Urbi et Orbi 2008

Sunday within the Octave of Christmas

For Dec 28, 2008 which is the Sunday within the Octave of the Nativity of Our Lord & Saviour Jesus Christ, we are going to sing the following:

1. Procession: O Come, All Ye Faithful
   
2. Asperges me
   
3. Introit: Dum medium silentium
   
4. Kyrie VIII (De angelis)
5. Gloria VIII
   
6. Gradual: Speciosus forma
   
7. Alleluia: Dominus regnavit
   
8. Credo IV
   
9. Offertory: Deus enim firmavit
   
10. Offertory hymn: Salve Regina Caelitum
    
11. Sanctus VIII
    
12. Agnus Dei VIII
    
13. Communion hymn: Resonet In Laudibus
    
14. Communion: Tolle puerum
    
15. Recession: Angels We Have Heard On High
    

Click on the links to hear samples where available

Cardinal Arinze's take on serviettes, kneeling for communion, etc...

h/t to Andrew of Unam Sanctam.

An Open Letter to Praise and Worship Musicians

from the NLM's Jeffrey Tucker...

You are part of a Catholic generation that has chosen music as a path of spiritual discovery and expression within Catholicism, and music has been central to your own path toward greater understanding of the faith and its place in your life. You are using this gift to give to others, precisely as St. Paul instructed the Corinthians to do. You do this in retreat settings but, more and more, in worship settings, including Mass, as a means of helping others find what you have found.

You are not unaware that the style of music you have chosen has no liturgical precedent in the history of the faith. It is not that you have overtly rejected tradition in favor of innovation. Many of you have written to me that you would greatly appreciate a parish setting in which Gregorian chant and polyphony (the only two musical forms explicitly cited at Vatican II as proper to the Roman Rite) were sung as part of Mass.

But this is not the parish setting you inherited and it doesn't seem like an option now. The historical context here is everything. You were the third generation raised after the major changes following the Second Vatican Council. When your parents were very young, the standard music was new and innovative, but by the time you heard it, it had grown old and tired.

And there didn't seem to be much of it: the same few Glorias and Holy Holys, and about twenty or so songs sung again and again, most of it suggestive of half-hearted attempts at folk music of some sort. This was what was considered "traditional Catholic music," and it didn't seem to mean much to young people by the time you were coming of age.

The music problem reflected a larger problem. In your childhood and early teen years, you were part of a parish structure that had settled into a kind of routine that you found to be uneventful and static, even faithless. The catechism materials used in your CCD classes, even for confirmation, were unchallenging and cliché. The adult teachers and leaders in your parish lacked enthusiasm.

Even Mass, as much as you tried to throw yourself into it, began to seem blasé. There were new and odd names for everything: confession behind a screen became face-to-face reconciliation, CCD became CFF, Mass became the "Eucharistic celebration," processionals were "gathering songs," and you knew nothing of traditional devotions like Holy Hours and novenas. The ghosts of the Catholic past were everywhere in movies and popular culture: people kneeling for communion, priests in black for Requiem Masses, Latin, elaborate vestments, stories of rigorous server training, incense, and tough nuns in schools – but you knew none of this. In many ways, the world in which you grew up had already been thoroughly de-Catholicized, and this was tragically true even of your own parish.

Gregorian chant was the same. It variously became popular on the radio and in bestselling CDs but it was sung by monks in far-off lands. It wasn't the music of the parish. Even such common tunes such as Pange Lingua and Adoro Te—the last remnants of a repertoire of tens of thousands of chants—were finally put to rest sometime in the 1980s. No one in the parish knew a thing about chant, and neither did there seem to be a way to find out more.

It was your misfortune that you inherited what can only be described as a desert, and you can vaguely recall being bored with the whole thing. At some point in your teen years, that changed with a retreat or a parish mission or possibly World Youth Day or some other occasion. There was a spiritual awakening in your life, and it centered on the realization of the powerful presence that Christ can have in your life. It brought you back to the confessional you had long neglected, and gave you a new appreciation of the Real Presence in the Eucharist, as well as the power of the Rosary and of features of Catholic life. This was a transforming event in your life.

This event was tied to the form of music called Praise and Worship, with its characteristic repeating phrases and dramatic beats and sounds. You could hear it on the radio. You bought the CDs. You followed the Catholic bands of the new generation. And yet in your own parish, the music was very different. It was then and still largely remains that "traditional Catholic music" from the 1970s that had made such a splash in the years immediately following the Council but didn't inspire you in the same way.

This was when you decided to apply your own musical skills to making a difference, usually for a Mass set aside as Life Teen or the Youth Mass. No one said that there was anything strange about this. Sure, some people objected to the style of music, that it was more like rock music than sacred music. But this really an argument about taste. Why should you be expected to adopt the tastes of your parents and their parents? Their music too was based on the style of their times, and it doesn't speak to your generation. This new Praise and Worship music connects with your time and your own religious revival. To sing it for Mass is only a matter of sharing your gift with others, in response to the call for evangelization.

What about Gregorian chant? You grant that there is an appeal here. You among many have the impression that choosing a chant rather than a Praise and Worship piece is merely a judgment call, a choice based on resources and timing. It is possible to sing Adoro Te instead of something else. In so doing, you are doing what Vatican II called for. All the better, perhaps, is to add some good chords and rhythm underneath it and sing it in a more familiar style.

What is truly tragic is that no one has alerted you to the real significance of chant. It goes far beyond using a chant as one of the four songs you can pick for Mass. The Gregorian chant grew up alongside the Mass itself, one step at a time. Some might date from the early Church, which sang the Psalms exclusively. The tradition developed as the liturgy developed over the next one thousand years as the parts of the Mass were organized and systemized into a liturgical year. There was music to go with the prayers. It was sung by martyrs and saints and heard in all times and all nations where the faith thrived.

The essential musical structure of the Mass as it emerged in the middle ages had an Entrance prayer that was set to chant. This is called the Introit. Sometimes you hear the first word of the chant used to describe the Mass of the day. This is where we get the terms "Gaudete Sunday," "Laetare Sunday," and "Requiem Mass." What is called the "gathering song" or the "processional hymn" is really a replacement for this Introit.

When Vatican II said that the chant should have primacy, what it means is that this Introit should be sung, and that when it is not possible to sing it, the preference for chant still remains.

It is true with other parts of the Mass too. The Offertory is not a musical intermission but the name of a real prayer that is set to music. The same is true of Communion. These are gorgeous chants. Even the Psalm has a melody in the chant books. The more you get to know these treasures, the more it strikes you just how unified the text and the music are. Their assignment is not at all random.

Often the melody clearly reflects the story of the text, so that the melody goes up when speaking of Heaven and down when speaking of humility. The complexity of them can be enrapturing the more you study them. You find beautiful presentations of Gospel narratives and parables. Each chant serves a particular musical function. The Introit and Offertory are processional chants, for example, so they have a forward motion with less elaborate musical expression on individual words. The Psalm chants are more for reflection, so they are long and elaborate.

The chant, then, is not just one choice among many. It is the music of the Mass itself, and the only form of music that truly qualifies by definition. The chants mentioned above are called "propers" and they change week to week. There are also chants for the "ordinary" of the Mass, so-called because their text remains the same. There are parts for the people: Kyrie, Gloria, Credo, Agnus Dei. You have heard a few of these, most likely the ones people have started to sing for Lent. But the Church has given us fully 18 sets of these pieces of music, and you can see from their structure that they are intended for everyone to sing.

In the experience of our parish, people can pick up these ordinary chants rather quickly. They love singing them. They don't need accompaniment. They use the human voice alone, the very instrument that God has given all of us. This way there is an absence of elitism in this music. It needs no specialists who know how to play piano and guitar and drums. Actually, you don't even need the music really. In fact, for the first thousand years of Christianity, the chant was sung without being written out in a way that could be widely distributed. It was learned and carried forward by frequency of use, the way people learn "Praise and Worship" music today.

There are other marks of chant that make it distinctive. It lacks a regular beat-style rhythm such as that we hear in rock, country, soul, blues, or any other style. It is what is called plainsong, so there is an underlying pulse but it doesn't cause you to want to tap your toe or dance. What it does do is draw the senses upward toward the Heavens. It assists in the goal of all liturgy, which is to take us out of time and help us pray and listen to eternal things. In contrast, music with a beat keeps us grounded and internal.

Another feature of chant is its humility. A major problem with Praise and Worship music is that it tends to focus everyone on the person doing the performing. The bands are featured in the front of the church. The band members are showered with complements. The singing style elicits a kind of egoism that probably makes you uncomfortable but is integral to popular styles. Chant is completely different because it does not seek to put the talent of the singer on exhibit. Instead, it is all about community prayer. The ego is buried. It doesn't unleash the self but rather requires a submission of self to holiness. In this way, it is like the faith: as St. John Baptist said, let me decrease and let him increase in me. This is what the chant does – what the chant requires.

You are right to suspect that chant requires a substantial change of pace. It is not just a matter of substituting one song for another. The chant leads the embrace of a completely different approach to liturgy itself. The music serves the liturgy and the liturgy serves God. Where does that leave the singers and the community? Precisely where we should be: not as consumers but as servants.

You are all too aware that you were cheated out of a robust form of Catholicism when growing up, not by design but merely because of the unfortunate timing. These were difficult days. In the same way that many aspects of the faith were not well presented to you, the music of the Church has not been presented to you either. But you were born into these times, as a musician, for a reason. Perhaps you are being called to make a difference.

The Pope has made the restoration of sacred music a centerpiece of his liturgical goals. He speaks about the issue often, and has written so much about it. Perhaps it is time to consider that he is onto something profoundly important here.

The Pope speaks of "two fundamental types of music." One he associates with Apollo, the ancient mythical god of light and reason. "This is the music that draws senses into spirit and so brings man to wholeness. It does not abolish the senses, but inserts them into the unity of this creature that is man. It elevates the spirit precisely by wedding it to the senses, and it elevates the senses by uniting them with the spirit. Thus this kind of music is an expression of man’s special place in the general structure of being."

The other type of music he says is Dionysian: "It drags man into the intoxication of the senses, crushes ra¬tionality, and subjects the spirit to the senses." Rock music may have merit outside of liturgy but in liturgy, the Pope writes that it is "in opposition to Christian worship" because its musical structure encourages people released from themselves by the experience of being part of a crowd and by the emotional shock of rhythm, noise, and special lighting effects. However, in the ecstasy of having all their defenses torn down, the participants sink, as it were, beneath the elemental force of the universe.

Where does Praise and Worship fit into this divide? Be honest with yourself and consider that it tends more toward Dionysius than Apollo. Every Pope since the earliest years has made a similar distinction between the sacred and the profane, and it was Pius X who stated so clearly that the standard by which all music at Catholic liturgy must be judged is the chant.

That doesn't mean that chant is the only music appropriate for Mass. Renaissance composers sought to elaborate on the chant with new forms that retained its spirit, and many modern composers are doing the same. There is also a place for English chant and for newly composed Psalms. What the chant provides in these cases is a standard to measure its suitability. It is essential that it remain the foundational song of the Catholic Church, for if we don't know or understand the foundation, it is impossible to make any judgment at all.

If the enterprise of learning something completely new sounds daunting, keep in mind that no one can become completely familiar with all chant. That would take several lifetimes. We are all in a state of relative ignorance on this subject as compared with the mind of the Church and the experience of tradition. It is the same with Catholic theology: no one can know it all. But that should not stop us from learning what we can, practicing what we can, and doing our part to hand on the tradition to the next generation.

We have a job to do, a job that we have been assigned. We are not the first to have been given this task. At other points in history, the chant was nearly completely lost, buried in the confusion over passing musical fashion. It returned again and against through the prayerful efforts of faithful musicians who were willing to give of themselves to bring the beauty back and make it live in our parishes in glorious ways.

The first step is to encounter the chant and consider is beauty. "The encounter with the beautiful," writes the Pope, "can become the wound of the arrow that strikes the heart and in this way opens our eyes, so that later, from this experience, we take the criteria for judgment and can correctly evaluate."

Perhaps the chant will touch you as it has touch me and millions upon millions of others since the earliest years of the faith, and will continue to touch people until the end of time. If it does, you too might enter into the stream of living persons who have sung the chant and played some role in bringing to the world the most beautiful music this side of heaven.

Sacred Music Colloquium

I challenge any of the dioceses here in the region to organize something similar, if they are really true in wanting to keep the "spirit of Vatican II"! For those who are not familiar with Vatican II, it says:

"The treasure of sacred music is to be preserved and fostered with great care. Choirs must be diligently promoted, especially in cathedral churches; but bishops and other pastors of souls must be at pains to ensure that, whenever the sacred action is to be celebrated with song, the whole body of the faithful may be able to contribute that active participation which is rightly theirs, as laid down in Art. 28 and 30."

and...

"The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services."

and...

"But other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations, so long as they accord with the spirit of the liturgical action, as laid down in Art. 30."

and...

"In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church's ceremonies and powerfully lifts up man's mind to God and to higher things."

All quotes taken from the Constitution on the Sacred Liturgy Sacrosanctum Concilium.

Lauridsen's O Magnum Mysterium

Sung by the UST Alumni Singers (The Pontifical University of Santo Tomas, Philippines). Another fine example of modern, yet liturgically sound, sacred music.

Carols Before Midnight Mass

Here is the order of carols/hymns to be sung before Christmas Midnight Mass begins.

1. I Wonder As I Wander (Appalachian carol)
2. Adam Lay Ybounden (Ord)
3. Alma Redemptoris (Plainsong - Simple tone)
4. Ave Maria (T.L. de Victoria)
5. Lo, How A Rose E'er Blooming
6. Congregation Hymn: Once In Royal David's City
7. Congregation Hymn: O Little Town Of Bethlehem (tune: Forest Green)
8. Congregation Hymn: Silent Night
9. O Holy Night
10. Congregation Hymn: In Dulci Jubilo
11. Congregation Hymn: What Star Is This
12. Congregation Hymn: O Come All Ye Faithful
13. Quem Pastores Laudevere
14. Congregation Hymn: Angels We Have Heard On High
15. Congregation Hymn: Hark The Herald Angels Sing

Click on the links to hear samples.

Festival of 9 Lessons & Carols in Kuala Lumpur

SONGS & READINGS FOR THE FESTIVAL OF 9 LESSONS & CAROLS
Prelude: Gloria (Vivaldi)
Anthems: A Christmas Round & Riu, riu, chiu
Congregational Opening Hymn: Once in Royal David’s City
1st Carol: Adam Lay YBounden (Ord)
1st Reading
2nd Carol: In the Bleak Midwinter
2nd Reading
Congregational Hymn: Angels We Have Heard on High
3rd Carol: Ett Nyfött Barn
3rd Reading
4th Carol: Stille Nacht
4th Reading
5th Carol: Mary’s Boy-Child
5th Reading
6th Carol: Mariä Wiegenlied
6th Reading
Congregational Hymn: O Little Town of Bethlehem
7th Carol: Bailero
7th Reading
8th Carol: The Coventry Carol
8th Reading
9th Carol: Still, still, still
9th Reading
Closing Congregational Hymn: O Come All Ye Faithful
Postlude: O Magnum Mysterium (Lauridsen)

Disclaimer: This is not meant to be an endorsement of the Presbyterian religion, but merely for the sake of exposure to quality sacred music.

What shall we name this?

From somewhere closer to home, we have some Filipino inmates asked (or forced?) to perform some kind of dance with a thousand arms, during a mass by Cardinal Vidal. Look at this video that I stumbled upon accidentally:

and the first thing that came to my mind was this:

Know why "Rock Masses" are such pathetic lame ideas when teenagers know they are better off going elsewhere for rock music? I guess the lesson here is.. if Catholics wants to imitate something, they'd better do a darn good job at imitating, else forget it because it will look like a cheap imitation at first sight.

Pius XII reciting Pater Noster

This is THE right (some will read that as Roman!) way of Latin pronunciation.

Nova Organi Harmonia

Maestro Jeff Ostrowski has graciously made available for free, the Nova Organi Harmonia Gregorian chant organ accompaniments here. Also listed are other accompaniment materials. This is definitely a treasure trove for church organists everywhere. This was made possible by Corpus Christi Watershed, the same non-profit Catholic institute for the arts that commissioned the Chabanel Psalms.

Josef Rheinberger's Abendlied

I personally feel this piece is one of the better German masterpieces of sacred music that I've sung in choir. These are the kind of vernacular music that should be permitted in church, not "Come On And Celebrate" or that campfire song "Pass It On".

Stay with us, because it is towards evening, and the day is now far spent. - Luke 24:29

Pamintuan's Pater Noster

A very sublime Pater Noster, sung by the Philipine Madrigal Singers, composed by John August Pamintuan. Proof that modern sacred music can be done well.

Exaltation of the Holy Cross

For September 14, 2008 which is the feast of the Exaltation of the Holy Cross, we are going to sing:

1. Procession: Crown Him With Many Crowns
   
2. Asperges me
   
3. Introit: Nos autem gloriari
   
4. Kyrie IV (Cunctipotens genitor Deus)
5. Gloria IV
   
6. Gradual: Christus factus est
   
7. Alleluia: Dulce lignum, dulce clavos
   
8. Credo I
   
9. Offertory: Protege, Domine
   
10. Offertory hymn: Crux fidelis (R. Kühnel)
11. Sanctus IV
    
12. Agnus Dei IV
    
13. Communion hymn: Vexilla Regis Prodeunt (SGH#182c)
    
14. Communion: Per signum crucis
    
15. Recession: Hail Redeemer, King Divine (C. Rigby)
    

Click on the links to hear samples where available.

Pope underscores importance of music for transmitting experiences of the soul

Castelgandolfo, Aug 25, 2008 / 08:39 pm (CNA).- Pope Benedict XVI expressed gratitude for the concert performed in his honor at the Swiss Hall of the Apostolic Palace in Castel Gandolfo this weekend, and in his remarks at the conclusion of the concert he emphasized the importance of music in transmitting the profound experiences of the soul.

After thanking Ivonne Timoianu, who played the violoncello and the former Austrian ambassador to the Holy See, Christoph Cornaro, who played piano, for the “magisterial performance” of Franz Schubert’s “Winter Journey,” Benedict XVI noted that the piece describes “the intense atmosphere of sad loneliness caused by his [Schubert’s] delicate state of health and his sentimental and professional disappointments.”

“It is an interior journey that the celebrated Austrian composer wrote in 1827, just one year before his premature death at the age of 31,” the Pope added.

“When Schubert brings a poetic text into his universe of sound, he performs it through a melodic link that penetrates the soul with sweetness, bringing the listener to feel his same nostalgic consummation, the same call of that truth of the heart that goes beyond all rationality. In this way a picture is born that speaks of genuine everyday life, of nostalgia, of introspection and of the future,” the Holy Father continued.

“The spontaneous and exuberant young Schubert was successful in communicating—to us here tonight as well—what he lived and experienced. He is worthy therefore of the universal acclaim that is given to this illustrious genius of music, who honors European civilization and the great culture and spirituality of Christian and Catholic Austria.”

“Comforted interiorly by the splendid musical experience of tonight, we renew our gratitude to those who have promoted this concert and those who have magnificently performed it,” the Pontiff said in conclusion.

Source: Catholic News Agency

Happy Feast

A very happy feast of our Blessed Mother's Assumption into Heaven to all of you! Here's something for the senses on this solemn feast.

CDW Issues Directives on the Use and Translation of the Name of God in the Liturgy and Liturgical Music

The Congregation for Divine Worship and the Discipline of the Sacraments recently issued directives on the use of “the Name of God” in the Sacred Liturgy. Here are the directives:

You can read the entire text here: Letter to the Bishop's Conferences on "the Name of God"

Presumably this would retroactively effect some popular liturgical music that has been used in many English speaking parishes following the Council, including by the likes of Fr. Dan Schutte, S.J.

Source: NLM

Motets during a Requiem Mass

Something useful from a Q&A forum:

Q: Can you tell me if the Panis Angelicus and the Ave Maria can be properly sung at a Missa Cantata Requiem Mass during the Offertory and Communion times only? If sung, would this be following the Rubrics according to the allowance now (1962 Missal)?

A: St. Pius X's motu proprio on church music, "Tra le Sollecitudini" disallows MOST solo-singing (as distinct from the liturgical intoning done by one or more chanters).

That said, it is PERMISSIBLE to sing "Ave Maria" during the Offertory of a Requiem Mass, FOLLOWING the chanting of the proper Offertory text.

However, since the Requiem Offertory, "Domine Iesu Christe" is virtually the ONLY Offertory in the Latin Rite which retains an obligatory Verse, "Hostias et preces," it is likely that there wouldn't be TIME to sing Ave Maria, unless the Offertory is sung to a VERY simple formula, or recto-tono.

The Offertory PROPER should be given pride of place. And the celebrant shouldn't be kept waiting on account of the singing of "Ave Maria."

In passing, most of the Offertory Verses are now available, either in Dom Karl Ott's original "Offertoriale" (out of print), or in Solesmes new printing, "Offertoriale Triplex", which includes the Transalpine rhythmic neums along with the "standard" Gregorian notation. Their use has been permitted since the 1930s, along with Chants Abreges and various other Desclee/Solesmes publications from that period.

Schubert's "Ave Maria" should NOT be used, UNLESS the "corrected" version with the complete Latin text is sung, and even then it is an occasion of scandal ... he wrote it for his mistress, with a non-liturgical German text. The Latin came later.

The Bach-Gounod is less offensive, though still "operatic."

The Franck or the Arcadelt (both found in the St. Gregory Hymnal) are more suitable.

"Pie Iesu" from the Durufle or Faure Requiem would be more appropriate at the Offertory, unless it is sung following the Elevations (which used to be the custom).

There is no particular problem with singing Franck's or Lambillotte's "Panis Angelicus" at Communion-time, particularly if there is a general communion of the faithful, as long as the Communion Antiphon is sung FIRST.

There is some confusion about that.

In the days when general communions were not the rule, singing the Communion after the celebrant's Communion moved it to the Ablutions, PRACTICALLY speaking.

But it is a processional chant to be sung DURING Communion, and books with the Latin psalms to accompany the Antiphons have existed since the 1930s. Both the old and new Vulgate Communion Psalters can be found online.

The new one is on the Musica Sacra website: http://www.musicasacra.com/communio/

The Clementine Vulgate Communion Psalms are at:

Index of /Verse Book Images

Main Readme

Index Communionem A-O

Index Communionem P-V

In general, the fullest possible version of the LITURGICAL texts (either Chant or classical sacred polyphony) should be sung BEFORE one considers ADDING anything to the music-list.

Historically, most motets were settings of the antiphons on Magnificat at Vespers, and were sung when the antiphon was repeated. That's where Anglican Evensong got its "Anthem after the Third Collect" ... for the most part, there was no provision for adding music to the Mass, except possibly at communion-time, but by Mozart's time, the musical settings of Agnus Dei had become so long that they lasted right through Communion AND the Absolutions.

How not to sing the Salve Regina

h/t to Cathcon

Anniversary of Summorum Pontificum

Just a short musing on this historic day, one year ago when the Holy Father Pope Benedict XVI issued the motu proprio Summorum Pontificum, liberating the Traditional Latin Mass.

Reading reports about the application of this motu proprio elsewhere, especially in certain parts of Europe, North America, Australia, and the Philippines, we have much to thank God. However, much remains to be done especially in regions where the resistance and disobedience of bishops and their respective episcopal conferences have hampered the possible growth of the TLM. Under this list would include the bishops of Malaysia, on their recent ad limina visit to the Apostolic See, who told the Pope that they have no time to teach Latin in the seminaries.

Much remains to be done and prayed for. And we certainly hope the Pope will not just lead by example (by celebrating a Solemn Papal Mass in St. Peter's, perhaps?), but also crack the whip against opposing bishops.

Carnival or Concert?

A sad day

Below is an article from Radio Vaticana regarding the recent ad limina visit of the bishops/archbishops of Malaysia to the Holy Father. Such is the sad state of affairs in the current hierarchy here in Malaysia. Oremus.

Pope learns of diversity of Malaysian Church

(02 June 08 - RV) Bishops from the South East Asian Nation of Malaysia begun their Ad Limina pilgrimage to Rome Monday.

There are around 800,000 Catholics in Malaysia - approximately 3% of the total population. The country is divided into nine dioceses including three archdioceses, Kuala Lumpur, Kuching and Kota Kinabalu. We spoke to the Archbishop of Kuala Lumpur MURPHY PAKIAM about his meeting with the Holy Father:


"The Church in Malaysia is diverse, it has four races, four languages four cultures. The Holy Father was happy to hear that we are forming them into a community of God's people and bringing them to well beyond their racial, linguistic, cultural barriers to form one community of God's people. Then he was surprised and happy to know that our priests have to speak at least three languages to preach the World of God to the people. He understands very well when I said that we have no time to teach them Latin and that this great move that is in Europe to bring Latin back does not work for people in the small young Church in Malaysia. He was surprised to hear of missionaries coming as far as Malaysia in the attempts to bring the Tridentine rite here. He was happy to learn also that we are moving a lot with inter-religious dialogue, more than dialogue of coming together of religious leaders because we are Hindus, Sheiks, Buddhists Muslims and so forth and he was happy that I had gone for a trip to China and that there was more than just talk of building relationships of friendships among the different religious leaders, because it is a good way of proceeding to put into action the Churches teaching in Nostra Aetate".
------------------------

Comment from the source who sent this: "The transformation of the Catholic Church in Malaysia into some sort of Malaysian Catholic Church. How insular. Aiya, make friends with everyone else but alienate other Catholics. Pls la... too many languages? Unite them all with Latin la... Sometimes I wonder what they are thinking and what the nuncio is thinking, creating an insular, under-trained priesthood. When the Pope speaks, they always think 'Hey, this is all and good, but it does not apply here.'. What rubbish. If the Catholic Church chooses to open a branch, I'll join. The Malaysian Catholic Church, like the Chinese Catholic Church (Communist) can go to hell."

On another note, have a look at the video below which was highlighted by Fr. Tim Finnigan with the title "Multicultural Youth Mass at Lourdes" by......surprise, surprise....the SSPX.

Read Fr. Finnigan's account about his experience here. I wonder, if the young French children at Lourdes have no problems with Latin, why does our archbishop here thinks that Asian children, youth and adults would have problems with it?

World Youth Day: Catholicism or Corruption?

OK, if most of you don't already know what World Youth Day is all about, watch this video. Is this the kind of thing the youths of our parishes are asking sponsorship to attend? What would Our Lord ask us on the Last Day on how we spend our money up to the last farthing?

Happy Feast of the Sacred Heart

Most sacred, most loving Heart of Jesus, You are concealed in the Holy Eucharist, and You bear for us still. Now, as then, You say: “With desire I have desired.” I worship You with all my best love and awe, with fervent affection, with my most subdued, most resolved will. For a while You take up Your abode within me. O make my heart beat with Your Heart! Purify it of all that is earthly, all that is proud and sensual, of all perversity, of all disorder. So fill it with You, that neither the events of the day, nor the circumstances of the time, may have the power to ruffle it; but that in Your love and Your fear, it may have peace. Amen.

Palestrina, we love you

Here's another attempt at Sicut Cervus, this time as the offertory hymn for Corpus Christi 2008 with Rev. Fr. Couture as celebrant.

Next is Panis Angelicus as the communion hymn of the same feast. Apologies from Tenor 1 as his voice was affected by the aircond and having difficulties of hitting the high notes during pp, thus his use of falsetto. We will be attempting this again on another occasion, Deo volente. This is fast becoming our favourite piece after Sicut Cervus....

Mark of the Beast Theater

From the infamous St. Joan of Arc parish in Minneapolis, this is their so-called Palm Sunday celebration. No prizes for guessing that they believe they originate from animals, with the spirits of the animals watching over them....


Updated: The video owner has disabled embedding, but you can still view it here.

A party of old fogeys gone cuckoo

I think Simon Cowell (of American Idol fame) would say: "You can't sing, you can't dance, so stop wasting our time and get the hell out of here!"

Learn how to pray and sing TLM

I am reproducing here a posting from Argent about this...from St. John Cantius parish website. The Canons Regular have given us Sancta Missa. For $28 you get a lot! Here's the section Epistola-Evangelium

Oratio – Epistola – Evangelium

50. Oratio – Tonus Festivus
51. Flectamus Genua
52. Humiliate Capita Vestra Deo
53. Oratio – Tonus Solemnis
54. Oratio – Tonus Simplex
55. Tonus Prophetiae
56. Punctum Interrogativum
57. Tonus Epistolae
58. Tonus Evangelii – Simplex
59. Tonus Evangelii – Alter Tonus
60. Tonus Evangelii – Solemnis

Trailer for the FSSP TLM Instructional Video

This DVD makes an excellent gift to your parish priests to prod them to start celebrating the TLM in the spirit of our Holy Father Benedict XVI's Motu Proprio Summorum Pontificum. You can get it here.

Beata nobis gaudia

Beata nobis gaudia Anni reduxit orbita, Cum Spiritus paraclitus Illapsus est Apostolis. Ignis vibrante lumine Linguæ figuram detulit, Verbis ut essent proflui, Et caritate fervidi. Linguis loquuntur omnium, Turbæ pavent Gentilium: Musto madere deputant, Quos spiritus repleverat. Parata sunt hæc mystice, Paschæ peracto tempore, Sacro dierum circulo, Quo lege fit remissio. Te nunc Deus piissime Vultu precamur cernuo, Illapsa nobis cœlitus Largire dona Spiritus. Dudum sacrata pectora Tua replesti gratia: Dimitte nostra crimina, Et da quieta tempora. Deo Patri sit gloria, Et Filio, qui a mortuis Surrexit, ac Paraclito. In sæculorum sæcula.

Round roll the weeks our hearts to greet, With blissful joy returning; For lo! The Holy Paraclete On twelve bright brows sits burning: With quivering flame He lights on each, In fashion like a tongue, to teach That eloquent they are of speech, Their hearts with true love yearning. While with all tongues they speak to all, The nations deem them maddened, And drunk with wine the Prophets call, Whom God’s good Spirit gladdened; A marvel this—in mystery done— The holy Paschaltide outrun, By numbers told, whose reckoning won Remission for the saddened. O God most Holy, Thee we pray, With reverent brow low bending, Grant us the Spirit’s gifts to-day— The gifts from heaven descending; And, since, Thy grace hath deigned to bide Within our breasts once sanctified, Deign, Lord, to cast our sins aside, Henceforth calm seasons sending. To God the Father, laud and praise, Praise to the Son be given; Praise to the Spirit of all grace, The fount of graces seven— As was of old, all worlds before, Is now and shall be evermore, When time and change are spent and o’er— All praise in earth and heaven.

Ascribed to St. Hilary, Bishop of Poitiers (d. 368)

The Cistercian Monks Of Stift Heiligenkreuz

Here's a great video of the Cistercian monks of Stift Heiligenkreuz in Austria whose monastery was graced by a visit of Pope Benedict XVI last year. Enjoy!

Gregorian chanting 'can reduce blood pressure and stress'

Stress levels could be reduced simply by participating in some Gregorian chanting, researchers claimed today.

Dr Alan Watkins, a senior lecturer in neuroscience at Imperial College London, revealed that teaching people to control their breathing and applying the musical structure of chanting can help their emotional state.

He said: "We have recently carried out research that demonstrates that the regular breathing and musical structure of chanting can have a significant and positive physiological impact."

The monks of Stift Heiligenkreuz sing Gregorian melodies on their new album - the chants are said to reduce stress levels

The research involved five monks having their heart rate and blood pressure measured throughout a 24-hour period.

Results showed their heart rate and blood pressure dipped to its lowest point in the day when they were chanting.

Dr Watkins pointed to previous studies that also demonstrated such practices have been shown to lower blood pressure, increase performance hormone levels as well as reduce anxiety and depression.

The lecturer also runs Cardiac Coherence Ltd, a company that helps executives perform under stressful conditions.

He said: "The control of the breathing, the feelings of wellbeing that communal singing bring, and the simplicity of the melodies, seem to have a powerful effect on reducing blood pressure and therefore stress."

"We have found that teaching individuals to control their breathing, generate more positive emotional states and connect better with those around them – all key aspects of Gregorian chanting – can significantly improve their mental state, reduce tension, and increase their efficiency in the workplace."

Record company Universal recently chose the monks of Stift Heiligenkreuz, Vienna to make an album after responding to a public interest in the genre.

The company also believes the Halo computer game series, available on PCs and Xbox consoles, sparked a resurgence in the music traditionally sung in male church choirs, as Gregorian chant-like melodies form the main soundtrack of the games.

Source: Daily Mail

The man who will not go away

The excellent Rorate Caeli blog published excerpts from an interview with Archbishop Piero Marini in L'Osservatore Romano.

The debate on the liturgical reform effected by the Council seems today to have become again of current interest. How do you judge the path accomplished in over forty years?

I followed, from the end of the Vatican II period, the implementation of the liturgical reform for around 22 years, first in the Consilium ad exsequendam constitutionem de Sacra Liturgia, and then in the Congregation for Divine Worship. Afterwards, for over twenty years, I was able to celebrate the liturgy willed by the Council [Comment: This is a big lie. The Novus Ordo that we know today is nothing similar to the vision willed by the Council] in over one hundred nations, on the voyages of Pope Wojtyla. I have thus organized with local experts countless celebrations of the Eucharist, of the Liturgy of the Hours, of the Word of God, of sacraments, Ecumenical celebrations in so many languages and cultures. The liturgy willed by the Council [Comment: There goes the big lie again. Like the Communists, if a lie is repeated often, sooner or later the majority will accept the lie as the truth] was celebrated everywhere with lively participation and enthusiasm. Everyone understood the liturgy as specific to their local Church [Comment: What does this mean? In India, should it be Hinduized, while in Thailand should it be like a Buddhist service?] and, at the same time, as expression of the universal Church. The celebratory praxis has confirmed that the liturgical reform was necessary because it was based upon sound theological principles of perennial value. It is, therefore, an irreversible path.

The Conciliar Fathers and the Roman Pontiff, making the words of Pius XII their own, defined the renewal of the liturgy, in Sacrosanctum Concilium, as a movement of the Holy Spirit in the Church. The meaning of this affirmation is thus part of the tissue of contemporary ecclesial faith. [Comment: Typical modernist-speak. So the Faith must change to adapt to the contemporary world?]

The celebration of the liturgy cannot, therefore, be separated from the life of the Church. And the Church that lives - I quote Paul VI - is the Church of today, not the Church of yesterday or the Church of tomorrow. [Comment: The Church is the Mystical Body of Christ, Who is the same, yesterday, today, and forever]

This is the reason for which the Council concerned itself, first of all, with the liturgy. For the Council, the renewal of the Church, Ecumenism, and missionary action depend on the way in which the liturgy is lived. Yet, celebrating the liturgy of the Council [Comment: The Liturgy of the Council is according to the 1962/1965 Missal], as Pope Montini affirmed, is not an easy matter, as it is not easy living the life of the Church. Rather, celebrating the liturgy of the Council [Comment: Again, the Liturgy of the Council is according to the 1962/1965 Missal] is a difficult and delicate matter. It demands direct and methodical interest, it requires patience, perseverance, personal and loving effort, and so much pastoral charity. All this is necessary, however, if we wish that the life of the Church to be renewed, and that all may feel called to salvation. Liturgical pastoral [care] is an always permanent effort. [Comment: You mean permanent change at each priest's whim and fancy?]

Let us, therefore, be guided by the Holy Spirit who inspired the liturgical movement, Paul VI, and the Conciliar Fathers, and let us continue to bring forward, with renewed effort and enthusiasm, the liturgical ministry in our ecclesial communities.

Many have interpreted "Summorum Pontificum" as a full stop in this path of action [of Conciliar Reform]. What is your though regarding this event?

The text of the motu proprio is to be read in the context in which the Pope placed it. "Today - the Pope says in the accompanying letter addressed to the Bishops - an obligation is imposed upon us: to make every effort to unable for all those who truly desire unity to remain in that unity or to attain it anew." For us, Catholics, the Pope is the visible sign of unity in the Church, he is the Bishop of the Church of Rome called to preside over all the other Churches in charity. The Pope was called by the Lord to exercise the Petrine ministry , to make every effort so that the Church shall remain whole. He has therefore the right and the duty to provide unity to the Church. Who can deny him this duty or this obligation? The Liturgy itself, for those who live it with authenticity, is a school which shapes the very meaning of the Church in the respect of the different competences and ministries and in obedience to the one who presides it.

Finally, it should be remembered that the motu proprio does not intend to introduce modification in the current Roman Missal nor to express a negative judgment on the liturgical reform willed by the Council: the Roman Missal promulgated by Paul VI is the ordinary expression of the "law of prayer"' the Missal promulgated by Saint Pius V must be considered as the extraordinary expression of the same "law of prayer" . With this new disposition, Benedict XVI does not wish that "the authority of the Council be attacked" or that "the liturgical reform be put in doubt". On the contrary, the Pope's decision has not entailed, up to now, any change in the celebratory praxis of our ecclesial communities [Comment: So what happened to Sacramentum Caritatis (Benedict XVI), Redemptionis Sacramentum (John Paul II), and Memoriale Domini (Paul VI)? Conveniently forgotten, I suppose]. His gesture has been solely in the service of unity. Let us look forward, then, and let us continue with enthusiasm on the path carried out by the Council. [Comment: That would mean we should revert to the the 1962/1965 Missal, right?]

On clapping during the Holy Mysteries

“It is not fitting to applaud the servant in the house of his Master.” --Pope St. Pius X

“Wherever applause breaks out in the liturgy because of some human achievement, it is a sure sign that the essence of liturgy has totally disappeared and been replaced by a kind of religious entertainment.” --Joseph Cardinal Ratzinger (now Pope Benedict XVI)

Some observations of the Papal Masses in the USA

I was tempted to watch the Papal Masses available via EWTN after reading many comments on the various blogs that keeps track on this apostolic journey of Pope Benedict XVI to the United States. I will concur with the general observations that Washington D.C. had the better vestments and altar arrangement, while New York had better music, the Solemn Vespers at Washington notwithstanding. That's the good part.

Now to the bad part. I'm sure most would have heard by now how ridiculous the music was at the Nationals Stadium, Washington D.C. Nothing further needs to be said about that. I'll stick to the other two Masses in New York (St Patrick's Cathedral and Yankee Stadium). Forgive me for the rant and often uncharitable comments....but here goes:

1. What's with the ugly chasubles and mitres in New York? Didn't we hear about Msgr. Marini bringing along worthy vestments from the Vatican?
2. Is this a pop concert? What's with the clapping and wolf-whistling inside the House of God? Probably many don't believe that anymore, rather they think a church is nothing more than a community hall where everyone gathers together to celebrate, eat, drink, and be merry. Dear Holy Father, please don't encourage the people to clap further. Just get on with the Mass. We are to orientate towards Our Lord Jesus Christ, not to ourselves, right?
3. Cantors, cantors....stop drawing attention to yourselves by singing at a faster pace compared to the congregation. And what's with the outstretched arms? It's the organist's job to prompt the congregation to sing, not the cantor! Come to think of it, the organist(s) did a great job, but the cantors were out of sync.
4. Please spare us this Novus Ordo monstrosity called the Responsorial Psalm. Use the Graduale instead!
   
5. Dear deacons, the gospel sung would be nicer if you had sung it properly according to the right tone. A sung gospel is supposed to be smooth-flowing, not broken into bits and pieces.
6. Horror of horrors, the sacrilege of communion in the hand continues. But I suppose this is already a 'norm' in the Novus Ordo, just like having women as lectors. So I guess you would have been 'numbed' to this outrage if you frequent the Novus Ordo. This reminds me of the frog in the pot of water being heated slowly. Hmmm....
   
7. And of course, last but not least, with sadness we hear about "pro-choice" politicians (read that as PUBLIC sinners) openly defying the Pope and the Church regarding the reception of Holy Communion. Refusing to be confrontational, the bishops, priests and deacons who distributed communion to them are equally responsible for this blasphemy and horrible sacrilege against the Body and Blood of Our Lord Jesus Christ. And all this happening at Papal Masses. Kyrie eleison!

It was a great opportunity lost for Pope Benedict to show by example his vision for reforming the Novus Ordo, be it through the celebration of a Latin Novus Ordo, or (wishful thinking) even a Traditional Latin Mass. Most American neo-conservatives might be gushing over the inclusion of some chant and sacred polyphony. To me however, nothing major really changed from the days of Pope John Paul II's mega Masses in stadiums. How sad.

Ad multos annos

Happy third anniversary on Your Holiness' accession to the Sacred Throne of St. Peter. May Your Holiness' reign be glorious!

Papal Mass at the Nationals Stadium, Washington D.C.

He had on the “What the hell was that?” look

h/t to Hallowed Ground

On Reverent Celebration

Many people, too, concerned about these issues, will ask: Isn't it still possible to celebrate the new liturgy of Pope Paul VI worthily and reverently?. Naturally it is possible, but the very fact that "it is possible" is the weightiest argument against the new liturgy. It has been said that a monarchy's death knell sounds once it becomes necessary for a monarch to be competent: this is because the monarch, in the old sense, is legitimated by his birth, not his talent. This observation is even truer in the liturgy: liturgy's death knell is sounded once it requires a holy and good priest to perform it. The faithful must never regard the liturgy as something that the priest does by his own efforts. It is not something that happens by good fortune or as the result of a personal charism or merit. While the liturgy is going on, time is suspended: liturgical time is different from the time that elapses outside the church's walls. It is Golgotha time, the time of the hapax, the unique and sole Sacrifice; it is a time that contains all times and none. How can a man be made to see that he is leaving the present time behind if the space he enters is totally dominated by the presence of one particular individual? How wise the old liturgy was when it prescribed that the congregation should not see the priest's face - his distractedness or coldness or (even more importantly) his devotion and emotion.

- Martin Mosebach, The Heresy of Formlessness, Ignatius Press 2003

h/t to Daniel Mitsui

Liturgy, Seafood, and Thirty-One Flavors

By Kurt Poterack

Recently, a friend of mine came to Mass one Sunday at the collegiate chapel where I am themusic director. He normally goes to the parish church. Afterwards he commented, “My, you do a lot of Gregorian chant! Is that really necessary? Isn’t that too much!?” I felt like saying, “If you go to a seafood restaurant would you complain to the manager that there is too much fish on the menu?” I didn’t say this for three reasons: (1) it was one of those great comeback lines that one thinks of only hours later, (2) as a true friend I preferred an explanation to a comeback, and (3) while it makes sense to me and most of the readers of this journal, it probably would have absolutely confused him. Instead I said, “I’m being obedient to Vatican II, article 116 of the Liturgy Constitution”—to which he replied, “Really, I don’t know too much about such things. I suppose I have a lot to learn.”

Now this person is not a liberal Catholic by any stretch of the imagination. He is quite orthodox in matters of doctrine, faith, and morals—and quite devout—but simply does not have much of a liturgical culture. My entrée with him was an argument from the Church’s magisterium. (We were interrupted, but I intend to continue the conversation at some point in the future.)

I know of a number of good Catholics like this. Someone similar said to me a while back, “High Mass, low Mass, charismatic Mass, Latin Mass, how can someone say that one Mass is better than another?” Again, I said, “Oh, but the church herself says that the sung High Mass is the more noble form of worship, Article 113 of Vatican II’s Liturgy Constitution.” I then proceeded to explain that, though a low Mass celebrated on the hood of a jeep by a military chaplain in time of war is objectively the same as a Pontifical High Mass celebrated in St. John Lateran, there is a reason why the church has many times practiced (and recommends) the latter, while the former is only practiced in emergency situations.

What I am finding, in this era of the New Liturgical Movement, is that the liturgical culture of most Catholics has been absolutely decimated—and I am talking about good practicing Catholics. What such Catholics have been left with is a kind of a neo-Thomistic focus on the validity of the consecration and then, lacking a liturgical culture, they fill the void with an American consumerist mentality—a kind of a Baskin-Robbins’ 31 flavors mentality. In other words, “I like Chocolate, he likes Vanilla, she likes Butter Scotch Rum, as long as we eat the same validly made ice cream, it doesn’t matter. There is no normative flavor.” It is totally a matter of subjective, individual choice.

One cannot appeal to such Catholics, at least initially, using aesthetic arguments or even cultural arguments—because there is no normative liturgical culture which they know. They do, however, respond to arguments from authority.

The thing is, though, that there is this objective liturgical cultus that has been the Roman Rite for centuries. Gregorian chant is the music that is normative, proper to the Roman Rite. It is the only music in the official liturgical books for this reason. The Church has continuously taught this throughout the twentieth and twenty-first centuries. Any other music is there by means of addition or substitution for the normative, official music—Gregorian chant.

This is not to deny that these valid “substitutions” can happen to varying degrees based upon pastoral prudence and even subjective choice. The problem is that these subjective choices have been allowed and practiced to such a great degree over the past forty years that the Roman Rite’s very own music has been almost totally erased in the actual experience of probably a majority of Catholics.

The Roman Rite as an actual historical cultus with its own traditions, customs and music has been considerably dimmed. At least before Vatican II Catholics knew “what the score was” even if many of them would go to a more stripped down low Mass because it was quicker.

If I could continue with my restaurant analogy, too many Roman Rite Catholics have been going to seafood restaurants that have been serving little to no fish. They need to learn that, whatever their subjective preferences, fish will be a big part of the menu.

Kurt Poterack is editor-at-large of Sacred Music. He teaches music at Christendom College. poterack@hotmail.com

Source: Winter 2007 Volume 134, Number 4 Sacred Music

Some Holy Week pictures from the Chapel Pt 1

Here are some Holy Week pictures to share with all of you. More coming soon! Pictures are not in chronological order.

Father Salvador blessing the baptismal water.
Father blessing the Paschal Candle.
Dipping the Paschal Candle into the baptismal water 3 times to signify Christ's baptism in the Jordan.
The Paschal Candle.
Prostrating before the altar at the beginning of the Good Friday Liturgy.
The altar of repose on Maundy Thursday.

Happy Pascha! Christ is risen!

A blessed and Holy Pascha to all! Here's a list of Paschal greetings from around the world:

Language	Greeting	Response
Aleut:	Khristus anahgrecum!	Alhecum anahgrecum!
Aleut:	Khris-tusax agla-gikux!	Agangu-lakan agla-gikux!
Albanian:	Krishti U Ngjall!	Vertet U Ngjall!
Alutuq:	Khris-tusaq ung-uixtuq!	Pijii-nuq ung-uixtuq!
Amharic:	Kristos tenestwal!	Bergit tenestwal!
Anglo-Saxon:	Crist aras!	Crist sodhlice aras!
Arabic:	El Messieh kahm!	Hakken kahm!
Armenian:	Kristos haryav ee merelotz!	Orhnial eh harootyunuh kristosee!
Athabascan:	Xristosi banuytashtch'ey!	Gheli banuytashtch'ey!
Bulgarian:	Hristos voskrese!	Vo istina voskrese!
Byelorussian:	Khrystos uvaskros!	Saprawdy uvaskros!
Chinese:	Helisituosi fuhuole!	Queshi fuhuole!
Coptic:	Pchristos aftooun!	Alethos aftooun!
Czech:	Kristus vstal a mrtvych!	Opravdi vstoupil!
Danish:	Kristus er opstanden!	Ja, sandelig opstanden!
Dutch:	Christus is opgestaan!	Ja, hij is waarlijk opgestaan!
English:	Christ is risen!	Indeed He is risen!
Eritrean-Tigre:	Christos tensiou!	Bahake tensiou!
Esperanto:	Kristo levigis!	Vere levigis!
Estonian:	Kristus on oolestoosunt!	Toayestee on oolestoosunt!
Ethiopian:	Christos t'ensah em' muhtan!	Exai' ab-her eokala!
Finnish:	Kristus nousi kuolleista!	Totistesti nousi!
French:	Le Christ est réssuscité!	En verite il est réssuscité!
Gaelic:	Taw creest ereen!	Taw shay ereen guhdyne!
Georgian:	Kriste ahzdkhah!	Chezdmaridet!
German:	Christus ist erstanden!	Wahrlich ist er erstanden!
Greek:	Christos anesti!	Alithos anesti!
Hawaiian:	Ua ala hou 'o Kristo!	Ua ala 'I 'o no 'oia!
Hebrew:	Ha Masheeha houh quam!	Be emet quam!
Hungarian:	Krisztus feltamadt!	Valoban feltamadt!
Ibo ( Nigeria):	Jesu Kristi ebiliwo!	Ezia o' biliwo!
Indian (Malayalam):	Christu uyirthezhunnettu!	Theerchayayum uyirthezhunnettu!
Indonesian:	Kristus telah bangkit!	Benar dia telah bangkit!
Italian:	Cristo e' risorto!	Veramente e' risorto!
Japanese:	Harisutos Fukkatsu!	Jitsu ni Fukkatsu!
Javanese:	Kristus sampun wungu!	Tuhu sampun wungu!
Korean:	Kristo gesso!	Buhar ha sho nay!
Latin:	Christus resurrexit!	Vere resurrexit!
Latvian:	Kristus ir augsham sales!	Teyasham ir augsham sales vinsch!
Lugandan:	Kristo ajukkide!	Amajim ajukkide!
Norwegian:	Christus er oppstanden!	Sandelig han er oppstanden!
Polish:	Khristus zmartwyckwstal!	Zaprawde zmartwyckwstal!
Portugese:	Cristo ressuscitou!	Em verdade ressuscitou!
Romanian:	Hristos a inviat!	Adeverat a inviat!
Russian:	Khristos voskrese!	Voistinu voskrese!
Sanskrit:	Kristo'pastitaha!	Satvam upastitaha!
Serbian:	Cristos vaskres!	Vaistinu vaskres!
Slovak:	Kristus vstal zmr'tvych!	Skutoc ne vstal!
Spanish:	Cristo ha resucitado!	En verdad ha resucitado!
Swahili:	Kristo amefufukka!	Kweli amefufukka!
Swedish:	Christus ar upstanden!	Han ar verkligen upstanden!
Syriac:	M'shee ho dkom!	Ha koo qam!
Tlingit:	Xristos Kuxwoo-digoot!	Xegaa-kux Kuxwoo-digoot!
Turkish:	Hristos diril - di!	Hakikaten diril - di!
Ugandan:	Kristo ajukkide!	Kweli ajukkide!
Ukrainian:	Khristos voskres!	Voistinu voskres!
Welsh:	Atgyfododd Crist!	Atgyfododd yn wir!
Yupik:	Xris-tusaq Ung-uixtuq!	Iluumun Ung-uixtuq!
Zulu:	Ukristu uvukile!	Uvukile kuphela!

Source: OCA