Venantius Fortunatus and Passiontide

Although the current Roman Liturgical Calendar does not directly observe the last two weeks of Lent as Passiontide, some Catholic churches maintain the tradition of veiling their crucifixes and statues starting this Sunday, which in the 1962 Roman Missal begins Passiontide with Passion Sunday. You also might note in the Novus Ordo that the Preface is for the Passion of Our Lord at the daily Masses starting Monday and that there an optional collect on Friday for Our Lady of Sorrows.

Next Sunday will be Palm Sunday in Passiontide. From the 1913 Catholic Encyclopedia, Passiontide is defined as:

The two weeks between Passion Sunday and Easter. The last week is Holy Week, while the first is called by the Latins "Hebdomas Passionis", by the Greeks "Week of the palms" (from the Sunday following). During this time the monks of the East, who had chosen the desert for a severer mode of life, returned to their monasteries (Cyril of Scythopolis in "Life of St. Euthymius", n. 11). The rubrical prescriptions of the Roman Missal, Breviary, and "Caeremoniale Episcoporum" for this time are: before Vespers of Saturday preceding Passion Sunday the crosses, statues, and pictures of Our Lord and of the saints on the altar and throughout the church, with the sole exception of the crosses and pictures of the Way of the Cross, are to be covered with a violet veil, not translucent, nor in any way ornamented. The crosses remain covered until after the solemn denudation of the principal crucifix on Good Friday. The statues and pictures retain their covering, no matter what feast may occur, until the Gloria in Excelsis of Holy Saturday. According to an answer of the S. R. C. of 14 May, 1878, the practice may be tolerated of keeping the statue of St. Joseph, if outside the sanctuary, uncovered during the month of March, which is dedicated to his honour, even during Passiontide. In the Masses de tempore the Psalm Judica is not said; the Gloria Patri is omitted at the Asperges, the Introit, and the Lavabo; only two orations are recited and the Preface is of the Holy Cross. In the Dominical and ferial offices of the Breviary the doxology is omitted in the Invitatorium and in the responses, whether long or short. The crosses are veiled because Christ during this time no longer walked openly among the people, but hid himself. Hence in the papal chapel the veiling formerly took place at the words of the Gospel: "Jesus autem abscondebat se." [Jesus hid Himself] Another reason is added by Durandus, namely that Christ's divinity was hidden when he arrived at the time of His suffering and death. The images of the saints also are covered because it would seem improper for the servants to appear when the Master himself is hidden (Nilles, "Kal.", II, 188).

In some places the crosses were covered on Ash Wednesday; in others on the first Sunday of Lent. In England it was customary on the first Monday of Lent to cover up all the crucifixes, images of every kind, the reliquaries, and even the cup with the Blessed Sacrament. The cloths used were of white linen or silk and marked with a red cross (Rock, infra, IV, 258). The two beautiful hymns of the season, "Vexilla Regis" and "Pange lingua gloriosi", are the work of Venantius Fortunatus (q. v.), Bishop of Poitiers. On the Friday of Passion Week the Church very appropriately honours the Seven Dolours of Our Lady. On Saturday the Greeks commemorate the resuscitation of Lazarus.

John Mason Neale, the Anglo-Catholic Tractarian, translated Vexilla Regis as "The Royal Banners Forward Go", and Pange lingua gloriosi as "Sing, my tongue, the glorious battle".

My late husband Mark took the picture above one afternoon at Blessed Sacrament Catholic Church in Wichita, Kansas--you can see that the Crucifix in the Sanctuary of the church is veiled.

Holy Week: Good Friday

From Stile Antico: William Cornysh's setting of "Woefully Arrayed":

Woefully arrayed
My blood, man for thee ran, it may not be nayed;
My body, blo and wan;
Woefully arrayed.

Behold me, I pray thee
with all thy whole reason
and be not hard-hearted,
and for this encheason,
sith I for thy soul sake
was slain in good season,
Beguiled and betrayed
by Judas’ false treason,
unkindly entreated,
with sharp cord sore freted,
the Jews me threated,
they mowed, they grinned,
they scorned me,
condem’d to death as thou may’st see;
Woefully arrayed.

Thus naked am I nailed.
O man, for thy sake;
I love thee, then love me,
why sleepst thou, awake,
remember my tender heartroot for thee brake;
with pains my veins constrained to crake;
thus tugged to and fro,
thus wrapped all in woe,
whereas never man was so entreated,
thus in most cruel wise
was like a lamb offer’d in sacrifice;
Woefully arrayed.

Of sharp thom I have worn
a crown on my head.
So pained, so strained, so rueful, so red,
thus bobbed, thus robbed,
thus for thy love dead;
unfeigned, not deigned,
my blood for to shed,
my feet and handes sore
the sturdy nailes bore;
what might I suffer more,
than I have done, O man, for thee?
Come when thou list, welcome to me!
Woefully arrayed.

A Clerk of Oxford posted about Woefully Arrayed several years ago.

There is another side to Good Friday, however, as this is also the day of Jesus's Triumph over sin and death: the Royal Banners go forth and the Cross is our Sole Hope:

Vexilla regis prodeunt:
Fulget crucis mysterium
Quo carne carnis conditor,
Suspensus est patibulo.

O Crux ave, spes unica,
Hoc passionis tempore
Auge piis justitiam,
Reisque dona veniam.

Te, summa Deus Trinitas,
Collaudet omnis spiritus:
Quos per crucis mysterium
Salvas, rege per saecula. Amen.

The complete version of the Vexilla Regis, set by Francisco Guerrero, the sixteenth century Spanish composer who travelled to the Holy Land. Andrew Carwood of the Cardinall's Musick described Guerroro's adventures and misfortunes in the liner notes for one of their CDs:

In 1581 he travelled to Rome and remained there for a little over a year dealing with two large collections of music which were published in 1582 and 1584, but his most extraordinary journey was to the Holy Land in 1588. The fact that he undertook this journey at all shows considerable courage and presumably a certain amount of religious devotion (Guerrero was briefly in training for the priesthood whilst a teenager in Seville). No other composer is known to have undertaken such a journey. The party travelled first to Italy and then set off from Venice on 14 August 1588. They visited Zakinthos, Jaffa, Jerusalem, Bethlehem and Damascus and returned to Venice on 9 January 1589. Guerrero remained in Venice to supervise the publication of two further collections and then sailed to Marseilles via Genoa and he was subjected to the terrifying ordeal of being attacked by pirates, not once but twice. His money was stolen and a ransom exacted. This misfortune together with the cost of funding his publications meant that, when Guerrero eventually reached Seville in the summer of 1589, he was dangerously short of funds. During Advent 1590, at the age of 62, he was forced to take back responsibility for the choristers (presumably to increase his income) but, in an interesting parallel with the beginning of his career, Guerrero found himself unable to cope with the demands of the position. On 21 August 1591 he was confined to a debtor’s prison until the Cathedral authorities at Seville took pity and paid the outstanding debt, securing the composer’s release on 2 September. By 1599 his fortunes had obviously improved (perhaps as a result of the successful publication of his travelogue in 1592) as he planned a second trip to the Holy Land which was approved by the Seville Chapter on 11 January. For some reason Guerrero delayed his departure and this proved a fatal mistake as Seville was struck by plague in the summer and Guerrero was not strong enough to withstand it.

More Music for Holy Week

 

Years and years ago, my husband bought me this CD when he went to a conference in Dallas, Texas. It was released on the L'Oiseau-Lyre label in 1989 and has been rereleased now by ArchivMusic:

 

Barbara Katherine Jones and John Blackley direct Schola Antiqua in this 1985 collection of traditional Music for Holy Week, released as part of the Florilegium series on the L'Oiseau Lyre label.

A leader of its time, this recording represents Schola Antiqua's interpretation on the subject of proportional rhythm. Up until the point of this recording, most renderings of the music were based on the principle that all notes were fundamentally of equal length.

Founded in 1972 for the study and performance of chant and early liturgical music, Schola Antiqua's discography also includes Plainsong and Polyphony from Medieval Germany and A Guide to Gregorian Chant.

 

The first hymn on the CD is Venantius Fortunatus's Vexilla Regis:

Vexilla regis prodeunt
Fulget crucis mysterium
Quo carne carnis conditor
Suspensus est patibulo.

Quo vulneratus insuper
Mucrone diro lanceae
Ut nos lavaret crimine
Manavit unda et sanguine.

Impleta sunt quae concinit
David fideli carmine
Dicens In nationibus
Regnavit a ligno Deus.

The disc also contains the Ordinary for Maundy Thursday and Responsories, Antiphons, and the Improperia for Good Friday, concluding with the hymn Crux Fidelis/Pange Lingua, also by Fortunatus.

For years, I have also enjoyed listening to the Choir of King's College, Cambridge CD of Music for Holy Week conducted by Philip Ledger.

 

Unfortunately, this CD is out of print, but it includes music by Thomas Tallis, John Taverner, and Orlando Gibbons. The cover features a detail of Lamentation by Paul Troger, an Austrian artist who specialized in those Baroque ceiling paintings of apothesis and triumph, especially in monastic buildings and churches throughout Austria (including Melk Abbey).

 

Happy Holy Week: may the celebration of the Lord's Passion and Death deepen our devotion to Our Savior and bless us with His peace and salvation. I'll be taking a break from the blog after the Monday of Holy Week.