⁣The Great Responsory "Aspiciens a longe" is the first responsory of Matins for the 1st Sunday of Advent. This melody first appears in the Antiphoner of Hartker, circa AD 990-1000. It can be found in current books such as the Processionale Monasticum or the Liber Hymnarius, both from Solesmes, with some slight melodic variances.

Translation:
I look from afar:
and behold, I see the power of God coming,
and a cloud covering the whole earth.
Go ye out to meet Him and say:
Tell us if Thou art the One Who is to reign over the people of Israel.

V/ 1. And all the nations and the children of men, the rich and the poor together .

Go ye out to meet Him and say:
Tell us if Thou art the One Who is to reign over the people of Israel.

V/ 2. Look, Who rulest Israel,
Who leadest Joseph like a sheep,
Who sittest upon the cherubim.

Tell us if Thou art the One Who is to reign over the people of Israel.

V/ 3. Lift up your gates, O ye princes, and be ye lifted up, and He shall enter in.
Who is to reign over the people of Israel.

(not included in the original manuscript or recording, but part of the liturgical tradition)
Glory be to the Father, and to the Son,
and lo, I see the pow’r of God coming,
and to the Holy Ghost.
and a cloud covering the whole earth.
Go ye out to meet him and say:
Tell us if Thou art the One Who is to reign over the people of Israel.

Download this song: https://www.GregorianChantAcademy.com/
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Some of my most favorite chants are from the 1st Sunday of Advent. Hear this beautiful communion antiphon "Dominus dabit benignitatem (The Lord giveth goodness)".

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Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells

Some of my most favorite chants are from the 1st Sunday of Advent. Hear this beautiful Gradual "Universi qui te expectant (All who wait on Thee shall never be confounded)". I love the incredible range of this chant as well: descending to a low LA in the very beginning, and rising all the way up to a high MI, a range of an octave and a half. The acoustics in this recording are a realistic capturing of an actual location (known as a convolution reverb). This particular reverb is from the Sterling Castle Chapel in Scotland.


Download this song: https://www.GregorianChantAcademy.com/
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Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells

Some of my most favorite chants are from the 1st Sunday of Advent. Hear this beautiful Introit (entrance) antiphon "Ad te levavi (To Thee I lift up my soul)". There also exists a trope from the 12th century about Pope St Gregory the Great, "Sanctissimus namque Gregorius" and is traditionally sung as a prelude to this introit, the very first of the liturgical year. All of the Propers for this Sunday - with the exception of the Communion antiphon - share the same text from Psalm 24 and express the confidence that we should have in God's mercy to help us overcome our enemies: the world, the flesh and the devil. Advent is a time for spiritual preparation for Christmas and is therefore a time of Penance, not partying as the world does during this time. Let us spend more time in silence and prayer during this season so that we may prepare our hearts ("prepare the way of the Lord") and be ready for Him when He comes on Dec 25. May God bless you and have a blessed Advent.

The acoustics in this recording are a realistic capturing of an actual location (known as a convolution reverb). This particular reverb is from the Sterling Castle Chapel in Scotland.

Download this song: https://www.GregorianChantAcademy.com/
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Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells

The Sanctus is the oldest of all of the Ordinary prayers.

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Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells

"Glory to God in the highest, and on earth, peace to men of good will." ~ Luke 2: 14
According to musicologists Willi Apel and David Hiley, the Liber Pontificalis says that Pope Symmachus, around the year AD 510, extended the use of the Gloria [in excelsis Deo] over the entire year, for Sundays and feast of Martyrs. Before this (as well as for sometime after) it was sung as a hymn of thanksgiving at the end of the night office of Matins. While the first words of this prayer are scriptural and from the hymn which the angels sang to the shepherds on the first Christmas night when our Savior was born (Luke 2:14), the rest of this hymn is non-scriptural and in prose. The late Dom Daniel Saulnier of Solesmes (and my former mentor) adds this in his book "Gregorian Chant: A Guide" and translated by Dr Ed Schaefer: "The Gloria, attested in Greek and Syrian sources of the fourth century, may go back to a Greek origin in the second century. The Latin text first appears in the West in the seventh century and stabilizes by the ninth century. ... In the Roman liturgy the Gloria was admitted at first only for the Mass of the Christmas night, due to the appropriateness of its text. Soon extended to the major feasts of the year (by Pope Symmachus as mentioned above), it remained for a time reserved to the bishop. ...After the intonation, the text is composed of two parts: an expression of praise to the Father and one to the Son. The terminating mention of the Holy Spirit gives to the whole a Trinitarian character that does not seem to be early: it was most likely added after quarrels related tot eh development of the dogma of the Trinity."

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Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells

According to the musicologist Willi Apel, the Kyrie Eleison (Greek for "Lord, have mercy) was introduced into the Gallican Rite Mass (now defunct for centuries) at the Council of Vaison in the AD 529, in a statement which implies that it had been introduced sometime before into the Roman Mass. Pope Gregory the Great then added the Christe Eleison sometime during his pontificate, between AD 590 and 604. With each invocation being sung three times (in the EF), this is one of the greatest Trinitarian pleas for mercy.

Lord, have mercy. Lord, have mercy. Lord, have mercy. Christ, have mercy. Christ, have mercy. Christ, have mercy. Lord, have mercy. Lord, have mercy. Lord, have mercy.

Download this song and others: https://www.GregorianChantAcademy.com/
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Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells

⁣The text of this chant is taken from the book of Ecclesiasticus/Sirach 36:18 and Psalm 121:1, and, in addition to the 24th Sunday of Pentecost (O.F.)/18th Sunday after Pentecost (E.F.), is used for the Votive Mass for Peace. May all countries experiencing war and persecution be granted peace and grace. Up next will be a prayer for the Church and its Synod.
"O God, from whom all holy desires, all right counsels and all just works do proceed; grant to Thy servants that peace which the world cannot give; that our hearts may be disposed to obey Thy commandments, and the fear of enemies being removed, our times, by Thy protection, may be peaceful. Through Our Lord, Jesus Christ, who livest and reignest with Thee, in the unity of the Holy Spirit, one God, world without end. Amen." ~ Collect from the Votive Mass for Peace.

Download this song: https://www.GregorianChantAcademy.com/
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Give a tip or become a monthly supporter at: https://www.GregorianChantAcademy.com/give
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Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells


Chant recordings:
https://www.youtube.com/watch?v=2teDH6e87Wc&list=PL0eu6_WptaE9ayq7R9je44gFZBXWKe7Xr

Interviews:
https://www.youtube.com/watch?v=afgtx1r5xVo&list=PL0eu6_WptaE9xJwB_aLbM53A4tIfgGfYS

⁣Hymn of St. Bonaventure (13th century) to the Sacred Heart of Jesus:

O Heart, Thou ark containing the Law,
not of the old servitude,
but of grace, and indulgence,
and also of mercy.

O Heart, Thou spotless sanctuary of the new covenant,
Thou Temple, holier than the ancient one,
And Veil, more profitable
than that torn of old.

Charity willed Thee to be wounded;
by the spear thrust opened,
that we might venerate
the wounds of an invisible love.

Under this symbol of love,
having suffered bloody and mystical torments,
Christ the Priest offered
each in sacrifice.

Who would not love in turn
the One so loving him?
Who, being thus redeemed, would not love,
and choose eternal dwellings in this Heart?

O Jesus, to Thee be glory,
Who pourest grace from Thy heart,
with the Father and the loving Spirit
unto everlasting ages. Amen.
________________________________________________________________________________
www.harpadei.com

⁣The image we have taken as a background for the canticle of the Benedictus is found in the very place where this prayer was first pronounced: The Church of the Birth of St. John the Baptist in Ain Karem (Israel).

Download here the score with harmonizing tones:
https://shared-assets.adobe.co....m/link/b15a830c-b97a

⁣This hymn is attributed to Pope St. Gregory the Great (540-604) and its use begins at that time. It is used at Vespers from the first Sunday of Lent until the Friday before Passion Sunday, both on Sundays and feast days.

AUDI, benigne Conditor,
nostras preces cum fletibus,
sacrata in abstinentia
fusas quadragenaria.

Scrutator alme cordium,
infirma tu scis virium;
ad te reversis exhibe
remissionis gratiam.

Multum quidem peccavimus,
sed parce confitentibus,
tuique laude nominis
confer medelam languidis.

Sic corpus extra conteri
dona per abstinentiam,
ieiunet ut mens sobria
a labe prorsus criminum.

Praesta, beata Trinitas,
concede, simplex Unitas,
ut fructuosa sint tuis
haec parcitatis munera. Amen.


________________________________________________________________________________
www.harpadei.com
Telegram: https://t.me/HarpaDei
Soundcloud: https://soundcloud.com/user-749496596-312451560

⁣The "Alma Redemptoris Mater" is one of the four Marian Antiphons sung at the end of the liturgy of the hours. Its author is believed to be Hermannus Contractus ("Herman the Lame"; 1013-1054). It is traditionally sung after the recitation of Compline from the first Sunday of Advent until the Feast of Candlemas or Feast of the Purification of the Virgin (2 February)


Alma Redemptoris Mater, quæ pervia cæli
Porta manes, et stella maris, succurre cadenti,
Surgere qui curat, populo: tu quæ genuisti,
Natura mirante, tuum sanctum Genitorem
Virgo prius prius ac posterius, Gabrielis ab ore
Sumens illud Ave, peccatorum miserere.

Loving Mother of the Redeemer,
who remains the accessible Gateway of Heaven,
and Star of the Sea,
Give aid to a falling people
that strives to rise;
O Thou who begot thy holy Creator,
while all nature marvelled,
Virgin before and after
receiving that "Ave" from the mouth of Gabriel,
have mercy on sinners.


www.harpadei.com
Soundcloud: https://soundcloud.com/user-749496596-312451560

⁣With this Compline, the basic structure of which dates back to St. Benedict (6th century), we join the millennia-old tradition of the Divine Office of our Roman Catholic Church. We invite you to sing it with us and with the Church of all ages!
Download here all the texts:
https://acrobat.adobe.com/link..../review?uri=urn:aaid

⁣The village of Nazareth was the place chosen by the Heavenly Father, in His love, for the announcement of the Archangel Gabriel to resound there, which would transform the whole of human history. The long-awaited Messiah would come to this world to redeem humanity. And the Virgin Mary was the one whom the Lord was pleased to look upon and who proved worthy of His choice: to be the Mother of the Son of God.

In this video filmed in Nazareth, Harpa Dei intones the Tractus (a chant sung before the Gospel during penitential seasons) for the Feast of the Archangel Gabriel, which, in the traditional calendar, is celebrated on 24 March, on the eve of the Solemnity of the Annunciation.

English translation:

Hail, Mary, full of grace,
the Lord is with thee
Blessed art thou among women
and blessed is the fruit of thy womb.
Behold, thou shalt conceive in thy womb,
and bring forth a son, and shalt call His name Emmanuel.
How, asked she, can this come about, since I have no knowledge of man?
And the angel answered and said unto her:
The Holy Ghost shall come upon thee and the power of the Most High shall overshadow thee.
Therefore the child to be born will be holy and will be called Son of God.

Text in Latin:

Ave Maria, gratia plena,
Dominus tecum;
benedicta tu in mulieribus,
et benedictus est fructus ventris tui.
Ecce concipies et paries filium,
et vocabis nomen eius Emmanuel
Quomodo, inquit, fiet istud,
quoniam virum non cognosco?
Et respondens Angelus dixit ei:
Spiritus Domini superveniet in te
et virtus Altissimi obumbrabit tibi.

⁣Join me as I sit down for an interview with the members of Harpa Dei to discover more about their lives and their music (November, 2021). Ever since I discovered Harpa Dei in early 2021, I have been a huge fan! A few months after this interview, they asked me if I and my schola friends could assist them in their recording of the song of the prayer on the St Benedict medal. We have been very good friends ever since.


Harpa Dei: ⁣https://spiritustv.com/@HarpaDei
St Benedict medal prayer song: ⁣https://www.youtube.com/watch?v=KGiwGcmBv1Q


Gregorian Chant Academy downloadable chants: ⁣⁣https://www.gregorianchantacademy.com
Online Chant Courses: ⁣https://www.gregorianchantacademy.com/courses
Donate (tax-deductible): ⁣https://www.floriani.org/donate (Floriani is now the parent of GCA)

⁣I am very happy to bring you three exciting new announcements:
1) regarding the 2023 International Chant Conference
2) regarding exciting new developments in the Academy and
3) ... you'll have to watch to the end to find out!

2023 online Chant Conference: https://www.GregorianChantAcademy.com/conference

Floriani Sacred Music:
Website: https://www.floriani.org
Instagram: https://www.instagram.com/florianisacredmusic/
YouTube: https://www.youtube.com/c/FlorianiSacredMusic

Square Notes Podcast: https://sacredmusicpodcast.com/
Pints With Aquinas: https://www.youtube.com/@PintsWithAquinas
Pipes With Augustine:
YouTube: https://www.youtube.com/@⁣PipesWithAugustine

SpiritusTV: https://spiritustv.com/@PipesWithAugustine

Give a tip or become a monthly supporter at: https://www.GregorianChantAcademy.com/give
or
https://www.floriani.org/support-us

Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells

⁣Written by St Thomas Aquinas in the 13th century, probably in the wake of the declaration of the feast of Corpus Christi, the "Adoro te devote" was not originally intended for any liturgical use but most likely used as a private prayer for Thomas' daily adoration of the Blessed Sacrament, but was later incorporated into the Roman Missal of 1570 after the Council of Trent. St Thomas also composed the Sequence "Lauda Sion", and the hymns "Pange Lingua", "Sacris Solemniis" and "Verbum Supernum".

Download this song at: https://www.GregorianChantAcademy.com/
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GCA is now a division of Floriani Sacred Music: https://www.floriani.org

Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

Este himno fuer cantado especialmente para la campaña de oración en México, como arma espiritual contra el mal de la violencia. Nova Bella (una nueva guerra), se refiere a las luchas espirituales, ya que el mal debe ser vencido con nuestro Señor con la verdad y el amor. El himno en latín está dedicado a Santa Juana de Arco y debe continuar sirviendo contra la violencia en todas las partes del mundo!

This piece was especially sung during the prayer-campaign in Mexiko as a spiritual wapon against the evil of violence. Nova Bella (New wars) means spiritual wars, because the evil should be overcome through our Lord by truth and love! The song in Latin is dedicated to Ste. Jeanne d'Arc (Joan of Arc) and should continue to serve against violence in all parts of the world!

Join me and my good friend, Alberto Diaz-Blanco (director of Neumz) as he presents his spiritual commentary on the Introit for Easter Sunday, "Resurrexi et adhuc tecum sum" followed by a conversation about Gregorian Chant in general.

Learn more about Neumz at: https://www.Neumz.com

Download this song at: https://www.GregorianChantAcademy.com

Sign up for an online Chant Course at: https://www.GregorianChantAcademy.com/courses

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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

Did Jesus sing anything when He rose from the dead? If He did, what was it and what did it sound like? This may not be what He actually sang, but it is likely not too far from it either. To learn more about this chant, check out my episode with Neumz director, Alberto Diaz Blanco.

Download this song at: https://www.GregorianChantAcademy.com

Sign up for an online Chant Course at: https://www.GregorianChantAcademy.com/courses

Give a tip or become a monthly supporter at: https://www.GregorianChantAcademy.com/give

Special Thanks to my top Patreon and BMACoffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

This version of the Divine Mercy Chaplet was inspired by the Othodox Thrice Holy Hymn (Trisagion). In this case, I used the Second Mode, brief for weekdays, a traditional Athonite Melody. To complete the chaplet, the "Eternal Father" and "For the Sake" sections are also inspired by Othodox chants. I'm sorry I forgot which ones I chose. But, they are appropriate to the lyrics for that section as similar words or concepts are covered by those chants. Here is the link for all of the Orthodox music ⁣https://stanthonysmonastery.or....g/pages/divine-litur

This was the first time I created an entire recording of the music and then added the lyrics afterward. I have no concept of music production like this, so the whole project took longer than expected. But, I learned a ton for future projects.

Thank you so much for checking out my work. I pray that you receive innumerable graces for taking the time to listen. Please give it a Thumbs Up, Subscribe and Share in your charity and to support more original Catholic music.

⁣This is the simple tone version of the Regina Caeli, ⁣which is traditionally sung at the end of Compline (and Mass), the night prayer of the Church, from Compline of Holy Saturday until None of the Saturday within octave of Pentecost. It also typically replaces the Angelus which is prayed at morning, noon, and evening. It petitions Mary, as Queen of heaven, with her Son as King, to rejoice and pray for us. Whereas a few days before Easter she was the Lady of Sorrows, now we proclaim to her to rejoice, for Christ is Risen! As Christ chose to come to us through Her, He has also chosen for us to go to Him through her as well. The composer of the chant is anonymous, but the earliest record of the melody (the solemn form) dates back to an Antiphonary of the 12th century, held in St Peter's Basilica in Rome. According to legend, during the great plague of the 6th century, while Pope St Gregory the Great was leading a procession through the streets of Rome, there was heard angels singing the first three lines of this text, to which, St Gregory added the fourth. After this, he saw an angel on top of what is now Castel Sant'Angelo sheathing his sword, signifying the end of the plague. The historical veracity of this story is unknown.

Download this song at: https://www.GregorianChantAcademy.com/
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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣The Exsultet is the beautiful chant sung by the deacon at the Easter Vigil on Holy Saturday. After having blessed the fire and lighted the triple candle outside, the clergy and faithful process into the church, all in darkness, where the paschal candle is lit. Then, the Exsultet is sung... by candle light. Granted, there would not be any harmonic drones like in this recording; I have added that simply for esthetics since it is a recording, not the actual liturgy. Traditionally, prior to the liturgical changes of 1955, the mass of Holy Saturday (aka Easter Vigil) was not celebrated at night, but in the morning (just like the Vigil masses of Pentecost, Christmas and Assumption) as it is the mass of Holy Saturday, NOT the first mass of Easter Sunday. It is a mass in anticipation of the Resurrection. Therefore, in order to make the church dark, the windows, like the statues and sacred images, were also veiled. After the Exsultet was finished, the veils on the windows were removed, letting the light pour in and fill the church.

English translation:
"Let the angelic choirs of Heaven now rejoice; let the divine Mysteries rejoice; and let the trumpet of salvation sound forth the victory of so great a King. Let the earth also rejoice, made radiant by such splendor; and, enlightened with the brightness of the eternal King, let it know that the darkness of the whole world is scattered. Let our mother the Church also rejoice, adorned with the brightness of so great a light; and let this temple resound with the loud acclamations of the people. Wherefore I beseech you, most beloved brethren, who are here present in the wondrous brightness of this holy light, to invoke with me the mercy of almighty God. That He who has vouchsafed to admit me among the Levites, without any merits of mine, would pour forth the brightness of His light upon me, and enable me to perfect the praise of this wax candle. Through our Lord Jesus Christ His Son, Who with Him and the Holy Ghost liveth and reigneth one God for ever and ever. R. Amen."

Download this song at: https://www.GregorianChantAcademy.com/
Sign up for an online Chant Course at: https://www.GregorianChantAcademy.com/courses

Give a tip or become a monthly supporter at: https://www.GregorianChantAcademy.com/give

Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣During the Triduum (Holy Thurs, Good Friday, Holy Saturday), the offices of Matins and Lauds are combined into what is known as "Tenebrae", meaning "darkness". It takes this name because it is traditionally prayed early in the morning - or the night before - in darkness, by candle light, and also because of the 5th Responsory on Good Friday whose text begins with "Tenebrae factae sunt" (and there was darkness), speaking of death of our Saviour, Jesus Christ, on the holy cross. The melody for this particular Responsory is particularly famous for its beautiful expression: at the words "Jesus cried out in a loud voice" it ends on a FA, then the next phrase "My God, why hast Thou forsaken Me?" begins an interval of a 6th higher - an unusual and rare interval in Gregorian Chant - followed almost immediately by a leap up another 4th to the high SOL on the very words of Christ's crying out to the Father. Once this cry has finished, it then descends a tritone - another very unusual and rare interval in Gregorian Chant - to begin the next phrase, "And He bowed His head and gave up the spirit."

English translation:
There was darkness when the Jews crucified Jesus; and about the ninth hour (3pm) Jesus cried out in a loud voice: "My God, why hast Thou forsaken Me?" And he bowed His head and gave up the spirit.
V. Jesus cried out in a loud voice, "Father, into Thy hands I commend my spirit. And He bowed His head and gave up the spirit.

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The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This tone is taken from an 10th century codex known as the Codex Gothicus Legionensis from the basilica of San Isidoro in Leon, Spain. This is the second lesson read at Tenebrae of Holy Saturday.

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

Lam 4:1-8
1 Aleph. How is the gold become dim, the finest colour is changed, the stones of the sanctuary are scattered in the top of every street?
2 Beth. The noble sons of Sion, and they that were clothed with the best gold: how are they esteemed as earthen vessels, the work of the potter's hands?
3 Ghimel. Even the sea monsters have drawn out the breast, they have given suck to their young: the daughter of my people is cruel, like the ostrich in the desert.
4 Daleth. The tongue of the sucking child hath stuck to the roof of his mouth for thirst: the little ones have asked for bread, and there was none to break it unto them.
5 He. They that were fed delicately have died in the streets; they that were brought up in scarlet have embraced the dung.
6 Vau. And the iniquity of the daughter of my people is made greater than the sin of Sodom, which was overthrown in a moment, and hands took nothing in her.
Jerusalem! Jerusalem! Return unto the Lord thy God.

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Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This tone is taken from an 11th century codex from Silos, Spain known as the "Missal of Silos." This is the first lesson read at Tenebrae of Holy Thursday.

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

English Translation:

The lamentation of the prophet Jeremiah begins.
Lam 1:1-5
1 Aleph. How doth the city sit solitary that was full of people! how is the mistress of the Gentiles become as a widow: the princes of provinces made tributary!
2 Beth. Weeping she hath wept in the night, and her tears are on her cheeks: there is none to comfort her among all them that were dear to her: all her friends have despised her, and are become her enemies.
3 Ghimel. Juda hath removed her dwelling place because of her affliction, and the greatness of her bondage: she hath dwelt among the nations, and she hath found no rest: all her persecutors have taken her in the midst of straits.
4 Daleth. The ways of Sion mourn, because there are none that come to the solemn feast: all her gates are broken down: her priests sigh: her virgins are in affliction, and she is oppressed with bitterness.
5 He. Her adversaries are become her lords, her enemies are enriched: because the Lord hath spoken against her for the multitude of her iniquities: her children are led into captivity: before the face of the oppressor.
Jerusalem, Jerusalem, return to the Lord thy God.

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Give a tip or become a monthly supporter at: https://www.GregorianChantAcademy.com/give

Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

Perhaps the most beautiful Gregorian chant hymn of Lent, Vexilla Regis is sung during Passiontide and Holy Week and also on the Feast of the Exaltation of the Holy Cross. I had the privilege of singing and recording this hymn with the schola from the Seminary of the Franciscan Friars of the Immaculate in Italy just weeks before the Vatican closed their thriving Seminary in 2013. This chant, and several others, can be found on my album Excitabo Auroram: ⁣https://fathermaxmusic.com/alb....um/1455516/excitabo-

[The album cover should say Ps. 56:9, not 65:1]

The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This is the third lesson reading on Good Friday and the tone is taken from an 10th century codex from Leon, Spain known as the "Codex Biblicus Leonensis."

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

English translation:

(Lamentations 3:1-9)
1 Aleph. I am the man that see my poverty by the rod of his indignation.
2 Aleph. He hath led me, and brought me into darkness, and not into light.
3 Aleph. Only against me he hath turned, and turned again his hand all the day.
4 Beth. My skin and my flesh he hath made old, he hath broken my bones.
5 Beth. He hath built round about me, and he hath compassed me with gall and labour.
6 Beth. He hath set me in dark places as those that are dead for ever.
7 Ghimel. He hath built against me round about, that I may not get out: he hath made my fetters heavy.
8 Ghimel. Yea, and when I cry, and entreat, he hath shut out my prayer.
9 Ghimel. He hath shut up my ways with square stones, he hath turned my paths upside down.
Jerusalem! Jerusalem! Return unto the Lord thy God.

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The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This tone is taken from an 11th century codex from Silos, Spain known as the "Missal of Silos."

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

English translation:

Lesson from the book of Lamentations
Lam 2:8-11
8 Heth. The Lord hath purposed to destroy the wall of the daughter of Sion: he hath stretched out his line, and hath not withdrawn his hand from destroying: and the bulwark hath mourned, and the wall hath been destroyed together.
9 Teth. Her gates are sunk into the ground: he hath destroyed, and broken her bars: her king and her princes are among the Gentiles: the law is no more, and her prophets have found no vision from the Lord.
10 Jod. The ancients of the daughter of Sion sit upon the ground, they have held their peace: they have sprinkled their heads with dust, they are girded with haircloth, the virgins of Jerusalem hang down their heads to the ground.
11 Caph. My eyes have failed with weeping, my bowels are troubled: my liver is poured out upon the earth, for the destruction of the daughter of my people, when the children, and the sucklings, fainted away in the streets of the city.
Jerusalem! Jerusalem! Return unto the Lord thy God.

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The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This tone is taken from an 11th century codex from Silos, Spain known as the "Missal of Silos." This lesson, "Incipit Oratio Jeremiae Prophetae," is the third lamentation on Holy Saturday.

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

English Translation:
Lam 5:1-11
"[Thus begins the prayer of Jeremiah the Prophet.]
1 Remember, O Lord, what is come upon us: consider and behold our reproach.
2 Our inheritance is turned to aliens: our houses to strangers.
3 We are become orphans without a father: our mothers are as widows.
4 We have drunk our water for money: we have bought our wood.
5 We were dragged by the necks, we were weary and no rest was given us.
6 We have given our hand to Egypt, and to the Assyrians, that we might be satisfied with bread.
7 Our fathers have sinned, and are not: and we have borne their iniquities.
8 Servants have ruled over us: there was none to redeem us out of their hand.
9 We fetched our bread at the peril of our lives, because of the sword in the desert.
10 Our skin was burnt as an oven, by reason of the violence of the famine.
11 They oppressed the women in Sion, and the virgins in the cities of Juda.
Jerusalem! Jerusalem! Return unto the Lord thy God."

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The Gregorian Chant Academy and the team behind the Neumz app have partnered to present you with some beautiful spiritual commentaries on various chants by the director of the Neumz app, Alberto Diaz-Blanco. Senor Blanco and I both believe that a spiritual/liturgical understanding of the chants is of primary importance. Gregorian Chant is, after all, first and foremost prayer. Therefore, a proper musical interpretation must be firmly rooted in, influenced and guided by a deep spiritual and liturgical understanding of these chants, and we must strive to live our lives in accordance and harmony with them, i.e. truly live our Faith.


Learn more about the Neumz app: https://www.neumz.com
Download this song at: https://www.GregorianChantAcademy.com/
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Special Thanks to my top Patreon and Coffee supporters: Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

"Laetare Jerusalem" is the introit (entrance) chant for the 4th Sunday of Lent which, like Gaudete Sunday in Advent, is a Sunday of rejoicing. The words "laetare" and "gaudete" in fact mean "rejoice"! In Advent, we are rejoicing because of proximity of the birth of our Savior; but here in Lent, we are rejoicing because of the proximity of the promise of our Savior, our salvation itself, by His death and resurrection. For a spiritual commentary on this chant, check out this video here: ⁣https://spiritustv.com/watch/b....eautiful-commentary-



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Special Thanks to my top Patreon and Coffee supporters: Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣To the best of my knowledge, the melody of this chant, "Attende Domine", comes from a 17th century codex while the text comes from a 10th century Mozarabic codex. It speaks of the penitent's admission of his sin and guilt, without ever giving way to depression or despair, wonderfully captured by the joyful yet peaceful melody. The soul, full of trust, confesses its sins and calmly places itself in hands of its Redeemer, knowing, without a doubt, that He will forgive those who are truly sorry for their sins.

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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣From NewAdvent.org: The Ave Regina Caelorum is one of four Antiphons of the Blessed Virgin sung in the Divine Office in turn throughout the year, and is assigned from Compline of February 2nd to Compline of Holy Wednesday. It recalls the part Mary had in the drama of the reopening of Heaven to men and shows her as reigning there Queen of Angels. Its date of composition is uncertain, but... [it's earliest appearance is] found in the St. Alban's Book of the twelfth century. ... Bernard [Le Breviaire (Paris, 1887), II, 454 sqq.] says it was introduced into the Divine Office by Clement VI in the fourteenth century.

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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣The Gregorian Chant Academy is 2 years young! Join me as I share some stories and data from the previous years, getting your feedback, announcing new features and events, and setting a new goal!

If you could spare just a few minutes, I would greatly appreciate it if you could complete this short questionnaire. (Your answers are completely anonymous) It will help me understand how to better serve you and the Church. Thank you and God bless! https://forms.gle/C3569mbU5PZfhvVV9

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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣"Alma Redemptoris Mater" is one the four Marian "antiphons" sung during the four liturgical seasons. The antiphons are traditionally sung after Compline (and sometimes after Mass), with the "Alma" being sung from the 1st Sunday of Advent until Vespers of The Purification of Mary, February 2.
Hermannus Contractus is believed to have composed this in the 11th century based on the writings of Saints Fulgentius, Epiphanius, and Irenaeus of Lyon, referring to the Blessed Virgin as "Star of the Sea" and "Gate of heaven," upon whom all nature stared in wonder: a virgin mother! giving birth to her Creator!


⁣Download this song at: https://www.GregorianChantAcademy.com/
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Special Thanks to my top Patreon and Coffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣This is the devotional chant "Rorate Caeli," different and separate from the Introit chant of the same title, but obviously related. According to a Wikipedia article, "In the seventeenth century, [the] Rorate Caeli was arranged into a hymn combining the traditional text with other scriptural passages used in the liturgy for Advent. The earliest known version is in the Oratorian Officia Propria (1673); it also appears in French diocesan rites, such as the Rouen Processional of 1729 and 1763. ...Under the heading, "Prayer of the Churches of France during Advent", Dom Guéranger [,the great restorer of the Abbey of Solesmes, in his multi-volume work "The Liturgical Year"] gives it as an antiphon to each of a series of prayers ("Ne irascaris ", "Peccavimus", "Vide Domine", "Consolamini") expressive of penitence, expectation, comfort, and furnishes the Latin text and an English rendering of the Prayer." When the text speaks of Sion and Jerusalem being desolate and destroyed, we can this as representative of our own souls, ruined by sin, but restored by penance and God's grace. The harmony in this is by my good friends @HarpaDeiMusic.

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Maurisa Mayerle
Mary Catherine Maxian
Andy Mozisek
John Lyssikatos
Sheila McBride Mullaly
Alicja and Herve Blanquart
Collen Lunt
Ted Naff
Andrew Hattrup
Paul Hattrup
Noreen Cabili
Shirley Dunnells
Chavel Dixon

⁣I recorded 3 versions of the melody for the Introit "Populus Sion" from the 2nd Sunday in Advent: from the Graduale Romanum, Graduale Novum, and the Liber Gradualis. Here is what they sound like!

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Special Thanks to my top Patreon and Coffee supporters:
Maurisa Mayerle
Mary Catherine Maxian
Andy Mozisek
John Lyssikatos
Sheila McBride Mullaly
Alicja and Herve Blanquart
Collen Lunt
Ted Naff
Andrew Hattrup
Paul Hattrup
Noreen Cabili
Shirley Dunnells

⁣This is the Introit from the Mass for the Dead. The month of November is dedicated to the holy souls in Purgatory. Never forget to pray for them as they are unable to help themselves.


Special thanks to Jeremy Williams of Sentimental Impressions photography for filming this video: https://www.sentimentalimpression.com/

This video is especially dedicated to my dear friends Leo Heinen, his baby niece Emma Grant, both of whom died from tragic accidents only one year apart, and Emma's mother Sarah (Leo's sister) who died from cancer 3-1/2 years after Emma, after having given birth to her 8th child. RIP

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⁣Here is my own explanation of how I made the decisions on my version of the Gregorian Rosary. Not sure why the video color is so reddish and saturated... my settings must have been off a bit.

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