 in some cases — so some tourists opt instead for evensong, which is free.

Pope Benedict's Advent Novena

I bought this booklet earlier this year from Ave Maria Press: they must have run out of them because it is no longer available on their website. I'm sure there are copies somewhere. I plan to start reading and praying these meditations Friday evening, December 16. The meditations seem perfect for evening prayer because they contain Mary's Magnificat and the O Antiphons.

Combining the format of a novena--nine days of prayer, like the Apostles and the Blessed Virgin Mary in the Upper Room between the Ascension and Pentecost--and the O Antiphons should intensify spiritual preparation for Christmas. Because there are nine days/evenings in the novena and seven Golden evenings of the O Antiphons, there's a glorious overlap between these ancient Christian ways of telling time and telling us that it is time.

There is so much to do in the last week or so before Christmas on the practical level: mail the last Christmas cards; wrap the last presents; making the grocery list for Christmas eve or day dinner; decide which Mass to attend, etc, etc.

Pausing at evening, when we usually think of what we didn't get done today and must do tomorrow, is a good time to think of what we should really think of: Jesus is coming and He is here!

Reports on the Hampton Court Chapel Vespers

I cannot access The Catholic Herald website now because of Malware warnings, but they have a story posted on the Hampton Court Vespers. The Guardian and The Telegraph reported on the service and the conversation that took place before the Vespers.

From The Telegraph, John Bingham reports on the discussion between the Anglican bishop and Catholic cardinal archbishop before Vespers:

All practising Christians are now a "minority" in Britain like persecuted Roman Catholics during the Reformation, according to two of Britain's most senior Anglican and Catholic clerics.

The Bishop of London, the Rt Rev Richard Chartres, and Cardinal Vincent Nichols, the leader of the Catholic Church in England and Wales, said the churches must set aside centuries of division and recognise they have a "common agenda" in a more secular age.

The two prelates were speaking at a unique event at Hampton Court Palace, which served as the backdrop to the tumultuous events of Henry VIII's break with Rome.

In a step hailed as hailed as a landmark in reconciliation between Anglicanism the Catholicism, they joined in a service of vespers in the Chapel Royal.

The service, sung mainly in Latin, was the first Roman Catholic act of worship in Henry's former chapel in more than 450 years.

The Guardian story, by Harriet Sherwood, leads off with a description of the service:

About 15 miles from Hampton Court Palace in south-west London, Henry VIII may have turned in his grave. Almost half a millennium after the Act of Supremacy, which declared the Tudor king as the supreme head of the Church of England and formalised the break with Rome, England’s most senior Catholic cleric celebrated Vespers in the palace’s Chapel Royal on Tuesday evening.

The scent of incense filled the air beneath the chapel’s magnificent blue and gold ceiling as a small procession made its way towards the altar. Vincent Nichols, the Catholic archbishop of Westminster, in a gold mitre and brocade robe, walked a few steps behind Richard Chartres, the Anglican bishop of London and dean of the royal chapels, in a symbolic gesture of reconciliation.

The first Catholic service in the chapel for more than 450 years was hailed as “one for the history books” by John Studzinski of the Genesis Foundation, which jointly organised the event with the Choral Foundation. “Dialogue between faiths is much needed and welcomed in these turbulent times. We need to recognise that we have more in common than not.”

About 300 people attended the service, which was largely conducted in Latin and featured hauntingly beautiful choral music from the 15th and 16th centuries. It concluded with the national anthem.

The comments to The Guardian story are sad reading, ranging from anti-Catholicism, fear of Latin, and rejection of all organized religion. I'll update this story once The Catholic Herald website warnings are off.

Henry VIII and the Hampton Court Vespers

Biographer J.J. Scarisbrick thinks that Henry VIII would not be happy at all about next week's Catholic vespers in the chapel at Hampton Court, as he writes in The Catholic Herald:

Cardinal Nichols’s presence at Hampton Court would be especially galling in that he is Archbishop of Westminster and a senior member of a nationwide Catholic hierarchy appointed by Rome, in communion with the Pope and confident that it is an authentic, organic part of the Church Universal. Henry thought he had got rid of all that and had set up an independent national Church with him as its lord and master. He would be outraged to know that the Cardinal Archbishop of Westminster and his brother bishops had an “alternative” set of cathedrals and dioceses, and that there had long been houses of monks, friars and nuns in England once more.

Scarisbrick goes on to discuss Henry VIII's "Catholicism without the pope":

We can never know exactly what Henry believed and what he really thought his “Catholicism without the pope” meant.

Yes, he allegedly “heard” Mass often, that is, he (probably) was within hearing distance while going about his early morning rounds. In his younger days he “crept” to the Cross on Good Fridays and went “devoutly” to Walsingham. And, of course, he wrote (with a good deal of help) that celebrated book against Luther which won him the title of Defender of the Faith – a papal award which, incongruously, is still part of the royal style.

Henry was theologically alert and informed, and could hold his own with any divine. But his faith was surely only skin deep. The royal supremacy was above all about power and prestige. The Church which he had delivered from the Roman “yoke” he bled white with merciless taxation. He showed little interest in its spiritual renewal. He certainly flirted with Lutherans when it suited him and had no qualms about importing a Protestant princess to be his fourth wife. Most remarkably, he knew full well that the primate of all England, Thomas Cranmer, was, as he said, “the biggest heretic in Kent”, but the archbishop was too useful in untangling his matrimonial problems to be censured, let alone deposed.

And then we must consider his assault on the religious orders. True enough, many of them were easy targets, but to have destroyed hundreds of monasteries, friaries and nunneries in a mere three and a half years was a colossal “achievement”. Henry masterminded it at every stage, with Thomas Cromwell his tireless agent. The whole operation was a devastatingly clever amalgam of false promises, smear campaigns, deception, blackmail, bribery and brutality.

His definitive biography is out of print from Yale University Press but readily available, including as an E-book with a good sample here. Here's a summary offered by Professor Scarisbrick.

Vespers from Brompton

Tomorrow the BBC will broadcast Vespers for the feast of Saints Fabian (Pope and Martyr) & Sebastian (Roman Soldier and Martyr) from the Brompton Oratory on its long-running Choral Evensong program. The musical program includes:

Organ Prelude: Intonatio del ottavo tono (Andrea Gabrieli)
Invitatory: Anon (17th century)
Psalms 128-132 (Gregorian chant and falsi-bordoni)
Office Hymn: Sanctorum meritis (Gregorian chant and Palestrina)
Magnificat sexti toni (Lassus)
Antiphon of Our Lady: Alma Redemptoris Mater (L’Héritier)
Organ Voluntary: Praeludium in D minor, BuxWV140 (Buxtehude)

Celebrant: The Revd Father Michael Lang
Director of Music: Patrick Russill
Organist: Ben Bloor

Father Michael Uwe Lang is the author of three books on the liturgy published by Ignatius Press. The latest is Signs of The Holy One: Liturgy, Ritual, and Expression of the Sacred and it features a cover photo of the Easter Vigil at the London Oratory. Father Lang has an M.A. in theology from the University of Vienna and a Ph.D. in theology from the University of Oxford. In addition to being a priest of the Oratory of Saint Philip Neri in London, he is currently Lecturer in Theology at Heythrop College, University of London, and on the Visiting Faculty at the Liturgical Institute in Mundelein, Ill. His other books published by Ignatius are Turning Towards the Lord and The Voice of the Church at Prayer.

The director of music at the Oratory of St. Philip Neri in London, Patrick Russill, 

is recognised as one of the leading figures in English church music. Following organ studies with Nicholas Danby while organ scholar at New College, Oxford, he was appointed Organist of the London Oratory in 1977 at the age of 23 in succession to Ralph Downes, on Downes’ nomination. In 1999 he was appointed Director of Music at the Oratory, assuming overall responsibility for its choral tradition and especially for its famous professional choir, which under his direction ‘remains among the finest mixed-voice choirs in the country’ (Choir & Organ). . . .

As an organ recitalist he has played at the Royal Festival Hall and Queen Elizabeth Hall, in Europe, Asia and all over the UK. He introduced the reconstructed Tudor organs of the Early English Organ Project to London’s South Bank in a Queen Elizabeth Hall recital acclaimed by the Independent on Sunday, in its classical review of 2007, as the outstanding London keyboard concert of the year.

The Guardian also reviewed that recital, highlighting the sad destruction and loss of many organs in the churches of England after the Reformation:

Time, and the zealotry of Protestant reformers, have ensured that, of the thousands of organs in cathedrals, churches and religious foundations in pre-Reformation England, none have survived. But the discovery in Suffolk of a couple of substantial fragments in the shape of original wooden soundboards has allowed the reconstruction of two instruments, both played in this concert by Patrick Russill.

We have also lost a great deal of the music that would have sounded on the originals. But enough remains, even in fragmentary form, of the works of John Redford, Thomas Preston and John Blitheman, as well as better known figures such as Thomas Tallis and William Byrd, to indicate that the 16th century was a high point of English keyboard composition. Virtuoso fancies by Byrd contained in My Ladye Nevell's Booke showed a secular side to a composer best known for his sacred music, and offered Russill a welcome opportunity for some right-hand flamboyance, which he seized.

After the live broadcast, the program is repeated on Sunday and then is available on demand on-line for a time.

Vespers at Hampton Court with Cardinal Archbishop Nichols

These events appear in the news every so often, when Catholic services (the Mass, the Divine Office, etc) are celebrated in formerly Catholic churches and chapels at the invitation of Anglican officials. From the Hampton Court Chapel website:

History will be made on the evening of Tuesday 9 February when the Genesis Foundation and the Choral Foundation bring together leaders of the Catholic Church and the Church of England for the first service according to the Latin Rite of the Catholic Church to be celebrated since the 1550s at Hampton Court Palace’s Chapel Royal. 

This historic service of Vespers in King Henry VIII’s chapel will be celebrated by His Eminence Cardinal Vincent Nichols and will include a sermon from The Rt Revd and Rt Hon Dr Richard Chartres, KCVO, Bishop of London and Dean of Her Majesty’s Chapels Royal – an unprecedented coming together of the Catholic and Anglican churches on such an historically important site.

Celebrated mostly in Latin, another first in over 450 years, Vespers will be dedicated to St John the Baptist as the Chapel Royal was built by Cardinal Wolsey on the site of a chapel of the Knights of St John Hospitaller, dedicated to that Saint. 

Members of the public will have the chance to attend this service through a free ballot. 

The musical element of the service has been chosen and will be performed by Harry Christophers and his ensembles The Sixteen and Genesis Sixteen. Paying tribute to the rich and turbulent religious history of the Chapel Royal, the ensembles will sing ThomasTallis’ Magnificat, William Cornysh’s Salve Regina and John Taverner’s ‘Leroy’ Kyrie. 

The composers chosen are historically significant according to the news release:

Both Cornyshe and Tallis were Gentlemen of the Chapel Royal. 

William Cornyshe in 1509 became Informator Choristarum of the Chapel Royal and led the Chapel Royal’s ceremonies at the Field of the Cloth of Gold in June 1520. 

Thomas Tallis was a Gentleman of the Chapel Royal and served in the royal household under Henry VIII, Edward VI, Mary Tudor and Elizabeth I. Tallis avoided religious controversies, though he stayed an "unreformed Roman Catholic" under four consecutive monarchs. 

John Taverner was Henry VIII’s chief minister and in 1538 Taverner supervised the demolition and burning of the rood screen in Boston parish church as a result of reformation activities. His Leroy Kyrie takes its name from a tune called “Leroy” which appears in many Tudor manuscripts. It is most likely that one of the C15th kings composed it, most probably Henry IV or V being “Le Roi”. 

I'm not sure what the reference to John Taverner as "Henry VIII's chief minister" means: he was a choirmaster and a lay clerk, according to the Encyclopedia Britannica:

In 1526 Taverner went to the University of Oxford to become master of the choir in the chapel of Cardinal College (later Christ Church). He left Oxford in 1530 to serve as a lay clerk in St. Boltoph choir in Boston, England, where he may have taken up the position of chorister instructor. However, by 1537 he had ended his association with the choir, at which time he may have retired from employment in church music altogether. The allegation that he served as a paid agent of Thomas Cromwell in Henry VIII’s suppression of English monasteries cannot be verified.

Taverner’s church music, which is printed in Tudor Church Music, volumes 1 and 3 (1923–24), shows a variety, skill, range, and power that represent the climax of pre-Reformation English music. It includes 8 masses (e.g., The Western Wind), a few mass movements, 3 Magnificats, a Te Deum, and 28 motets. Taverner’s adaptation of the musical setting of the words In nomine Domini from the Benedictus of his mass Gloria tibi Trinitas became the prototype for a large number of instrumental compositions known as In nomines, or Gloria tibi Trinitas.

John Foxe reported years after Taverner's death that he had regretted wasting his time with Catholic church music.

More about the history of Hampton Court here: it was Thomas Cardinal Wolsey's great palace before he turned it over to Henry VIII in 1527 after he fell from favour for failing to make the way clear for Henry VIII to marry Anne Boleyn. Before Anne's apartments at the Palace were finished, however, Henry had her executed: neither Wolsey nor Anne had much time to enjoy the pleasures of Hampton Palace.

Blessed John Henry Newman's Feast at the English Oratories

Tomorrow is the memorial of Blessed John Henry Newman in the dioceses of England and Wales, but the Birmingham and Oxford Oratories begin their celebration of his feast today. The schedule for the Birmingham Oratory is detailed in the flyer pictured above: First Vespers, Exposition of the Blessed Sacrament and Benediction on the vigil and then several Masses on the feast of their founder.

According to the Oxford Oratory's bulletin/newsletter:

TRIDUUM BL. JOHN HENRY NEWMAN: From 6th to 8th October we mark a Triduum for Blessed John Henry Newman after the 6pm Mass. On 8th October at 7:45pm, there will be a Night Walk to Littlemore to mark his reception into the Church and on Friday 9th October at 6pm, we will celebrate a Solemn Mass for his feast, at which Fr John Saward (Priest-in-Charge at SS Gregory and Augustine, Oxford) will preach. 

John Whitehead provides some details about the Littlemore walk from last year on his blog, Once I Was a Clever Boy:

We began as usual at the Oxford Oratory and walked via sites associated with Newman - Trinity College, St Mary's Church, Oriel College, the site of the Angel Inn where Bl. Dominic arrived soaking wet from travelling on the roof of the stage coach in 1845, the site of old St Clement's Church where Newman was assistant curate in the 1820s, and reflected at Greyfriars on his lament for the loss of Catholicism in the University of his day by contrast with the era of Duns Scotus. We also paused at the two houses at Rose Hill on the way to Littlemore occupied by his mother and sisters in the 1830s.

At Littlemore we had a Holy Hour in the modern church of Bl.Dominic Barberi led by Fr Hancock, the parish priest, before processing to the College.

The London/Brompton Oratory does not indicate any celebration other than the daily Mass on the feast day. 

More tomorrow.

O Antiphons Start Tonight

I experienced a little thrill yesterday when both the Choir of Westminster Cathedral and the Cathedral Twitter accounts retweeted my tweet about Macmillan's Tu es Petrus.

Westminster Cathedral publishes a monthly magazine, Oremus, and the December issue features a great cover for the great O Antiphons which begin tonight as the antiphons for the Magnificat at Vespers/Evening Prayer.

As this site summarizes this great devotion:

December 17 marks the beginning of the "O" Antiphons, the seven jewels of our liturgy, dating back to the fourth century, one for each day until Christmas Eve. These antiphons address Christ with seven magnificent Messianic titles, based on the Old Testament prophecies and types of Christ. The Church recalls the variety of the ills of man before the coming of the Redeemer.

And this site provides the Latin original and English translation of each of the antiphons, beginning with Sapientia (Wisdom) tonight: O Sapientia, quæ ex ore Altissimi prodiisti, attingens a fine usque ad finem, fortiter suaviterque disponens omnia: veni ad docendum nos viam prudentiæ.

Here is a video of William Byrd's Magnificat in English from the Choir of Magdalen College in Oxford:

Buckfast Abbey on the BBC

Buckfast Abbey was featured on the BBC's Choral Evensong programme last week and the Vesper service is still on-line today. It was recorded for the Feast of the Transfiguration:

Choral Evening Prayer from Buckfast Abbey, Devon during the 2014 Exon Singers’ Festival – recorded Thurs 31st July (rpt Sun 10th Aug)

Introit: An Introit for Transfiguration (Robin Holloway) (First performance)

Responses: Plainsong

Office Hymn: O vision blest of heavenly light (Coelestis gloriae)

Psalms: 97, 121 (Plainsong; Robin Holloway)

First Lesson: 2 Peter 1 vv16-19

Anthem: Christus Jesus splendor Patris (Massaino)

Second Lesson: Matthew 17 vv1-9

Homily: The Rt Revd David Charlesworth, Abbot of Buckfast

Canticle: Magnificat quarti toni (Palestrina)

Lord’s Prayer (Toby Young ) (First performance)

Motet: Ave Maria (Josquin)
Final Hymn: ‘Tis good, Lord, to be here (Carlisle)

Organ Voluntary: Hymne d’Actions de graces: “Te Deum” (Langlais)

Richard Wilberforce (Music Director)

Jeffrey Makinson (Organist) 

Buckfast Abbey was founded first in the 11th century as a Benedictine abbey, and then Cistercians took over. They surrendered the abbey in 1540 and it was used as a quarry after Thomas Cromwell's Court of Augmentations granted it to  Sir Thomas Dennis of Holcombe Burnell. French Benedictines returned to the site in 1882 and built a new abbey, officially opened in 1902, with the abbey church pictured above (from Wikipedia Commons) completed in 1938. Buckfast Abbey sells a tonic wine and raises bees to be self-sufficient.

More information about the Exon Singers' Festival here.