Sunday, February 23, 2020

Quinquagesima Sunday 2020

Truly it is fitting it is fitting and just, right and profitable to salvation, that we give Thee thanks always, here and in every place, Lord, Holy Father, almighty and eternal God, illuminator and redeemer of our souls. Who, when the law of abstinence was transgressed by the first Adam, and we had been cast out of Paradise, did call us back through grace to the blessedness of our ancient fatherland by the remedy of a stronger fast; and by Thy holy instruction, did teach by what observances we might be set free. Through Christ our Lord. Through whom the Angels praise, the Archangels venerate Thy majesty, Thrones, Dominations, Virtues, Principalities and Powers adore. Whom the Cherubim and Seraphim celebrated with one rejoicing. To whom we pray that Thou command our voices also be joined, as we say with humble confession: Holy... (The Ambrosian Preface of Quinquagesima Sunday.)

A folio of the Bedford Hours, an illuminated book of Hours produced in France ca. 1420, now in the British Library. At the upper left, God brings the animals to Adam to be named; to the right, on the other side of the tower, God creates Eve. To the lower left of the tower, God brings Eve to Adam; to the lower right, the Temptation of Adam and Eve. Below the tower, God finds Adam and Eve after the Fall (note the serpent represented as a very oddly shaped creature.) At the lower right; the expulsion from the Garden; at the upper right of the image as a whole, the sacrifices of Abel and Cain, and below that, the murder of Abel. At the bottom of the image, God carries the body of dead Adam and lays it to rest outside the gates of Paradise. In each case, God is shown with three faces, to represent the three persons of the Trinity. 
Vere quia dignum et iustum est, aequum et salutare, nos tibi semper, hic et ubique gratias agere, Domine, Sancte Pater, omnipotens aeterne Deus, illuminator et redemptor animarum nostrarum. Qui nos, per primum Adam abstinentiae lege violata, Paradiso ejectos, fortioris jejunii remedio ad antiquae patriae beatitudinem per gratiam revocavit: nosque pia institutione docuit, quibus observationibus liberemus. Per Christum, Dominum nostrum. Per quem maiestatem tuam laudant Angeli, venerantur Archangeli, Throni, Dominationes, Virtutes, Principates, et Potestates adorant. Quem Cherubim et Seraphim socia exsultatione concelebrant. Cum quibus et nostras voces, ut admitti iubeas, deprecamur, supplici confessione dicentes: Sanctus...

Friday, February 21, 2020

The Faithful Are Not Morons

Is the presence of the Septuagesima season in the liturgical year “bewildering” to the faithful? This is the contention of an article recently published on CatholicCulture.org by Jennifer Gregory Miller, which defends the suppression of it as a positive development of the post-Conciliar reform, one which better highlights the centrality of the Paschal mystery. If this contention were considered by itself, it could be simply refuted with the five-word Latin saying, “Quod gratis asseritur, gratis negatur – that which is gratuitously asserted may be gratuitously denied.” There is no reason whatsoever to imagine that the faithful found or currently find it “bewildering.” However, the article merits a more thorough refutation, in part because it accepts and promotes one of the most damaging ideas behind the post-Conciliar reform, and in part because it contains a number of factual errors, and this from a website that purports to promote and encourage Catholic culture.

As proof that the suppression of Septuagesima better highlights the centrality of the Paschal mystery, Miller cites the reaction of her young students (“elementary age children”) to a liturgical calendar wheel, divided into 52 sections which represent the 52 weeks of the year. Each week is marked by its appropriate liturgical color (violet for Advent, white for Christmas, etc.) Since it is based on the post-Conciliar calendar, without Septuagesima, the violet part before Easter occupies six sections of the wheel, while that of the Easter season occupies seven, visually demonstrating that Easter is more important. (“the preparation period before Easter doesn’t equal or outweigh Easter.”) If Septuagesima were still part of the calendar, the same violet section would have nine weeks, and thus appear to be more important. The suppression of Septuagesima is therefore lauded, since it restores “a central focus on the Paschal Mystery in the Liturgical Year. Easter now has the proper position as central and highest feast of the year.”


This is prima facie absurd. With the sole and tiny exception of the Mozarabs, all Christians who adhere to an historical rite, whether Eastern or Western, lived for well over a millenium with a liturgical year in which the preparatory season before Easter was longer than the Easter season itself. All Eastern Christians, whether Catholic or Orthodox, still do. What evidence is there that any one of them has ever drawn from this the conclusion that Easter was somehow less important than Lent?

The assumption that lies behind this was one of the underpinnings of the post-Conciliar reform, a notion which has done and continues to do incalculable damage to the Church. It is, quite simply, that the run of the faithful are morons. Because of their uneducable stupidity, they are absolutely incapable of rising to the level of anything that is in any way complex or subtle; the liturgy must therefore be simplified and dumbed down to the level of their stunted mental grasp. If this seems an unduly harsh way of looking at the matter, notice what serves as the test case for the value of this particular break with a universal tradition of almost 14 centuries – not its effect on the lived faith of maturely formed, practicing Christians, but its effect on the immediate perceptions of elementary school children in catechism class. It is as if to say that the education of the faithful about the features of the liturgical year cannot be expected to go beyond counting colored blocks numbered in the single digits.

Now it may also seem that I am unfairly assuming the degree to which Mrs Miller herself appears to share this notion. I grant that this article may be entirely unrepresentative of her thought. But she does also write, “It’s easy to see how the Septuagesima season could be bewildering.” Not “It’s easy to see how the Septuagesima season could pique the interest or curiosity of the faithful,” much less “It’s easy to see how 14 centuries of Catholics learned the temporal cycle by living it year in and year out from childhood, in all its complexity, including Septuagesima.” She goes on to say that because of the similarity between Septuagesima and Lent (which she overstates), “I can imagine the confusion it caused if a person wasn’t in tune with the Church Calendar. “ ‘Is it Lent already? Did I miss Ash Wednesday? Am I supposed to be fasting?’ ”

I prescind from the notion that the calendar should be redesigned for the sake of those who aren’t in tune with it by giving them less to tune into. The crux of the matter is this: any feature of the liturgical calendar can, in theory, become confusing, if those who are responsible for teaching the faithful neglect their duty. “Wait, it’s Advent, so Jesus is still in His Mother’s womb… so why are we celebrating Her Conception?” “Wait, it’s Christmas, which is a joyful season, … so why are we celebrating a man who was stoned to death and a bunch of murdered babies?” If, on the other hand, those who take responsibility for teaching the Faith assume the best of their charges, and demand the best of them, there is no reason why they may not easily learn what countless generations before them learned, and that, with far fewer resources at their disposal.

From a recent post - children living out the liturgical year by burying the Alleluja on the eve of Septuagesima.
This being said, there are several other considerations which are germane to this topic.

1. As Annibale Bugnini, the principal architect of the post-Conciliar reform, recounted in his memoire, Pope Paul VI himself “compared the complex made up of Septuagesima, Lent, Holy Week and Easter Triduum, to the bells calling people to Sunday Mass. The ringing of them an hour, a half-hour, fifteen and five minutes before the time of Mass has a psychological effect and prepares the faithful materially and spiritually for the celebration of the liturgy.” Of course, having thus noted the season’s importance, he offered no resistance to those who decided that “there should be a simplification: it was not possible to restore Lent to its full importance without sacrificing Septuagesima, which is an extension of Lent.” (The Reform of the Liturgy, p. 307)

2. It is simply not credible to claim, as Bugnini does, that the post-Conciliar reform “restore(d) Lent to its full importance”, given the almost complete abolition of the traditional discipline of Lenten fasting, and the removal of almost all references to fasting from the official liturgical texts of the Roman Rite. In a better age than our own, this will be seen as one of its most embarrassing aspects.

But it must be remembered that this was done not only by suppressing Septuagesima, but also by assimilating Passiontide to the rest of Lent. Having thus flattened out the very ancient and subtle articulation of the Church’s preparation for Easter in four stages, the Novus Ordo then recreated it exactly for Christmas, with Christ the King, the two clearly different parts of Advent, and the vigil of Christmas. If it were so necessary for Septuagesima to be suppressed to restore the importance of Lent, Christ the King should also be suppressed to restore the importance of Advent. (By the way, Advent, with a minimum length of 22 days, occupies 4 blocks on the wheel, while the Christmas season, with a maximum length of 15 days, only occupies three. It might be better to reduce Advent to just December 17-24, so as to restore the centrality of Christmas.)

3. We may take comfort from the fact that the vast majority of commenters on liturgical matters seem to recognize that the suppression of Septuagesima was a stupid mistake. The Church itself has in a small but significant way acknowledged this and corrected it by including it in the Ordinariate Rite.

4. Mrs Miller writes that she “found so few pre-Vatican II writings on Septuagesima.” This can only be for lack of trying. Septuagesima occupies 116 pages of the relevant volume of Dom Guéranger’s The Liturgical Year, and 61 pages of Pius Parsch’s The Church’s Year of Grace (English editions). The latter writes, “A little reflection upon the liturgy of these three Sundays will show a unified and beautifully constructed underlying plan. The three great station churches, St Lawrence, St Paul, and St Peter (arranged in ascending importance) indicate the extraordinary significance the Church attaches to these Sundays.” Bl. Ildephonse Schuster’s The Sacramentary is more succinct than Guéranger and Parsch on almost every topic, but does of course dedicate an article to each of the three Sundays.

4. As documented by our colleague Henri de Villiers, every historical Christian tradition has a Fore-Lent of some kind, and those of the East share many themes with the Roman Septuagesima. You can read his article in the original French on the website of the Schola Sainte-Cécile, or in my English translation in four parts at the following links: part 1, part 2, part 3, part 4.

Adam sat opposite Paradise and, lamenting his nakedness, he wept, ‘Woe is me ! By evil deceit was I persuaded and robbed, and exiled far from glory. Woe is me ! Once naked in my simplicity, now I am in want. But, Paradise, no longer shall I enjoy your delight; no more shall I look upon the Lord my God and Maker, for I shall return to the earth whence I was taken. Merciful and compassionate Lord, I cry to you, ‘Have mercy on me who am fallen’. (From Vespers of Cheesefare Sunday.)

Finally, a list of the article’s factual errors.

Thursday, February 20, 2020

NLM Quiz no. 22: What is This Object’s Liturgical Function? The Answer

The liturgical function of this object can be described with two words; can you guess what it is? The object is broken. (The parts of the photo that have been blacked out do not cover any part of the object itself, but didactic materials in the museum display which might have given something away.) Please leave your answer in the combox, but also feel free to add any details or explanations you think pertinent. As always, to keep it more interesting, please leave your answer before reading the other comments. We are always pleased to read humorous answers as well. Depending on the number of responses, the correct answer will be given later in the day tomorrow (which is going to be a very busy for me), or early Friday.

The Answer: The object is indeed a baptismal font, as correctly guessed by Catherine, and (with some hedging) Gail Finke. The central part has a depression in the middle of it to hold the water, the upper part, which is now missing a large section, was the cover. It was made in the 12th century for the church of St Michael on Mt Gargano in the Puglia region of Italy, the famous shrine which gave rise to the feast of the Apparition of St Michael.
The award for Best Wildly Incorrect answer goes to truthfinder for the suggestion that it might be from an “anchorite cell - where the anchoress can see into the church and even receive Communion.” The Best Humorous Answer award goes to Rob Pryb, not just because no one else submitted one: “an acrophobic stylite’s pole decked out with roof.” Nicely done!
Here are closer views of the four sides, each of which is decorated with two Biblical stories. Click on the photos to see them in higher resolution.
Upper register: the Annunciation to Mary; lower register, the Annunciation to Zachary.
Upper register: the Nativity; lower register, Balaam and the Ass (this later story is a prelude to the Epiphany because of the words of Balaam’s prophecy, “A star shall rise out of Jacob and a sceptre shall spring up from Israel”, Numbers 24, 17.) 
Upper register: the Crucifixion, with the Virgin Mary to the right; lower register, Ss Peter and Paul.
Upper register: the Ascension, with the Virgin Mary to the right; lower register, Moses makes water run from the rock, as recounted in Numbers 20, an episode long associated with the sacrament of Baptism.
The corners of the base are decorated with lions, one of the most popular animals in Romanesque decorations, each holding a crown above a column on one of the sides.

Why Organ and Not Piano? New Episode of Square Notes

The latest episode of Square Notes: The Sacred Music Podcast examines the origins of the organ in the Roman rite, and the theological basis for its acceptance into a religion that considers the human voice as its primary instrument. If you’ve been looking for a primer in the Church’s understanding of the pipe organ, or for a way to explain the mens Ecclesiæ to people in your parish, give this episode a listen. Our guest is Dr. Nathan Knutson, Director of Sacred Music at St. Charles Borromeo Seminary in Philadelphia.



You can catch us on our website, YouTube, iTunes, Stitcher, or your favorite podcast app. Please note that we have discontinued publishing on SoundCloud.

And if you’re enjoying the podcast, please consider leaving us a review and rating on iTunes; it helps others find us!

Wednesday, February 19, 2020

Restoration of a Large Processional Monstrance

Thanks to reader Richard Seto, who brought to my attention this very nice video about the restoration of the very large processional monstrance (‘custodia’ in Spanish) of the cathedral of the Assumption in Mexico City. The video includes a good amount of footage of Eucharistic processions, which are always an impressive affair in the Spanish-speaking world. For those who do not speak Spanish, YouTube’s automatic subtitle and translation feature works very well with that particular language.


Tuesday, February 18, 2020

Photos of a Priestly Requiem

Just over a month ago, Fr Valentine Young, O.F.M., passed away at the age of 88; this coming Thursday would have been his 89th birthday. Fr Young was a great friend of the traditional Latin Mass in places ranging from Arizona and New Mexico to Kansas to Kentucky and Ohio. He was an accomplished Latinist and, for the past ten years or so, said the daily TLM at Old Saint Mary’s Church in Cincinnati, now the home of the new Cincinnati Oratory. On January 30th, the 7th day after his burial, the Oratorian Community celebrated a solemn Requiem for him in the traditional rite, accompanied by Victoria’s Missa pro defunctis a 4, plainchant, and motets by Guerrero and Palestrina. Just before the Absolution, in accordance with an old Francsican custom, the hymn “Ultima in mortis hora” was sung.

Deus, qui inter apostolicos sacerdotes famulum tuum Valentinum sacerdotali fecisti dignitate vigere: praesta quaesumus: ut eorum quoque perpetuo aggregetur consortio. Per Christum, Dominum nostrum. Amen.

God, who among the apostolic priests made Thy servant Valntine to flourish with priestly dignity: grant, we beseech Thee: that he may also be joined unto their perpetual society. Through Christ our Lord. Amen.

The catafalque decorated with a priestly stole and a Franciscan cord, plus the crown of thorns used at the traditional Franciscan rite of formal profession.

Archbishop Sample's Pastoral Letter on Sacred Music Revised and Re-Issued

Two weeks ago, I featured the Liturgical Handbook issued by the Archdiocese of Portland. I was made aware of this during a recent visit to Portland, and at the same time noticed that Archbishop Sample had updated and re-issued his well known Pastoral Letter on Sacred Music in Divine Worship. Many New Liturgical Movement readers will remember, I am sure, the original was written when he was bishop of the Diocese of Marquette in the Upper Peninsula of Michigan.

“Shortly before I was appointed to the Archdiocese of Portland, I issued a pastoral letter in my previous Diocese of Marquette concerning sacred music. The letter contained certain considerations that I believe can be beneficial to the Archdiocese of Portland since it highlighted some of the perennial truths regarding the Church’s teaching on sacred music. After recently reflecting on the principles and concepts it contained, I decided that a similar letter to the clergy and faithful of the Archdiocese of Portland would be opportune. I make no apology for largely basing this letter on my previous one since the values and ideas it promoted are both universal and enduring and are as valid today as they were then. While the Archdiocesan Liturgical Handbook contains much of this information in a summary form, I thought it would be useful to write this pastoral letter to give our pastors and musicians a more detailed reference text for formation purposes and as a complement to the Archdiocesan Liturgical Handbook.”

It can be downloaded for free from the Portland Archdiocese webpage here.

Two little examples from this letter, from pages 10 and 13 respectively that are close to my heart are below.


I have a personal story to tell here, by the way. Thirty-five years ago, I began a Master’s degree in metallurgical engineering at Michigan Technological University, which is about 100 miles west of Marquette. The research group that I joined was headed by an Englishman, a professor who had previously been at the university I had gone to in England. The person who was clearing his desk for me was a student who had just graduated with his MS, and decided that rather than go on to do a Ph.D., he would become a priest. This was “Sandy” Sample. I don’t think I spoke to him directly even once during the few days that we overlapped, but I had always remembered him. He was well-liked and respected, and often spoken about after he. The other remaining students and our advisor, Professor Hellawell, all said that he could have had a dazzling career as an engineer, and expressed either admiration or exasperation at the idea that he should abandon his studies to serve the Church.

I was a strongly anti-Christian atheist at the time, but I remember being struck by the fact that someone who was clearly an intelligent man and a very good student should give up everything, as I saw it, in exchange for nothing. I always thought he had gone to become a Lutheran minister until out of the blue about seven years ago I received a Michigan Tech alumni newsletter (I don’t know how it ended up in my mail - I didn’t subscribe and I have never received any other editions of it). The headline was Michigan Tech Alumnus Made Catholic Archbishop! Three weeks later I saw him speak in Rome at the Sacra Liturgia conference. This story illustrates how personal example can touch people in ways that we don’t know. His becoming a priest was not the most important reason for my later conversion, but it did contribute to it. Over the years I had remembered him from time to time, especially before my conversion, because I wondered how could someone who was clearly well balanced and intelligent, and who stood to gain so much, could abandon it for a collection of false abstractions.

Here is a radio interview with the Archbishop for those who wish to hear him talk about this and the Archdiocesan Liturgical Handbook.

Monday, February 17, 2020

Interviews with Catholic Composers — (3) Tate Pumfrey

Today we interview a Canadian composer, Tate Pumfrey, who specializes in English hymns in the grand old style, with newly-written hymn texts of strong diction, rhyme, and meter. (As we learn in the interview, the texts are contributed by an Australian, Christian Catsanos, also pictured below.)

Tate Pumfrey, composer (left); Christian Catsanos, hymnodist (right)

Tell us about your musical background.

I’ve had a wandering road to get to where I am today. I played several instruments in my youth, but few of them really stuck with me. That said, I have been a singer for a long time and still sing quite regularly in a choral capacity. I started playing the pipe organ sporadically in high school before I began serious organ lessons in my first year of university (albeit outside of school) with Gilles Maurice Leclerc, of Ottawa, Ontario. Gilles is still a good friend, and he had a large impact on me. Not only is he an excellent organist and improvisor, he’s also a talented composer. He has been so kind as to look at my pieces and offer feedback, and I still send him my music.

How was your interest in composing sacred music enkindled? 

I started to become interested in writing sacred music around the same time I became interested in the Traditional Latin Mass, although I’m not sure if there’s a direct correlation. One day in October 2017, I spontaneously wrote a little hymn, both text and music, but was largely dissatisfied with my poetry. When a second hymn seemed to fall out of my head in February 2018, I wanted to see if I could find someone to write texts for my music. I sent out a call for a text writer in a Facebook group for church musicians, and a young organist from Australia, named Christian Catsanos, got in touch with me. Before I’d even sent him the music for this second hymn, I told him that the lines were 8.7.8.7. He sent me a text that was appropriately penitential for the mood of the music, and all seven verses fit like a glove! It has been an awesome and fruitful experience working with Christian. He writes beautiful texts, and my hymns would not be possible without his wonderful words.

Is there a sacred music composer — or are there several composers — whose work you find most captivating, either as a source of delight (however different in style from your own compositions), or as direct inspirations and models for your own work?

I have a few composers who I greatly admire in the area of sacred music, but Anton Bruckner is certainly near the top. I find his ability to write in a complex harmonic language while still respecting the traditions that came before him to be fascinating. The Kyrie from his Mass No. 2 in E Minor always gives me chills. While Bruckner is not necessarily a direct influence, his motets do inspire me to write my own pieces in that vein someday. Another composer I enjoy is Ralph Vaughan Williams. While he wasn’t Catholic, I very much like his style of hymnody. His harmonizations are superb, and I love his use of modes and his melodic writing. Other favourites include William Byrd, Thomas Tallis, Manuel Cardoso, Flor Peeters, Jean Langlais, and Louis Vierne, as well as the Anglo-Canadian composer Healey Willan.

If you were given an unlimited budget for musicians for a solemn pontifical Mass, what works would you put on the program? 

Of all the settings I could pick, and while it lacks an orchestral accompaniment, I would have to choose Peeters’ Missa Festiva. Scored for organ and SATBarB choir, this wonderfully modal work is one of my absolute favourite Mass settings. It lacks the operatic tendencies that one might find in Bruckner, and is overall a serious and beautiful work. I love how Peeters comes up with fascinating backdoors into other modes and chromatic avenues that are unexpected, all of which adds to the mystery and grandeur that one would hope to find in a proper Mass setting.  Honourable mentions include Bruckner’s Mass No. 2 in E minor, Cardoso’s Missa Miserere mihi Domine, any of Byrd’s three Mass settings, Vierne’s Messe Solennelle, Langlais’ Messe Salve Regina, as well as the contemporary setting by Yves Castagnet, also titled Messe Salve Regina.

Many have been pointing to generational dynamics in the Catholic Church. Have you encountered such dynamics in your own life and work?

Over the years, my taste in church music has shifted, and I now prefer Gregorian chant and traditional hymnody over the so-called “folk hymns” that I grew up with. As for a generational dynamic, I’ve found that many of my young Catholic friends are also drawn to that which is old and timeless, even if they are not able to attend the Extraordinary Form on a regular basis. This is in stark contrast to the older generations of parishioners, who in my experience seem to prefer the “folk hymns” to what they might call the “moldy oldies.”

I sang in my first year of university with the Adoramus Choir at St. Patrick’s Basilica in Ottawa, Ontario. We did chanted Mass parts, sang a motet most Sundays, and used strong, traditionally-styled hymns. While the liturgy was in the Ordinary Form, the time I spent there had a big impact on me, as I became acquainted with both Latin and Gregorian chant. When some university-age friends at Western University in London, Ontario during my second year asked me if I wanted to “try out” the Traditional Latin Mass, I said yes. I have been going most Sundays since then. I love singing chant, and everything that goes along with traditional Catholicism.

As far as traditionally stylings of my own music, I find the seemingly old-fashioned form of four-part hymnody very attractive. This is not to say that everyone my age find traditional sacred music as attractive. Some young Catholics I know are quite attached to the so-called “praise and worship music” (which is largely Protestant in origin); I find that style unappealing. It is musically difficult to distinguish it from popular songs on the radio, and the constant use of “I” statement, such as, “here I am to worship,” shows a tendency toward self-absorption, not worship of the Lord Almighty. This kind of music is a complete barrier to my prayer. Hence, I write traditional, four-part hymns that “sound like church,” even to someone who has rarely attended. By its very definition, sacred music ought to be set-apart, and this is exactly what I aim to do with my newly composed hymns.

What are some strengths and weaknesses you see in the “traditionalist” movement, particularly from a musical point of view?

I find the “traditionalist” movement to be strong in its support of good, reverent sacred music, especially chant, the music that is supposed to have pride of place in the liturgy. I love chant and the reverence it brings to Mass, and I feel we’ve lost a great treasury of beauty with the lessened use of chant. I must also say that I’ve been blest to have some of my hymns sung at the local Traditional Latin Mass, which has further encouraged me to continue composing. My main concern is that there is at times a sense of negativity about the future, but other than that, my time with the “traditional” movement and the Tridentine Mass has been a time of great spiritual growth and has also given me a refuge from the intensity of the outside world.

What are some of your future plans as a composer?

As I am now in my fourth year of an undergraduate degree in music, I hope to pursue a master’s and perhaps even a PhD in composition. I love to compose, both sacred music, as well as more secular, instrumental pieces, and I hope to go as far as I can with my music, as long as God wills it. Even if I do not go as far as a PhD, I will continue to write hymns and other sacred works.

Triptych for Viola and Piano

Postlude for Organ

The three hymns featured here may be purchased in a collection of 24 hymns for the Church year (link at Amazon):


Biography of the Composer
Tate Pumfrey (b. 1998) of Thamesville, Ontario, Canada is a music student at Western University, where he studies composition. Growing up in household with a musical mother, he played many instruments over the years and has more recently taken up the pipe organ. Composition has long been a part of Tate’s life, as he would “invent” tunes and pieces for friends as a kid. He began composing formally in high school, where composition lessons with Mr. Jim Brown helped him get his music off the ground. Now in his fourth year of an undergraduate degree, he hopes to continue his studies with a Master’s of Composition. For Tate, faith and music are deeply connected, and as such, it was a natural progression for him to write church music as well as secular classical music. His website is tatepumfreymusic.com and can be reached at tatepumfreymusic@gmail.com.

Biography of the Hymnodist
Christian Walter John Catsanos is an organist and hymnodist. He was born in Sydney, Australia in 1993 and began his work as a hymnodist in 2004. His work has been largely influenced by the mentorship of Dr. Richard Connolly and Mrs. Donrita Reefman. Having had an interest in sacred music and having been a singer in his school’s chapel choir, Christian held an organist post at the school from 2006 until 2011. Since then, he has held several parochial organist positions starting in 2007. Christian holds a Bachelor of Music in organ performance from the Australian Institute of Music, awarded in 2017. He can be reached at christianwaltercatsanos@gmail.com

Sunday, February 16, 2020

Book with Dominican Chants for all the Epistles of the Year Now Available

I am pleased to announce that Dominican Liturgy Publications has made available a companion volume to the Evangelarium O.P. published last month. Just as that volume contained all the Gospels of the Year, Feast days, Commons, and Ritual and Votive Masses for use by the deacon at Solemn Mass, this volume contains all the Epistles and other readings sung by the subdeacon or lector at any Dominican sung Mass.

This new Epistolarium iuxta Ritum Ordinis Praedicatorum can be purchased here. If  purchasers do not already have a copy of the Evangelarium, it can be purchased here. These books have matching covers but differ in size as the Evangelarium is larger for use in  processions.

These companion volumes replace the previously published, but incomplete, Cantus  Lectionum Missarum pro Dominicis et Festis Maioribue, which is still available here.

More recent articles:

For more articles, see the NLM archives: