Friday, 10 April 2009

Holy Week: Good Friday

Stabat Mater Dolorosa

Stabat Mater is a thirteenth century Roman Catholic sequence variously attributed to Innocent III (Pope) and Jacopone da Todi (Fransican friar and lyricist). Its title is an abbreviation of the first line, Stabat mater dolorosa ("The sorrowful mother stood"). The hymn, one of the most powerful and immediate of extant medieval poems, meditates on the suffering of Mary, Jesus Christ's mother, during his crucifixion. It is sung at the liturgy on the memorial of Our Lady of Sorrows.

Jesus meets his mother on the way to Calvary.

Stabat mater dolorosa

iuxta Crucem lacrimosa,

dum pendebat Filius.


Cuius animam gementem,

contristatam et dolentem

pertransivit gladius.


O quam tristis et afflicta

fuit illa benedicta,

mater Unigeniti!


Quae moerebat et dolebat,

pia Mater, dum videbat

nati poenas inclyti.


Quis est homo qui non fleret,

matrem Christi si videret

in tanto supplicio?

Quis non posset contristari

Christi Matrem contemplari

dolentem cum Filio?


Pro peccatis suae gentis

vidit Iesum in tormentis,

et flagellis subditum.


Vidit suum dulcem Natum

moriendo desolatum,

dum emisit spiritum.


Eia, Mater, fons amoris

me sentire vim doloris

fac, ut tecum lugeam.

Fac, ut ardeat cor meum

in amando Christum Deum

ut sibi complaceam.

Sancta Mater, istud agas,

crucifixi fige plagas

cordi meo valide.


Tui Nati vulnerati,

tam dignati pro me pati,

poenas mecum divide.


Fac me tecum pie flere,

crucifixo condolere,

donec ego vixero.


Iuxta Crucem tecum stare,

et me tibi sociare

in planctu desidero.


Virgo virginum praeclara,

mihi iam non sis amara,

fac me tecum plangere.


Fac, ut portem Christi mortem,

passionis fac consortem,

et plagas recolere.


Fac me plagis vulnerari,
fac me Cruce inebriari,
et cruore Filii.


Flammis ne urar succensus,
per te, Virgo, sim defensus
in die iudicii.


Christe, cum sit hinc exire,

da per Matrem me venire

ad palmam victoriae.


Quando corpus morietur,

fac, ut animae donetur

paradisi gloria. Amen.



English Translation:


At the Cross her station keeping,

stood the mournful Mother weeping,

close to Jesus to the last.


Through her heart, His sorrow sharing,

all His bitter anguish bearing,

now at length the sword has passed.

O how sad and sore distressed

was that Mother, highly blest,

of the sole-begotten One.


Christ above in torment hangs,

she beneath beholds the pangs

of her dying glorious Son.

Is there one who would not weep,

whelmed in miseries so deep,

Christ's dear Mother to behold?



By the Cross with thee to stay,

there with thee to weep and pray,

is all I ask of thee to give.


For the sins of His own nation,

She saw Jesus wracked with torment,

All with scourges rent:


She beheld her tender Child,

Saw Him hang in desolation,

Till His spirit forth He sent.


Can the human heart refrain

from partaking in her pain,

in that Mother's pain untold?


O thou Mother! fount of love!

Touch my spirit from above,

make my heart with thine accord:


Make me feel as thou hast felt;

make my soul to glow and melt

with the love of Christ my Lord.


Holy Mother! pierce me through,

in my heart each wound renew

of my Savior crucified:


Let me share with thee His pain,

who for all my sins was slain,

who for me in torments died.


Let me mingle tears with thee,

mourning Him who mourned for me,

all the days that I may live:



Let me, to my latest breath,

in my body bear the death

of that dying Son of thine.


Virgin of all virgins blest!,

Listen to my fond request:

let me share thy grief divine;


Wounded with His every wound,

steep my soul till it hath swooned,

in His very Blood away;


Be to me, O Virgin, nigh,

lest in flames I burn and die,

in His awful Judgment Day.


Christ, when Thou shalt call me hence,

by Thy Mother my defense,

by Thy Cross my victory;


When my body dies,

let my soul be granted

the glory of Paradise. Amen.


"It's accomplished!"

Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526 - 2 February 1594) was an Italian composer of the Renaissance. He was the most famous sixteenth-century representative of the Roman School of musical composition. Palestrina had a vast influence on the development of Roman Catholic church music, and his work can be seen as a summation of Renaissance polyphony.

Giovanni Pierluigi da Palestrina

Thanks to Alan Tan for making this video.

Thursday, 9 April 2009

Holy Week: Maundy Thursday

Missa Pange Lingua - Kyrie

The Missa Pange Lingua is a musical setting of the Ordinary of the Mass by Franco-Flemish composer Josquin des Prez (1450-1521), probably dating from around 1515, near the end of his life. Most likely his last mass, it is an extended fantasia on the Pange Lingua hymn, and is one of Josquin's most famous mass settings.

The hymn on which the mass is based is the famous Pange Lingua Gloriosi, by Thomas Aquinas (Saint), which is used for the Vespers of Corpus Christi, and which is also sung during the veneration of the Blessed Sacrament.

Like most musical settings of the mass Ordinary, it is in five parts:


1. Kyrie

2. Gloria

3. Credo

4. Sanctus

5. Agnus Dei

Thanks to Alan Tan for making this video.

Tuesday, 7 April 2009

Easter Triduum

Just a short reminder here

The Easter Triduum Mass will be at these time:

Holy Thursday (9th April 2009): 7.00pm
Good Friday (10th April 2009): 7.00pm
Easter Vigil (11th April 2009): 8.00pm

Confession time will be before the Holy Thursday mass and also after the mass...

Do join us :)

Friday, 3 April 2009

Lent: Week 6 - Palm Sunday

Lamentations of Jeremiah







The Lamentations are found in the Book of Lamentations in the Bible, immediately following the Book of Jeremiah. They are part of the liturgy of the Holy Week, and exemplify the important component of lament, atonement and repentance of the Paschal festivities.



The text itself consists in 5 chapters. All but chapter 3 have 22 verses: chapter 3 has 66 verses. The last chapter is called the Oratio or the Prayer of Jeremiah.



Each poem is ended with the call: Jerusalem convertere ad Dominum Deum tuum (Jerusalem, return onto the Lord thy God) which actually comes from Hosea 14:1.



The five poems deal with the destruction of Jerusalem (586 B.C.), describing how city and country, palace and Temple, king and people, suffered under the terrible catastrophe. The several poems have markedly different characteristics.





In chapter 1 the prophet dwells on the manifold miseries oppressed by which the city sits as a solitary widow weeping sorely.



In chapter 2 these miseries are described in connection with the national sins that had caused them.



Chapter 3 speaks of hope for the people of God. The chastisement would only be for their good; a better day would dawn for them.



Chapter 4 laments the ruin and desolation that had come upon the city and temple, but traces it only to the people's sins.



Chapter 5 is a prayer that Zion's reproach may be taken away in the repentance and recovery of the people.

Orlande de Lassus (1532 (possibly 1530) – June 14, 1594) was a Franco-Flemish composer of late Renaissance music, considered to be the chief representative of the mature polyphonic style of the Franco-Flemish School, and he was the most famous and influential musician in Europe at the end of the 16th century.

Orlando de Lassus

Lent: Week 5





Tibi, Christe, Splendor Patris






Tibi, Christe, splendor Patris,


vita, virtus cordium,


in conspectu angelorum


votis, voce psallimus;


alternantes concrepando


melos damus vocibus.



Collaudamus venerantes


inclitos archangelos,


sed præcipue primatem


cælestis exercitus,


Michaelem in virtute


conterentem Satanam.



Quo custode procul pelle,


rex Christe piissime,


omne nefas inimici;


mundos corde et corpore


paradiso redde tuo


nos sola clementia.



Gloriam Patri melodis


personemus vocibus,


gloriam Christo canamus,


gloriam Paraclito,


qui Deus trinus et unus


exstat ante sæcula.




English Translation:



Thee, O Christ, The Father's Splendour



Thee, O Christ, the Father’s splendor,


Life and virtue of the heart,


In the presence of the angels


Sing we now with tuneful art,


Meetly in alternate chorus,


Bearing our responsive part.



Thus we praise with veneration


All the armies of the sky;


Chiefly him, the warrior primate,


Of celestial chivalry,


Michael, who in princely virtue


Cast Abaddon from on high.



By whose watchful care repelling—


King of everlasting grace—


Every ghostly adversary,


All things evil, all things base,


Grant us of Thine only goodness,


In Thy paradise a place.



Laud and honor to the Father,


Laud and honor to the Son,


Laud and honor to the Spirit,


Ever Three, and ever One,


Consubstantial, co-eternal,


While unending ages run.

Guillaume Dufay (August 5 1397 – November 27, 1474) was a Franco-Flemish composer of the early Renaissance and was an influential composer in Europe in the mid-15th century.


Guillaume Dufay