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The Organ and the music collection

Perhaps one of the most noticeable things, when one walks into our chapel, is the little organ sitting against a wall. This is a pump organ – you work the bellows with your feet while your hands play the manuals (keyboard). It has two stops underneath the keyboard (not quite in sight in the picture below) that you can work with your knees: the one on the left is an octave link, rendering the highest and lowest thirds of the keyboard louder and more majestic; the one on the right is damper board, muffling the sound coming out if you want to have a more dramatic difference in dynamics (volume). From what I understand of these 100-year-old pump organs, they were typically employed in small churches and homes, and it certainly fulfills that role excellently for us!

Apart from a nice built-in stand for holding up music in front of the player, this organ also has some handy shelf space where I can keep accessible the most useful church music. I need very little of it in my church, as we rarely deviate from the one hymnal we use, and I don’t prepare special preludes or postludes. That would be nice, but as I function as both priest and organist, there’s only so much back-and-forth that I can handle.

So what are the books that we’ve got on hand here?

In the center is the Book of Common Praise, the hymnal that we’ve been using for the past several years, now. It’s a great book, and I’m glad we switched to it.

On the left-hand side there are actually twelve books (half of them are very thin).

  1. The Hymnal 1982 – this was the standard hymnal of the Episcopal church, still used by a number of contemporary-language Anglican churches as well.
  2. The Hymnal 1940 – our church received a large box of these as a donation when we started meeting (before even I joined!), so this is what we used for the first several years.
  3. The American Psalter – published in 1930, this book contains all the Psalms and Canticles (in the 1928 prayer book) set to Anglican Chant tunes.
  4. Saint Dunstan’s Plainsong Psalter – this is a newer book for traditional-language worshiping churches. It’s a beautiful resource and we’ve used one or two of its hymns before.
  5. The Plainsong Psalter – from 1932 and renewed in 1960, this book contains only the Psalms, set to ancient plainchant. It’s largely redundant in light of the previous book, but an extra copy isn’t a bad thing!
  6. The Choral Service – this Manual for Clergy and Organists from 1927 has instructions and music for setting the majority of the Prayer Book services to chant, with a good bit of historical information included along the way.
  7. The Plainchant Evening Psalter and Canticles – from 1916 and revised in 1920, this book only contains the psalms and canticles for Evening Prayer.
  8. The Kyrial (St. Dunstan Edition) – This book contains a whole bunch of different ancient plainchants for the various “mass parts” (primarily the Kyrie, Sanctus, Agnus Dei, and Gloria in Excelsis) set to the English language.
  9. The English Gradual (Part 1 – The Ordinary) – Using modern notation rather than historic chant notation, this book provides a number of chants useful for clergy and choirs (again in the traditional Prayer Book language) for various parts of the Communion service.
  10. The English Gradual (Part 2 – Supplement) – I think this is a homemade photocopy edition, bearing only about 40 pages of additional music. It’s mostly for Anglo-Catholic commemorations (like some of the Roman devotional masses in honor of the Blessed Virgin) but it also supplies chants for a few holy days that are now standard such as the Transfiguration and St. Joseph Day.
  11. The English Gradual (Part 2 – The Proper) – this is the real sequel to book 9 above. For the most part this book supplies the “proper” parts of a mass, that is, the chants that are unique to a given day or commemoration, namely the Introit, Gradual, Alleluia or Sequence, Offertory, and Communion sentences.
  12. The English Gradual (Part 2 – The Proper, Supplement) – like book 10, this tiny booklet provides additional Proper chants for those extra feasts and commemorations mentioned above.

On the right-hand side we just have eight music books.

  1. Grace Anglican Church – Supplemental Music Collection – I printed our own supplement to the hymnal we normally use, after several years of drawing particular songs and hymns from other sources.
  2. Hymns for the Living Church – printed in 1986 by Hope Publishing Company, this is a fairly standard evangelical hymnal.
  3. Worship and Service Hymnal – also printed by Hope, this 1957 hymnal (reprinted in 1999) was the book I grew up using in my childhood congregational church.
  4. The Hymnal for Worship & Celebration – Word Music published this hymnal in 1986, and my congregational church switched to it sometime when I was a teenager. It’s got a few responsive readings and “services” (combinations of songs) built in, making it an interesting liturgical resource for a church that has no official liturgy.
  5. The Saint Dunstan Hymnal – in 1968, this book was put together as a supplement to to the 1940 Hymnal, providing a number of chant-based hymns (mostly ancient) that bring some of the treasures of the monastic tradition to the table.
  6. Hymns of Worship & Service – in 1905, this hymnal was produced to be an ecumenical resource (perhaps one of the first hymnals of this kind), based on then-current usage in various church traditions. Interestingly it has a few canticles and liturgical bits towards the end, utilizing both plainchant and Anglican Chant!
  7. Psalms, Hymns and Spiritual Songs – this book was a smaller project put together by a seminary professor and a professional church organist, and contains a lovely collection of songs that they wrote. Much of these songs use well-known melodies, making them very easy to pick up, and I’ve drawn from this book quite a bit over the years.
  8. The Book of Psalms for singing – My wife got this giant three-ring-binder book of metrical psalms before we were married. Metrical psalms are psalms that have been re-translated so that they conform to the metre of English poetry and thus can be sung as hymns. The result of this is that you get some interesting paraphrases of the Psalms, but they’re often easier for a congregation to sing than the chant forms.
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Seven Weeks of Advent?

Something that I and other preachers often observe throughout the month of November is how the Sunday Communion lectionary transitions so smoothly into Advent from the end of the Trinitytide season. Whether it’s the traditional calendar or the modern, the readings naturally anticipate many of the major Advent themes: eternity, Christ’s judgement & reign, the Kingdom of God, our glorification in Christ. In both cases Advent does not come out of nowhere, but is a natural “next step” in the calendar’s cyclical presentation of the whole Gospel of Christ throughout the year.

But Advent has some pretty tough opponents these days. It normally begins on the coattails of Thanksgiving in the USA, and the commercialization of Christmas tends to drown out the distinction of Advent from Christmas. The hustle and bustle of culture, school, and general “holiday prep” makes it all too easy for the Christian today to miss the season of Advent completely. What can be a beautiful, quiet, and deeply spiritual experience is frequently truncated to a cardboard box with 24 numbers on it and chocolates inside.

I know what we need, MORE ADVENT!

Some eleven years ago now, a group of Episcopalians and Methodists came up with the idea of extending Advent from four weeks to seven, and thus The Advent Project was born. Nothing much came of it, and it never left the confines of liberal Protestantism. Unlike most liturgical innovations from that crowd, however, this idea was based on some rather sound principles: (1) Advent was a 40-week fast in the Early Church, (2) the secularization of Advent & Christmas needs to be combated, and (3) this could be accomplished without substantially changing the lectionary as it stands.

It’s also worth noting that the modern calendar authorized in the Church of England actually sets forth a sequence of “Sundays before Advent” (sometimes nicknamed Kingdomtide) which deliberately explores some pre-Advent themes. The liturgical color of red is put forth there as an alternative to the more traditional green.

The Advent Project’s 7-week plan, however, makes a lot of sense. When the popular secular and church cultures alike have made a mess of something like the season of Advent, why not turn to the Early Church for help? And if we can do that without yet another change to the lectionary, doesn’t that sound like the perfect solution?

Actually this is a silly idea.

But every good idea has its downsides. If you extend Advent to seven weeks in length, that means it begins on the Sunday within November 6th through 12th, meaning that roughly two years out of seven there is going to be a conflict between All Saints Sunday and the First Sunday of Extended Advent. Celebrating All Saints’ on the first Sunday of November is actually a 20th-century innovation, but the sort of congregation that is likely to adopt the 7-week Advent is probably also the sort that observes All Saints’ on the first Sunday of November, and thus there will be this conundrum to face on a regular basis.

Furthermore, the idea that Advent is so special that it needs its own pre-season reveals a telling bias. The traditional calendar has three weeks of Pre-Lent, smoothing the transition beautifully from Epiphanytide to Lent; but the modern calendar has thrown them out, resulting in a jarring shift of gears from Epiphany/Ordinary Time to Lent with only one Sunday (unique to Anglicans and Episcopalians I think) to bridge the gap between them. (That Sunday does, admittedly, use the Transfiguration as a brilliant hinge to make that shift from Epiphany to Lent, but it’s still just one little day with Ash Wednesday following too soon for anyone to prepare themselves spiritually.) The fact that there is interest in restoring dignity to Advent while neglecting Lent indicates what might be considered an imbalanced set of spiritual and theological priorities.

Also, let’s be real, what are the odds that a proposal like this, which has been dead in the water since 2011, will ever catch on?

Let’s see how it works!

Having played devil’s advocate, I want to turn now to providing some positive suggestions on how the spirit of the extended Advent idea can be used fruitfully, particularly in my context, using the authorized 2019 Prayer Book of the Anglican Church in North America.

The Advent Project had a clever idea: take the seven O Antiphons and appoint each of them as the theme or motif for each of the seven Sundays of Extended Advent. If you present them in their traditional order (with just one pair switched) they line up with the modern lectionary quite nicely. The collects in the 2019 BCP are different from those in the 1979 BCP, so many of the original idea-matches from the Advent Project are not applicable. But there are different ways that the same idea can work. Let’s walk through them:

Proper 27 / Third Sunday before Advent / Superadvent I: O Sapientia

SUNG VERSE: O come, thou wisdom from on high, who ord’rest all things mightily…

COLLECT: As the song prays that we might follow in the ways of Wisdom, so too does the collect pray that we purify ourselves as Christ (our wisdom) is pure so that we will be like him upon his second advent.

GOSPELS: Matthew 25:1-13 Parable of the WISE and foolish virgins
Mark 12:38-44 The learned scribes are unwise in their conduct, the poor widow is wise in her generosity
Luke 20:27-38 God is God of the living, not the dead; the Sadducees were not wise to understand this

Proper 28 / Second Sunday before Advent / Superadvent II: O Adonai

SUNG VERSE: O come, thou Lord of might, who to thy tribes on Sinai’s height…

COLLECT: As the song remembers the giving the Law, the collect prays for an abundance of good works (which the Law directed but was powerless itself to bring about).

GOSPELS: Matthew 25:14-30 Parable of the talents, in which one servant fails to invest his talent
Mark 13:14-23 & Luke 21:5-19 Do not be deceived by false Lords (adonai’s)

Proper 29 (Christ the King) / Last Sunday before Advent / Superadvent III: O Rex gentium

SUNG VERSE: O come, Desire of nations, bind in one the hearts of all mankind…

COLLECT: The song and the collect both pray for the end of human division under the unifying reign of Christ the King.

GOSPELS: Matthew 25:31-46 The King will judge the sheep from the goats for his kingdom
John 18:33-37 Jesus admits to Pilate that he is a king
Luke 23:35-43 This is the King of the Jews

Advent I / Superadvent IV: O radix Jesse

SUNG VERSE: O come, thou Rod of Jesse’s stem, from ev’ry foe deliver them…

COLLECT: The song prays for deliverance and victory, matched in the collect’s reference to putting on the armor of light.

GOSPELS: Matthew 24:29-44 & Mark 13:24-37 At the coming of the Son of Man, his elect will be delivered
Luke 21:25-33 Keep watch and pray that you will escape all these things at the end of the age

Advent II / Superadvent V: O clavis David

SUNG VERSE: O come, thou Key of David, come, and open wide our heav’nly home…

COLLECT: The song prays for the path to misery be shut and the heavenly way opened, and the collect sets forth the Scriptures as a vehicle for blessed hope.

GOSPELS: Matthew 3:1-12 & Mark 1:1-8 & Luke 3:1-6 John the Baptist’s preaching points the way/highway/path to Christ

Advent III / Superadvent VI: O Oriens

SUNG VERSE O come, thou Day-spring from on high, and cheer us by thy drawing nigh…

COLLECT: The song’s language of dispelling darkness and night is matched in the collect’s prayer for repentance and cleansing upon hearing the prophets’ preaching.

GOSPELS: Matthew 11:2-19 Jesus affirms to John’s disciples that he is dispelling the darkness as promised
John 1:19-28 & Luke 3:7-20 John the Baptist proclaims that the Christ is drawing nigh

Advent IV / Superadvent VII: O Emmanuel

SUNG VERSE: O come, o come, Emmanuel, and ransom captive Israel…

COLLECT: The song bids us await the appearance of the Son of God, and the collect also prays for him to come among us.

GOSPELS: Matthew 1:18-25 They shall call his name Emmanuel
Luke 1:26-38 He will be called the Son of the Most High
Luke 1:39-56 Fetal John the Baptist recognizes the newly-conceived Jesus

A final personal note of recommendation.

Surely if you dig through the Epistles and Old Testament lessons of the modern lectionary you will find further connections to these themes. But it should be emphasizes that this schema is not how the lectionary was designed to be interpreted. Using these seven O Antiphons in this manner only gives coincidental lines of interpretation. They’re not bad lines of interpretation, but they don’t account for everything, nor do they even begin to exhaust the potential of these Sundays’ themes and lessons.

I have used this Extended Advent concept once, a few years ago, and plan to use it again in 2023. I did not, and will not, rename the Sundays before Advent as if to make an official Pre-Advent season; rather, I treated it like a sermon series, preaching on Jesus in the Old Testament images that those seven antiphons/verses portray. We also sang the corresponding verse of the hymn each week, needless to say. I do recommend other priests and pastors give this a try sometime, too. 2023 is a good opportunity for it because All Saints’ Sunday won’t conflict with the first day of this sequence!

That having been said, there are plenty of other ways to anticipate Advent in the final Sundays of the church year. As early as “Proper 24” (Oct. 16-22) the Collects of the Day give themes that summarize the course of Christian life and discipleship and anticipate eternity – bondage from sin (24), live among things that are passing away (26), and so on – not to mention the lectionary’s meanderings into the later Prophets, and 1 & 2 Thessalonians around the same time. (I suppose Year B is the weak one of the three, when it comes to explicit anticipation of Advent.) The seven-week Advent idea is a nifty one, and can be used gently to draw upon the wisdom and resources of the Early Church without having to tinker with the liturgy we’ve received by authority in our own day. But it’s one approach of many, and I pray that you and yours will be enriched with the blessed hope of eternal life that this time of year directs us toward!

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Entering Hallowtide

October 31st begins a stretch of time known informally as Hallowtide – an Old English word for “Saints Season”. One way to understand this holy moment in the Church Calendar is call it a Triduum, a three-day period.

Image pulled from Facebook

October 31st, Halloween, is the opening celebration in which we acknowledge the thinning of the barrier between the living and the dead. Some say this derives from the language of Celtic Christianity, but it’s very difficult to discern fact from fad when it comes to referencing the belief in practice of the early Church in the British isles, so let’s not take that too seriously. In any case, this evening, All hallows eve, is the liturgical start of All Saints Day itself, and the party begins.

All Saints Day, November 1st, is when we particularly celebrate the church triumphant – that victory over sin and death itself that God’s people have in Christ and even now enjoy in paradise, even though they have not yet tasted of the general Resurrection of the Body.

All Souls Day, November 2nd is when the Roman Church remembers those who are still in purgatory, and have not yet attained to the beatific vision of the Saints in heaven. This is not an Anglican take on the holy day, obviously, and so the optional commemoration on this day in our prayer books now typically turn it the commemoration of the faithful departed. So rather than talking about those in heaven and those in purgatory, as the Romans erroneously do, we celebrate two different aspects or realities that the Saints departed presently experience. November 1st is the day of joy in triumph, we give thanks to God for their victory in him, and we are stirred up to follow their good examples that we might share in that eternal inheritance with them. November 2nd is the day of rest and mourning, where we lament the ongoing present reality of death, acknowledge the pain of losing people to that death even temporarily, and are comforted in the knowledge that they are at rest with the Lord.

Beyond this triduum one could also identify hallowtide as an octave. An octave is a stretch of eight days, which is represented in our prayer book by the fact that when All Saints Day is not on a Sunday we are allowed to celebrate it on the first Sunday in November. This results in a span of 7 days (November 1st through 7th) in addition to the evening of October 31st bringing us to a total of eight different days in which we could be celebrating the hallowed ones continuously!

One way this can be observed is by singing. This customary has proposed the following recommendations for observing the All Saints / All Souls dynamic throughout the octave:

  • 31st: Day of wrath! O day of mourning!
  • 1st: For all the saints, and, Lord who shall come to thee
  • 2nd: Behold a host arrayed in white, and, O Lord my God I cry to thee
  • 3rd: Who are these like stars appearing
  • 4th: I sing a song of the saints of God
  • 5th: The saints of God! their conflicts past
  • 6th: Tempted and tried, we’re oft made to wonder
  • 7th: I fall asleep in Jesus’ wounds
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Learning to sing or chant mass parts

I have always served a small church. And for all but one year of my pastoral ministry I have doubled as the musician, which is how I actually began my service for Grace Anglican Church. As a result (by necessity) the selection of music has been part and parcel of liturgical planning. This is sometimes a fair bit of extra work for me, but also can be pretty rewarding for all of us in that the songs we sing usually tie closely with the Scriptures and prayers of the day. In fact, I’ve even started working on a booklet to collect the “best practices” I’ve developed (and learned from others) which will be available for sale sometime in the coming months.

One thing which is common in many Anglican (and Episcopalian) churches which we’ve only dabbled in, however, is the singing or chanting of mass parts. “Mass parts” is a phrase that refers to the parts of the mass, or Communion service, that are traditionally sung or chanted by a choir and/or the congregation. Traditionally there are quite a few of these, but the main ones are:

  1. the Kyrie
  2. the Gloria in excelsis
  3. the Sanctus
  4. the Agnus Dei

In the classical Prayer Book tradition, there is no Kyrie but instead the Decalogue (Ten Commandments) which could have chanted/sung responses, and the Gloria is placed near the end of the liturgy instead of near the beginning. And most of the old Prayer Books had no place for the Agnus Dei, either, come to think of it. But contemporary Prayer Books (and contemporized versions of the classical Prayer Books) restore all four of these to the liturgy one way or another. Every Anglican hymnal these days worth its salt has at least one (if not a handful) of different musical settings for these parts of the liturgy.

The main reason my church never got into these is because we used the 1940 hymnal for years, and then switched to the 2017 hymnal. The former only has the traditional-language texts for the liturgy and the latter has only one setting for the contemporary language that we use 96% of the year. When we had a different music minister for a little while, he brought in a contemporary Gloria and Sanctus, which we appreciated, but I was not able to keep them up when he was gone. In fact, after his departure I quickly became a hymnal-only musician, no longer having the energy to learn and teach contemporary-style worship songs. The demographics of our congregation matched this preference anyway, so it was not an issue one way or the other.

But this past year, coming out of COVID-tide, I’ve started taking these mass parts seriously. It was time to start singing or chanting these parts of the liturgy again. I started at the Easter Vigil this year, introducing the Gloria in excelsis Deo. The contemporary-language set in our new hymnal is the New Plainsong set by David Hurd, first copyrighted in 1981 and featured in the 1980 Episcopal hymnal. It’s not an especially ground-breaking new and exciting set of music, nor is it a re-make of one of the old classics, but it is stately and singable. Since Easter, we’ve sung that Gloria on the major Sundays of the year, but not every Sunday… yet.

Shortly thereafter I introduced the Sanctus (Holy, holy, holy), which went over pretty well. We’ve been singing it ever since.

And now that we’re moving our worship indoors for the season I’m about to introduce the Agnus Dei which is nicely similar in sound and contour to the others. After about a month to get used to that, I’ll add the sung Kyrie (just threefold, not ninefold), and then we’ll have all four together for a solemn few Sundays before Advent.

In Advent it is traditional to omit the Gloria, so we will not sing or say it at all for those four weeks until it returns at Christmas. From there I will be free to use or omit some or all of these sung parts to emphasize the tone of the church calendar. We can sing everything on the most celebratory Sundays and other feast days, sing some of them on more ‘normal’ Sundays, or simply just speak them at penitential times. The solemnity of the liturgy style can become a tool in the celebration of the Gospel from week to week, and season to season.

As I was planning this, though, and preparing to type this up, I could just hear in my head the anti-traditionalists, as the ACNA is sometimes a bit infamous for, asking the question “and how will this help the mission of your church and its growth?” To which I will confidently reply that it will neither help nor hinder the missional character of Grace Anglican Church… at least directly. Instead, it will help teach us to worship with reverence, and perhaps to respect the Lord just that little bit more. And, with its periodic use and omission to accentuate the gospel that we proclaim over the course of the year, it may just help people grasp that gospel more nearly to their hearts. In which case, I dare say, we may become a people more apt for the missio Dei.

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About the Phos Hilaron

Greek for “gladsome light”, Phos Hilaron is a hymn that was already considered a time-honored tradition over 1,600 years ago.  Functionally, it offers a word of praise while the lamps or candles are lit in a chapel or home for the evening.  Deeper, the lyrics describe the sanctification of time that good liturgy inevitably does: “as we come to the setting of the sun… we sing your praises.”  And yet, God is “worthy at all times to be praised.”  That “happy voices” are appropriate for the worship of God can be a stumbling block – what if the worshiper does not feel happy one day?  The idea of happiness in biblical literature, from which this hymn is certainly derived, is nearly identical with blessedness.  Like Psalm 1:1, “Happy/Blessed is the man…” we also ought to read here – God is worthy to be praised by the voices of God’s blessed people.  We are therefore comforted, also, that even if we do not emotionally feel happy, we know that there is a fundamental happiness, or joy, that we can derive from the blessings of God that we have already received.  This is spelled out with an example in the next line where Jesus is proclaimed as the “Giver of Life”, and celebrated with the final assertion that he is to be glorified “though all the worlds” – that is, saints in heaven and earth alike are united in the worship of the eternal God.

O gladsome light,
pure brightness of the everliving Father in heaven,*
O Jesus Christ, holy and blessed!

Now as we come to the setting of the sun,
and our eyes behold the vesper light,*
we sing your praises, O God: Father, Son, and Holy Spirit.

You are worthy at all times to be praised by happy voices,*
O Son of God, O Giver of Life,
and to be glorified through all the worlds.

This anthem was introduced into the Prayer Book tradition in 1979.  Only one translation change has been made in this version: the “gracious light” has become a “gladsome light.”  It is a lamp-lighting hymn drawn from ancient Christian custom (especially in the Byzantine and Ambrosian rites), being referenced as far back as 379AD by St. Basil the Great.  Several metricized versions of this anthem can be found in Anglican hymnals.

The rubrics permit another hymn or Psalm to be used in its place, acknowledging the Western custom of having a variety of Office Hymns according to the season or occasion.

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Singing through Hallowtide

Hallowtide is one of the nicknames for the period of time around All Saints’ Day – perhaps most especially from All Hallow’s Eve (October 31st) through the Octave of All Saints’ Day. Indeed, we do kind of need a name for the phenomenon of how modern Prayer Books direct that we should observe All Saints’ Day on the first Sunday in November. Last year we looked at that in a brief write-up here, so this year we’re taking a more devotional tack.

There are two groups of hymns to consider when looking at how to sing our way through Hallowtide: hymns about the Church Triumphant and hymns about the Church Expectant (or At Rest). You may be familiar with the Roman pair of All Saints’ Day and All Souls Day on November 1st and 2nd, honoring the Saints in heaven on the former and praying for the souls in purgatory in the latter. Obviously, the Anglican tradition does not teach the Roman doctrine of purgatory, so we have no need of All Souls Day. But many Anglicans today do observe a Commemoration of the Faithful Departed, looking at the mournful side of death (the other side of the coin in All Saints’ Day where we celebrate victory amidst death). So as we sing through Hallowtide we should consider both of these angles along the way.

Here are the hymns appointed in this Customary’s “daily hymnody” plan, remembering that the hymn numbers refer to Book of Common Praise 2017 or Magnify the Lord:

There are, of course, plenty of other appropriate hymns out there that you could draw in. These are just the ones that I selected from one hymnal for this particular week; there are others are scattered throughout the year on particular saints’ days.

After Hallowtide, you may also wish to consider some national hymns on November 8th through 11th, building towards Remembrance Day (Intl.) / Veteran’s Day (USA).

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Customary Update: Communion options!

The Saint Aelfric Customary’s directions through the 2019 Prayer Book’s Communion liturgy is complete now. You can read it in full here.

One note of particular interest are recommendations for Communion Hymns based on the liturgical season, drawing from the lovely collection of thirty-seven (!!!) such hymns in the excellent REC hymnal. There is, of course, a lot of argumentation to be found among Christians concerning music, its accessibility, appropriate styles, and theological and biblical content. The subject of Holy Communion (or any sacrament, really) tends to suffer the most neglect in contemporary music, and sacramentology also tends to be something of a partisan battleground among Anglicans already, so making use of a set of lyrics that describe the Lord’s Supper can indeed be quite valuable for our congregations today.

Another feature that may appear somewhat strange here is the implementation of a little rubric in the 2019 Prayer Book’s liturgy authorizing “a sentence of Scripture at the conclusion of the Communion“, immediately before the Post-Common Prayer. Before the Reformation, each Mass had an appointed Communion Sentence. The 1549 Prayer Book reduced this complexity to a simple list of Sentences for the celebrant to choose from, and exploring that list is particularly interesting as it highlights the Reformation doctrine of faith much more prominently than the exaggerated sacramentalism of late medieval piety. Most subsequent Prayer Books have omitted this little piece of the liturgy, but now that it’s authorized again this Customary has seized the opportunity to restore the 1549 list, with a few additions from prior tradition. Check them out!

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St. Mary Magdalene: From her love all fear hath fled

Happy Saint Mary Magdalene Day!  One of our scripture readings at Morning Prayer is special for observing this feast day: Luke 7:36-8:3.  This is an interesting case, so let’s take a closer look.

Like several New Testament characters (most notoriously the various men named James), the identity of Mary Magdalene has undergone some scholarly debate.  She has at times been identified as the same person as Mary of Bethany, though that theory is not in vogue today.  She has also been identified as the woman who anointed Jesus’ feet with her hair and tears.  I’m not sure how commonly-held this view is today, either, however, our Prayer Book does retain the possibility that this is true.  The evidence, such as it is, can be found in the appointing of Luke 7:36-8:3 as a single lesson on her feast day.

The tail end of chapter 7 of St. Luke’s Gospel tells the story of “a woman of the city, who was a sinner” who brings an alabaster flask of ointment into a pharisee’s house to wash Jesus’ feet with it and her tears and kisses.  An overkill scenario to a sensibility for sure, but it is unmistakably a picture of unadulterated love.  Jesus uses this immediately as an illustration for a parable.  He concludes with a word of gospel: “her sins, which are many, are forgiven, for she loved much; but he who is forgiven little, loves little.”

Chapter 8 then opens, “Soon afterward he went on through cities and villages, preaching and bringing the good news of the kingdom of God. And the twelve were with him, and also some women who had been healed of evil spirits and infirmities: Mary, called Magdalene, from whom seven demons had gone out… and many others, who provided for them out of their means.”  There is no explicit connection between the woman in the previous story and Mary Magdalene here, but the ancient writing style might imply that the previously-unnamed woman is now a named follower of Jesus.  After all, if Mary Magdalene was able to bring expensive perfume to the literal feet of Jesus, she must have been a woman of some means, and likely able to continue providing for him and apostles, as verse 3 describes.  And there are other instances in the New Testament where people refer to themselves very obliquely (like Mark and John), and refer to others by differing names (Nathaniel = Bartholomew, and Thaddeus = Jude).

At the very least, the woman of Luke 7 has a similar spirituality to Mary Magdalene: both are very emotive and physical about their love for Jesus.  Perhaps you know the sort in your own church or Christian connections: people (usually women) who have such a profound emotional love for Jesus, who smile at his name and sigh with arms outstretched as if they’re in love.  For those who are more intellectually-minded it can be easy to scoff at these enthusiasts and their apparent crush on Jesus.  But the woman who anointed Jesus’ feet with perfume, tears, and kisses, and Mary Magdalene clinging to Jesus in the garden after his resurrection both testify to a legitimate spirituality of emotive love and adoration.  If the woman of Luke 7 and Mary Magdalene are not the same person, they sure had a lot in common.

So let’s take a look at how this feast day – and theory of Mary’s identity – can play into the liturgy of the Church.  There is a song I came across in the Saint Dunstan Hymnal (related to the Saint Dunstan Plainsong Psalter) which is an Office Hymn from the 17th century, and it illustrates a way of acknowledging her spirituality and example.

O Father of celestial rays, When thou on Magdalene dost gaze,
The flame of burning love appears, Her icy heart dissolves in tears.

Wounded by love, she hastens o’er The feet of Christ her tears to pour,
Anoints them, wipes them with her hair, And prints adoring kisses there.

Fearless, the Cross she will not leave: And grieving, to the Tomb doth cleave:
No ruthless soldiers cause her dread: For from her love all fear hath fled.

O Christ, true Charity thou art; Purge thou the foulest of our heart,
Fill ev’ry soul with grace and love, And give us thy rewards above.

All laud to God the Father be; All praise, eternal Son, to thee;
All glory as is ever meet, To God the Holy Paraclete.  Amen.

The testimony of her devoted love ranges from the time of her conversion and repentance, through the Cross, to Jesus’ resurrection.  “For from her love all fear hath fled”, applying in her example the teaching perfect love casts out all fear (1 John 4:18).

This example she has left us is valuable.  You can love God with your emotion.  Your devotions can be expensive and extravagant, if that is your honest offering.  God’s love, mercy, kindness, and forgiveness should have a serious impact on the sinner’s outlook.  The more you realize how much has been forgiven, the more you can love God and others in return.  For all the intellectual considerations of right doctrine, and all the logistical considerations of right worship, the value of a exultant heart can never be overlooked.  The Gospel is worth “thinking about” correctly, yes, absolutely; but it is also worth celebrating with the fullness of human emotion.

Posted on by Fr. Brench

Make the Daily Office Unrecognizable

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One of the big concerns among traditionalists when it comes to modern Prayer Book revision and the proliferation of options and substitutions is that our liturgical heritage will get so muddled in “local preferences” that all semblance of Anglican heritage, or even any sense of common prayer, will be lost.  Personally, I think that overlooks the vast array of tweaks and changes that many priests and parishes have gotten away with even under the classically-minded 1928 Prayer Book in recent decades – in some cases drastically re-writing the Communion service so it looks more and more like the pre-Vatican-II Roman Mass and no longer actually an Anglican Prayer Book service.  But let’s not fight.  It’s Weird Rubric Wednesday!  So let’s humor those who complain about the 2019 Prayer Book and see just how far we can destroy the Daily Office without actually breaking the rubrics.

Ahead is Wednesday evening, and the parish is getting together for a special ‘Evening Prayer’ worship service.  But this is what happens:

  • The Officiant reads something short from the Bible.
  • The Invitatory dialogue (BCP 43) is exchanged.
  • The congregation sings a song like Nate Hale’s Psalm 13.
  • Another, slightly longer, reading from the Bible follows.
  • Someone comes up front and gives a brief testimony of faith, referring to his or her favorite Bible quote which is found in that previous reading.
  • A couple more songs are sung.
  • Now it’s prayer time (starting on BCP 47) – the Kyrie, the Lord’s Prayer, one of the sets of suffrages, a Collect commemorating someone in the calendar that day, and one of the Prayers for Mission (BCP 51).
  • The congregation then launches into a time of prayer and song lasting as long as the Spirit leads (so, about fifteen minutes).
  • The Officiant reads Ephesians 3:20-21 (BCP 53) to conclude the service.

If you know the Office pretty well, you can probably discern here what was done.  It’s actually not quite as mangled as I expected it to turn out; the “myriads of options” in the 2019 Prayer Book aren’t all-encompassing.  So here’s what happened:

  • The Opening Sentences can be anything “appropriate”.
  • The Confession may be omitted, once per day.
  • The Phos Hilaron is optional, and therefore skipped.
  • The Psalm(s) Appointed can be shortened “according to local circumstance” (BCP 734), so a sung version took its place.
  • Only one Scripture lesson is permitted (BCP 44).  Rubrics don’t seem to allow deviation from the lectionaries, though if you take the option of drawing the Communion readings into the Office then quite a few choices are possible.
  • A “sermon may be preached after the lessons” (BCP 56).
  • The Canticles can be replaced by other songs (BCP 45).
  • The Creed may be omitted, once per day.
  • The beginning of The Prayers are not optional, and the Collect of the Day is the only explicitly required Collect, but you can choose a black-letter-day commemoration to fulfill that role.  The Prayer for Mission is also required.
  • After that, there is technically free reign to pray and sing (BCP 51) although the rubric does technically indicate only one hymn or anthem.
  • The final prayers are optional, but the list of three closing sentences is not (BCP 52-53).

Yes, this is satire, I do not recommend this for healthy, proper, regular Anglican worship.

However, there are extraordinary circumstances in which such freedom may actually be advantageous.  Say you’re planning an ecumenical prayer service with another church… as the Anglican host you are bound to the authority of the Prayer Book as our rule of worship, but to be a gracious host you want to find room to incorporate elements of worship from your “guest church” also.  Perhaps you’re commemorating one of the ecumenical figures in the calendar together, or perhaps it’s Thanksgiving Day or some other holiday – in such cases you can draw Scripture lessons from the Communion Propers instead of the Daily Office Lectionary.  Perhaps they have their own prayers or canticles, or just particular translations thereof, that you can substitute in the place of our own.  The confession with full introductory exhortation may be a good idea to retain, as it puts forth a fantastic theology of worship, but perhaps circumstances would benefit from side-stepping that instead.  The flexibility of when the sermon is placed (BCP 56) also can be helpful in “shaping” the worship service in a manner appropriate to the occasion.

The good news, for those concerned about the integrity of Anglican tradition, is that the simplest by-the-book service of Evening Prayer with the least amount of page-flipping is going to be solidly traditional.  It takes more effort to deviate from the standard norm, and that alone is enough to steer most folks in the right direction.

Posted on by Fr. Brench

The Gloria may be omitted

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On pages 107 & 125 of the Book of Common Prayer, 2019, the following rubric is found:

The Gloria or some other song of praise may be sung or said, all standing.  It is appropriate to omit the song of praise during penitential seasons and days appointed for fasting.

This in itself is not a particularly strange rubric.  The 1979 Prayer Book renders the Gloria optional, and it is already a widespread custom (rooted in Western liturgical tradition) that the Gloria should be omitted during Lent, Advent, and on other occasions of similar tone.

You can read more about the use (and even placement) of the Gloria in this article from last year’s series on the Communion liturgy.  You will also find there some notes about evaluating songs to replace it which are worth re-stating here:

  • If it is Advent or Lent, this is an excellent point at which to sing a hymn specially appointed for that season.  Or just let the Decalogue stand on its own strength!
  • At other times of the year, be sure it truly is a “song of praise”, as the rubric twice describes it.  A song of praise does NOT talk about me/us, but sings only of God – his character and his works.  The Gloria barely glances at “us”; let that set the standard for whatever replaces it.

What’s so weird about this, though?

I submit this under the banner of Weird Rubric Wednesday not because the rubric itself is weird, or even the reasons behind it are weird, but because some common executions of this rubric are pretty weird.  And it’s on a sliding scale from “okay” to “weird” to just plain “bad”.

Okay?

One approach to replacing the Gloria is to not simply put in one “song of praise,” but a whole set (say, three on average) of contemporary worship songs.  Singing multiple songs here stretches the language of this rubric – “song” is in the singular, after all – but it’s not necessarily an outright violation.  Besides, a lot of contemporary worship songs are shorter than hymns (in terms of word-count through the lyrics) so it’s not necessarily a bad idea to stack up two or three contemporary songs to form a substantial substitute for the Gloria or other single hymn of praise.

Weird?

Sometimes that “okay” idea gets taken a step further: it’s a contemporary “worship set” of three-ish songs in a row, but they’re not brief. Instead they repeat their refrains multiple times and include interludes within or between the songs for people to sing or pray extemporaneously.  This is popular evangelical worship practice, and has made its way into the practice of many Anglican churches.  If you’re going to import other traditions into the Prayer Book tradition, this is probably the least disruptive point in the Communion liturgy in which to do it, though it is worth observing that many Anglicans find contemporary pop-evangelical worship theology incompatible with historic Protestant (as well as Catholic) theologies of worship.  So music ministers and clergy alike should give careful thought to the use of music in the liturgy before stretching the rubrics this far.

Bad?

It is not normally the purpose of this blog to call out bad liturgy; there’s enough grumpy negativity on the internet already.  But occasionally problems in worship (just like problems in doctrine) do need to be confronted.  Moving from “okay” to “weird” to “bad”, the next step in this descent would be to add the excesses of Pentecostalism: speaking in tongues, inviting “words of knowledge” to be shared, and other extemporaneous expressions of charismata according to 20th-century Pentecostal theology.  Much of this runs in the face of St. Paul’s teachings in 1 Corinthians 14, let alone an historic liturgical theology, but this has been known to happen in some Anglican churches today.

So what do you suggest?

When in doubt, keep it simple and consistent.  Say or sing the Gloria for every Communion celebration on Sundays and Holy Days.  For a short mid-week service, perhaps skip it entirely.  During Lent, replace it with a Lent Hymn; during Advent, replace it with an Advent Hymn.  Or just don’t sing anything at all after the Decalogue during those seasons – there’s a lot to be said for stark simplicity in worship, especially in our culture that is over-drenched with activity and sound.