Category: Liturgy

Liturgy (Greek λειτουργία, leitourgia) is the activity of Christian worship.

How to Chant the Collect to the Simple Tone

On By Gareth Gilbert-HughesIn Anglicanism, Christianity, Featured, Liturgy, MusicLeave a comment

Here is my video tutorial (40 minutes) on how to sing the Collect at Holy Communion.

In this video, I give a basic introduction to chanting the Collect at Holy Communion according to the Simple Tone.

The celebrant at Holy Communion says or sings the Collect appointed at the close of the gathering rite.

There is a great tradition of singing this prayer. Singing it helps underline its importance.

There are a few tones for singing the Collect, but this is perhaps the best one to learn. It only has four notes and can be pitched by the celebrant at a comfortable level.

In this video, I look at a sample Collect — the Collect for Advent Sunday from A Prayer Book for Australia — and examine its structure before learning how to sing it. Learning the structure of each Collect helps us understand its meaning and also helps us convey that meaning to the congregation.

I then practise chanting the text to one note (recto tono or ‘monotone’), and recommend this as good practise for learning how to chant well. Then I begin adding each inflexion or cadence one by one until the whole chant is assembled. I give some suggestions for the not-so-musical to help find the notes. I finish by showing how I might mark up the text without music so that I can sing directly from the prayer book.

A PDF of the full music seen in this video is available here:

Collect TutorialDownload

Pass Decani on the Gospel Side: and other adventures in spiritual choreography

On By Gareth Gilbert-HughesIn Anglicanism, Featured, Liturgy5 Comments

There is a tradition or two when it comes to naming directions or positions of things in a church. Most of the time, front, back, left and right make sense if we keep the point of view of standing in the nave facing the main altar, but the church has developed its own directional glossary.

Liturgical compass

Traditionally, churches have been oriented with the altar at the east. There are some major churches of which this is not true (the high altar of the Vatican Basilica is at the west end), and some modern ones which have abandoned this convention. There are also a fair few that are not quite on an east-west axis.

Whatever the actual compass reading, we can call the altar end of the church ‘liturgical east’ and name the other cardinal directions from it. This is particularly helpful if a church has one or more secondary altars that are not oriented parallel with the main altar. Most of the ceremonial is carried out as if the altar were to the east.

Sometimes it is important to know where actual east is. At a time when most Catholic masses were said with the priest’s back to the congregation (ad orientem, ‘to the east’), the Vatican and other Roman churches with high altars at the actual west celebrated mass with the priest facing the congregation across the altar (versus populum, ‘opposite the people’) so that the priest could celebrate facing actual east. Now that most masses are celebrated versus populum, the Vatican arrangement appears less unusual.

Major architectural features are often known by their compass position: west window, south door, north transept. These tend to be used when the actual compass directions and the liturgical ones more or less align. If one knows the high altar is to the east, everything else is easy to locate.

Choir: decani and cantoris

In terms of choir singing and placement, the Latin terms decani and cantoris are used, often abbreviated to dec. and can.

Decani means ‘of the dean’ (decānī is the genitive singular of decānus) and refers to the liturgical south (congregational right) side of the choir, where a cathedral’s dean would normally be seated.

Cantoris means ‘of the cantor’ (cantōris is the genitive singular of cantor) and refers to the liturgical north (congregational left) side of the choir, where a cathedral’s precentor (‘foremost cantor’) would normally be seated.

Decani and cantoris are used even in churches that do not have deans or precentors, owing to the importance of cathedrals in sustaining choral music.

In Salisbury Cathedral, the dean and precentor are seated in the first return stall on their respective sides. These are the first, east-facing, stalls to each side on entering the quire from the crossing. As Sarum was the liturgical norm of pre-Reformation England and Wales, this arrangement was followed in cathedrals of the Old Foundation, which have deans and precentors as their senior clergy, and has become the standard elsewhere.

In the monastic cathedrals, where the senior cleric under the bishop was the prior, he often sat on the liturgical north (congregational left). Thus, some cathedrals of the New Foundation (those that were monasteries) seat the dean in the former prior’s stall, opposite to where the Sarum dean is placed, and decani and cantoris are reversed (this is true of Benedictine Durham and Augustinian Carlisle, and a couple of other places).

These terms are especially used in Anglican chant where the music is sung antiphonally, passed back and forth between the two sides of a choir. In antiphonal singing, decani generally sings first, answered by cantoris. In typical singing of the psalm at choral evensong to Anglican chant, the entire chant is sung in full (both decani and cantoris together in harmony) over what is usually the first two verse (in double chant). Then decani sings alone in harmony, and then cantoris sings alone in harmony, and so on, with Gloria Patri (‘Glory be to the Father …’) sung in full at the end. Some choirs will alternate the starting side, often every week.

Gospel and epistle sides

The other set of directional terms are ‘gospel’ and ‘epistle side’. The simple definition is that the epistle side is the liturgical south (congregational right, decani) and the gospel side is liturgical north (congregational left, cantoris).

There are all sorts of explanations for this. The simplest is that Christ is seated at the right hand of the Father, the place of honour, and, if we face God in prayer, that is our left. Thus, Jesus’ Good News, his Gospel, is preached from that side. Mediaeval churches often have the lectern built on the epistle side and the pulpit on the gospel side. This is so that the gospel could be proclaimed from the righthand side of the Father.

To reflect this, the priest at low mass would move the missal, from which all lessons are read, from the epistle side of the altar, after reading the epistle, to the gospel side, for reading the gospel.

Post-Vatican II liturgical thought has focused on a unified proclamation of the Word at the heart of the mass. Practically, this is often expressed by use of a central ambo (either fixed or movable) from which all lessons (including usually the responsorial psalm) are proclaimed. However, Pope Francis has begun using both an epistle-side and a gospel-side post in his outdoor masses, with the readings made at the epistle-side lectern and the gospel from the gospel side.

Terms such as epistle and gospel side are often used to describe positions in the sanctuary. For example, the paschal candle is placed on the gospel side of the sanctuary and the sedilia (or ministerial chairs) are on the epistle side.

These terms are also used to refer to the order of lighting and extinguishing altar candles. Candles on the epistle side are first lit, then those on the gospel side. In each case, if there are multiple candles on each side, those closest to the centre, to the cross, are lit first, moving outwards on that side before moving to the other. The extinguishing of candles is done in reverse order: gospel side, out to in, then epistle side, out to in. When the paschal candle stands in the sanctuary, it is at the gospel side and is lit before any altar candles and is the last extinguished. The story is that this is supposed to represent the spread of the light of the gospel moving from the Mediterranean south to the dark, barbaric north, and so southern candles are lit first. The story was probably invented spiritually to explain why a certain practice is followed. It is more likely to have come about because the right is the side of honour.

Right as the side of honour, but which right?

Traditionally, the right (dexter) is the side of honour, having higher importance than the left (sinister). Sorry, lefthanders.

This explains why the congregational right is where the dean is seated and the decani half of the choir sings first. It also explains why the candles are lit first on the congregational right of the altar and why the sedilia is also placed on that side.

The other right is the congregational left. It is the righthand side from the point of view of Christ on the altar cross, or of God in Trinity whom we address in prayer and praise. This is why the gospel is proclaimed from this righthand side and the paschal candle put there.

Thus, stripping aside all pious explanations, it seems that, throughout liturgical history, important things and people were placed on the right. However, seeing as both sides can be seen as right, some things follow the one convention and some the other.

A recorded instance of this flipping of viewpoint can be seen in the 1488 publication of a ceremonial by Augustine Patrizi, bishop of Pienza, near Siena. Whereas formerly the altar’s left and right side had been named from the congregational viewpoint (and that of the priest celebrating ad orientem), this new ceremonial insisted that the left and right hands of the outstretched corpus of the altar cross should determine directions, leading to their complete reversal. This was then accepted by Pope Pius V (excommunicator of Elizabeth I), entering the first standardised set of rubrics of the first ‘Tridentine’ missal of 1570.

The bishop’s throne (cathedra) is most traditionally set in the apse behind the high altar of the cathedral, facing west. The inconvenience of the position and the filling of apses with chapels and shrines led to a removal of the cathedra to the quire, where in many cases there was already a secondary throne. There it is usually placed on the south side, decani, as is the choir cathedra of Greek bishops, facing north. An alternative, often followed in more modern cathedrals, is to place the throne on the north side, the gospel side, of the sanctuary, facing south. In Anglican parish churches, a chair is often kept for the bishop when they visit. When in use, it is usually placed on the centre line of the church facing west. When not in use, it is traditionally placed on the gospel-side wall of the sanctuary facing south.

In English parish churches, I have seen the incumbent’s stall placed on either of the two rights, decani or the gospel side. In many places there are identical stalls on each side, the other being for the parish clerk, Reader or curate. It may be that the designated sides have swapped over time.

Continue reading “Pass Decani on the Gospel Side: and other adventures in spiritual choreography” →

Welcoming the new vicar: institutions, collations and inductions

On By Gareth Gilbert-HughesIn Featured, Liturgy7 Comments

I have three clergy friends who are soon to move to new parishes, and have been preparing for their services of welcome. The ecclesiastical nomenclature of these services is complex: one friend is having a collation and induction, another a licensing and installation, and the third an institution and induction. As I am a college chaplain, it has been a while since I have had these done to me, but, as a patron’s representative, I have been involved in a fair few of these services in recent years.

Wigs and seals and tippets and chimeres: thus shall we be known!

The service of welcome for a new vicar, rector or what-have-you is a fairly recent phenomenon, growing to near universal popularity through the 20th century. Before we did public ceremonies, these were fairly private acts of canon law. The twofold naming — an X and Y — is down to the separate admission of the candidate to the spiritualities and temporalities of the benefice.

  • The spiritualities include the responsibility to perform divine service, occasional offices, preach, teach and hold the cure of souls (pastoral care). As the diocesan bishop is chief pastor of the diocese, admission to the spiritualities is given by them or their commissary (often an area, suffragan or assistant bishop, but can be any cleric).
  • The temporalities are the actual legal possession of the benefice as property. In the past this would mean tithes, fees and glebe, but is now a more limited right to manage the property and control the benefice. Nowadays there are many more posts that are ‘incumbent status’ rather than actual incumbencies, usually attracting the name Priest in Charge or Team Vicar, which are exercised by licence rather than right, and the legal possession of the temporalities is lacking.

There are three terms used to describe the handing over of the spiritualities of a benefice: licensing, institution and collation.

  • All beneficed clergy are licensed to their cure of souls, but the term ‘licensing‘ is properly used for the formal admission of Priests in Charge, Team Vicars and others of ‘incumbent status’. The bishop or their commissary grants the spiritualities in a licence that sets out their responsibilities and the limitation to their term.
  • Many Vicars or Rectors who are actual incumbents will instead receive a Deed of Institution, which is effectively the same as a licence, but unlimited in term. Here is the complicated bit! The patron or patrons of the benefice are given permission to present the chosen candidate to the benefice, the bishop then admits the candidate to the benefice and institutes them. Thus, institution is the final step in this ruritanian appointments process over which the bishop has two vetoes: they may veto the patron or patrons’ choice of candidate, and they may refuse to admit (although it is unlawful for a bishop to veto Crown presentations, they may still refuse to admit the candidate). The admission is technically the bishop’s right to examine the candidate before institution (patrons can appeal against a bishop refusing to admit a candidate, and the legal process differs depending on whether or not the bishop cites doctrinal grounds for refusing to admit). If the patron or patrons fail to present a candidate (it used to be within 6 months of vacancy of benefice, but that cannot surely still hold true), the bishop then has the right to collate a candidate, then that right goes to the archbishop if the benefice is still vacant, and ultimately to the Crown. With our modern system of job interviews, the interview panel, which often includes the patron or patrons, makes a decision to nominate a particular candidate, and the patronal presentation and episcopal admission are expected to follow suit.
  • Wherever the bishop is sole patron, rather than presenting to themselves, the system is streamlined into what is called a collation, which merges the presentation, admission and institution into one. If the bishop is one patron among others, the full process has to take place.

It used to be the case that all licensing, institutions and collations happened at the bishop’s chapel or wherever the bishop happened to be. As we have so many bishops today, a bishop comes to the parish church to do these things. If a patron is at the service, they will make a ceremonial presentation. Then the candidate will make oaths and declarations, to which the bishop or commissary will assent to admit them. Then the candidate kneels before the seated bishop or commissary, who reads the licence or deed of institution or collation over them, while the candidate holds the seal attached to it.

How many rings of the bell is enough?

The admission to the temporalities is quite simple after all of that. If one is instituted or collated, the temporalitites are given in the form of an induction. If one is merely licensed, then there are no associated legal property rights. The term ‘installation‘ is used to describe the purely symbolic act of placing a new pastor in their stall, and is used to fill the position where an induction would otherwise happen. Even then, some ceremonies are described as ‘institution, induction and installation’, even though the latter can be seen as a non-essential part of any induction. The bishop issues a mandate of induction usually to the archdeacon to induct the candidate that they have instituted or collated. Often the rural or area dean receives the mandate instead of the archdeacon, if the latter is unavailable, and some dioceses have ancient rights about who may induct whom.

The core of the induction is an act of property transfer, a business deal, which is carried out by the mediaeval practice of the livery of seisin: the property is transferred by passing it, or an object representing it, from the hand of the giver to the hand of the receiver in front of witnesses. At its minimum, this means that the archdeacon or some other places the candidate’s hand on the latch of the church door or the key in the lock while the churchwardens witness. Induction, therefore, has to happen at the church (and only one church is necessary in multi-parish benefices, as the property is legally bundled together so that possession of a symbolic part is possession of the whole), and induction actually happens outside of the church, at the door, whence the incumbent is inducted into the building.

The induction has accrued a number of other symbolic actions. The archdeacon’s dainty taking of the incumbent’s hand on a step dance around the interior of the church is a most delightful custom. The new incumbent’s tolling of the church bell was originally to inform the parishioners habemus vicarium (‘the vicar’s here’), as they were not present at the church for the induction. All sorts of superstitions are associated with this tolling, thinking it indicates how vigorous the incumbent will be in mission or for how long they will stay. Lancelot Andrewes had the tradition of getting new incumbents to write on the back of their mandate of induction the following: accepi clavem, intravi solus, oravi, tetigi sacra, pulsavi campanas — ‘I received the key, I entered alone, I prayed, I touched the sacred things, I tolled the bells’. I do find something romantic in this practice of the new incumbent going alone into the church to pray, touch and toll. It is unclear precisely what is meant by tetigi sacra, whether it is the touching of the consecration points of the church, or the more likely touching of the font and altar, symbolizing sacramental responsibility. However this tangendum (‘touchy feely’) is the origin of the archidiaconal waltz and the crackerjack game of seeing how many baptismal ewers, chalices and Bibles the new incumbent can hold, symbolic of the pressures of ordained ministry, to which the addition of the rite of installation, taking of one’s seat, must come as a relief.

Accepi clavem, intravi solus, oravi, tetigi sacra, pulsavi campanas

I received the key, I entered alone, I prayed, I touched the sacred things, I tolled the bells

Lancelot Andrewes

When most parishioners took no part in these ceremonies, the reading in of the new incumbent on the first Sunday (or at least within a certain fixed period) was the point at which they received their pastor. This is the formal reading of declarations, and I think at one time included the incumbent’s recitation of the 39 Articles to prove how legit they were. While a much curtailed reading in still occurs, it is a hangover from the time when all the other things were done semi-privately. The practice of the new incumbent giving notices, which include a declaration of the next Sunday’s times of service, at the end of their service of welcome appears to be a descendent of promising the archdeacon or rural dean that they will read themselves in on the Sunday.

Watch and pray

On By Gareth Gilbert-HughesIn Featured, Liturgy2 Comments

Liturgists are often accused of focusing on the pointless minutiae of Christian worship; to the accusers, this articles is a gift! I want to discuss the rarely discussed issue of wearing a watch while ministering liturgically.

Bishop Conley wearing a watch.
Bishop Conley wearing a watch.

The photograph to the right shows Bishop James Conley of the Catholic Diocese of Lincoln, Nebraska. Everything about him in this picture is dignified and elegant in the context of Mass. All except his wristwatch. At first, it looks like a chunky Casio G-Shock on a rubber strap, but it might be something a bit more sophisticated on a ‘gun metal’ bracelet. It is rather obvious, and that is partly because he has chosen to wear it on his right wrist. Priests always bless with their right hand and perform most liturgical gestures with the right, so a watch on the right is always going to have more presence. The picture of Bishop Conley would probably not have jumped out at me if he had worn his watch on the left.

The wristwatch became popular in the early twentieth century. Earlier wristwatches tended to be for women, an alternative to wearing a watch on a chain or ribbon around the neck and worn on a bracelet. It is odd to think of the wristwatch as feminine: pocket watches were the then masculine style. War changed things; it always does. Officers coordinating manoeuvres of troops advancing under rolling artillery barrages were issued wristwatches as they needed to be able to check the time constantly while keeping their hands free. Wristwatches quickly became popular after the First World War but were still considered rather gauche in certain circumstances. In the early 20th century, it would have been unusual for a priest to wear a wristwatch at the time of divine service. I am not sure that there have any been instructions against priests wearing wristwatches while ministering liturgically, but quite a few retired priests have the habit of removing their wristwatch in the sacristy before celebrating.

Most wristwatches have a crown at 3 o’clock. They are traditionally worn on the left wrist so that one could easily wind and adjust them with the right hand (a watch worn on the right is still awkward to work with the left hand, even for a left-handed person, as the hand will cover the face). With the advent of quartz and digital watches, this became less of an issue, and many now wear their watch on their right wrist as a matter of personal choice. However as was noted above, a priest wearing a watch on the right wrist will be constantly flashing it at every liturgical gesture.

Pius IX (1792–1878) was perhaps the first pope to wear a watch and was gifted with a Patek Philippe pocket watch. Pope John Paul II was known to wear a silver-gold Rolex Datejust, which is fairly mid-range as far as Rolexes go (and the same model as worn by the Dalai Lama). Pope Benedict XVI was given a rather fine Junghans Tempus Automatic. Pope Francis wears a little black plastic Swatch. They all wear or wore their watches on their left wrist, and all are fairly subtle, even John Paul II’s Rolex was fairly discreet. The lesson perhaps is that, if a priest wears a wristwatch, it should be a subtle model worn on the left. Even when worn on the left, certain two-handed liturgical gestures — greeting with arms outstretched, raising the Gospel, the orans position, and the elevation of the Eucharistic gifts — can make the watch visible.

Popes and their watches

Some older patterns of cassock come with a small pocket for a pocket watch. The Wippell version has this pocket high on the left breast, while others have it slightly above the waistline, on the left also, so that it is covered by the cincture. One point is that it is virtually impossible to check a pocket watch whilst vested in a surplice or alb, and perhaps there is a meaning deeper than Houdini-like moves in white linen here.

The time of prayer and praise should be timeless. In liturgy, there is a foretaste of the heavenly banquet, and therefore of eternity. I remember one dapper gent at a formal dinner (which are two-a-penny in Oxford) telling me that he thought it incorrect to wear a watch with a dinner jacket, thinking it symbolizes a rather rude indication that one might have other plans. Surely this argument is even more appropriate for divine worship.

In my last parish, the vicar and I would often check our watches at the end of the main Sunday Mass to see how long the service had taken. There is a lot to pack into a big Parish Mass, and it is important to be respectful of the time of congregants. The parish at which I preached last Sunday has a little pocket-watch-shaped indentation on the top edge of the pulpit, sadly sans watch, and, likewise, the good timing of a sermon is important. In the past, a church clock might be the only timekeeper in the parish, so we have a long interest in telling the time (out loud). There is a discipline here of the punctuality needed to honour others and God that leads us to worship, and the timelessness within worship.

My Orient Bambino.

To the right is a picture of my Orient Bambino Automatic. It is really cute and quite reasonably priced. Its classic look makes it suitable for wear with the cassock. Its case is a little on the large size, but it remains subtle. I retain the watch for choir offices but have taken to removing it before celebrating Mass for the reasons cited above. I pray

O God, thou art Lord of all time and eternity : in the slenderness of this time that we give unto thy praise, fill thou thy servants with a foretaste of thy eternal promises, through Jesus Christ our Lord.

How to have a feminist wedding in church

On By Gareth Gilbert-HughesIn Anglicanism, Featured, Liturgy8 Comments

Laura Bates, the founder of Everyday Sexism Project, is getting married: congrats! She has written in the Guardian about how to have a feminist wedding. Basically, it is an example of the personal being political. Laura Bates writes about her personal choices, which she has every right to make, but many feminists would lament that she did not go far enough in demonstrating her feminist credentials. A close feminist friend showed me the article and described it as retrogressive and non-radical. I feel somewhat more forgiving, as the article is much more one woman’s very personal choices and wrestling with deeply ingrained sexism of this traditional rite of passage.

I have been celebrating weddings as a priest of the Church of England for the last fifteen years, in Darlington, West Wiltshire, London and Oxford. I’m a man priest and a feminist (not too common a combination, sorry!) and I believe that it is easily possible to have a feminist wedding in church. The Church of England will not be offering same-sex marriages any time soon, but will probably get round to it in time for your gay children to enjoy the grace of this sacramental union.

Here is my how-to guide to feminist weddings in the Church of England.

Know the difference between folk tradition and liturgy

When most people think of church weddings they think of white dresses, bridesmaids, bouquet, giving away and all that kind of stuff. Absolutely none of this is required in a wedding in the Church of England. Even Laura Bates agonized about having to say she would ‘obey’ her husband, only to find her local rector tell her that the requirement to promise obedience was long gone (actually for a few decades longer than her rector told her).

The feminist threshold.

Here is the key thing: there are things that the church legally requires for weddings, and then there is a lot of folk tradition and unrealistic expectations that is heaped on top of it, like burying an expertly baked cake under a gallon of squirty cream!

Liturgy is the words and actions used in church services (and a whole lot deeper than that too). The Church of England’s most recent set of liturgies was published in the year 2000, and is called Common Worship. You can find the wedding liturgy from Common Worship on-line (you can also download a complete PDF with all the marriage texts). Anything that is not specified in that is optional. So no white dresses, bouquet, bridesmaids, obeying or giving away, unless, of course, you want it.

Put down the wedding books — that are just about keeping the charade going — and read the wedding liturgy. The church has designed it to be gender equal by default!

There is also a financial advantage to knowing this: the church’s fees for weddings are set nationally and are not really all that steep. The huge expense of church weddings lies with all the expected but non-mandatory trappings. The central act of joining hands before the altar comes with a price tag of a few hundred pounds paid to your local church.

Cutting back on the folk traditions surrounding and suffocating weddings with patriarchal symbolism is an exercise in managing expectation. If you are a feminist, yet, like Laura Bates, feel that you cannot marry without some of the traditional trappings, then that’s really OK. It is tough to go against the expectations of a society, your family, and even your own emotions. Just make your feminism clear in other ways, and demonstrate that no patriarchal symbolism is intended.

Continue reading “How to have a feminist wedding in church” →

A spotter’s guide to Anglican dress-up

On By Gareth Gilbert-HughesIn Anglicanism, Featured, Liturgy10 Comments

This is a somewhat lighthearted look at what Anglican clergy wear in church. It is particularly for those who want a field guide to spotting Church of England clergy, but may work elsewhere in the Anglican Communion, albeit the C of E is far broader (in a few dimensions) than most other Anglican churches. Here are the five rough categories of Anglican dress-up

Reformed tradition

Old picture of the author wearing Anglican choir habit.
Old picture of the author wearing Anglican choir habit.

This is the form of vesture that was eventually created for the Church of England after the Reformation: cassock (double-breasted of course), surplice, hood and scarf are the main ingredients. This tradition remains strong amongst conservative evangelicals and old low-church traditionalists. Its centuries as the official vesture of clergy make this the top trump of Anglican style: never wrong for any liturgical occasion, in spite of what the invite might say. If you’re really lucky, an adherent to this style might preach in gown and bands. Wigs, unfortunately, are now uncommon.

Liberal tradition

This takes its cue from Vatican II and 20th-century moves to liberalise and simplify vesture: cassock-alb and stole are the main ingredients (the bare minimum to satisfy canon law). This is the vesture of the lead character in Rev, and is now the norm in middle-of-the-road Anglicanism. The cassock-alb is like the liturgical equivalent of Ugg Boots. While it is possible for the cassock-alb to be simple, unfussy, it is far too easy for things to go pear-shaped — an oatmeal polyester pear. Stoles and scarves (whatever the difference might be!) make use of nice, often personalised, embroidery. Whenever two or more clerics of this persuasion meet there will inevitably be a colour clash, often enough to turn sensitive Anglo-Catholics low church.

Abolitionist tradition

The reformed and liberal traditions did not go far enough for some for whom even a clerical collar is dressing up: no vestments is the idea. This tradition is most popular among charismatic evangelicals. Even here there is a spectrum of fashion: those who wear a suit because they mean business, and those who wear jeans because they want to be down with the kids. Of course, not wearing vestments is as much as a statement as wearing them, and draws attention to and even clericalizes what is worn instead (as the blue suit and tie has become in some protestant churches). Celebrating main Sunday services regularly in this manner is a flagrant breach of canon law, but the bishop will try not to notice.

Sarum tradition

The liturgical ‘archaeology’ of the late 19th and early 20th centuries, led Percy Dearmer, among others, to seek and revive a distinctively English pre-Reformation vesture, particularly from the Sarum liturgy books. The point was to look Catholic without looking Roman: a way of being high church without the wholesale adoption of Roman fashions. The thoroughgoing version of this tradition is all but extinct: there are very few who use one of the reinvented Sarum liturgical colour schemes (brick red, blue, yellow?) or consider resurrecting the almuce (fur is not an ethical look). Yet its mixture of dignified, simple catholic vestments at mass (mostly now from the Roman tradition than any real attempt to recreate Sarum norms) alongside the seriously Anglican surplice and scarf at offices (the reformed style) meets some refined expectations, and it has become the standard Anglican compromise in many of the big establishment churches, like cathedrals, major churches and Oxbridge chapels. Anything too Roman is rejected: lace, birettas, skullcaps and cottas. Anything too liberal is likewise rejected: cassock-albs, polyester, communion without a chasuble.

Roman tradition

Perhaps because the Roman Church sets out its rules on vesture with such detail it is attractive to Anglo-Catholics: cassocks, albs, chasubles and cottas are the order here. In many ways, the late 19th and 20th centuries have seen much of this tradition become mainstream in the church: particularly noticeable is the use of Roman liturgical colours. One might say that the liberal and Sarum traditions above are simply Roman style repackaged for Anglican sensibilities. Lace and birettas are the mark of serious adherents to this persuasion, and surplice and scarf are out. There are some of this tradition who are more into the Vatican-II style (liberal style but with separate cassocks and albs, plus chasubles), where others are positively Tridentine (pass the maniple, Father!).

Old picture of the author wearing Anglican choir habit.

A spotter’s guide to Evensong

On By Gareth Gilbert-HughesIn Featured, Liturgy23 Comments

Evensong is a peculiar Anglican creature. It is the liturgy that has become the most distinctively Anglican and has become a treasured bulwark of tradition. This article is a little, geeky exploration of what is Evensong and its sub-species.

The word ‘Evensong’ is first documented by the OED in the Old English of the Canons of Ælfric (c. 1000) as æfen-sang. Until the Reformation, this English word was used to describe the office of Vespers, the seventh of the round of eight daily offices, said just before sunset.

Archbishop Thomas Cranmer produced two drafts of how the reformed Church of England should pray each day. The first, more radical plan was to consolidate the eight offices down to two. When, eventually, Henry Tudor junior died, Cranmer was free to produce the first Book of Common Prayer, published 1549. Its two daily offices were named ‘Matins’ and ‘Evensong’ (the former being the name of the first of the pre-Reformation offices, which also had the colourful Old English name uht-sang, which persisted as ‘Oughtensong’ in Middle English). With Cranmer’s revised Prayer Book of 1552, the quaint (or poetic) names of the two offices were officially replaced with the more robust (or prosaic) ‘Morning and Evening Prayer’. Yet the old names continued to live on, to the extent that it is rather daft to speak of ‘Choral Evening Prayer’.

Because of the pressures on Sunday mornings, especially with the restoration of the Parish Eucharist as the main Sunday mid-morning service, major celebrations of Matins have become rather few and far between. However, in twilight isolation Evensong has remained strong. In the nineteenth century, the ‘Fully Choral Service’ became a sign of aspirational excellence in neo-gothic, middle-class churches, aping cathedrals with their processions and besurpliced choirs. I believe that movement has skewed our understanding of  Evensong to assume that only a proper Choral Evensong will do, when we have forgotten how to do a good — liturgically and musically — Evensong that is suited to a church that cannot really cope with the demanding choral repertoire.

What about those sub-species?

Continue reading “A spotter’s guide to Evensong” →

Campra Requiem

On By Gareth Gilbert-HughesIn LiturgyLeave a comment

Hertford College, Oxford: performance of Campra's Requiem
Hertford College, Oxford: performance of Campra’s Requiem

Last night, I had the great privilege of celebrating our annual requiem mass here at Hertford College Chapel, Oxford. The Chapel Choir, Soloists and Players, conducted by Senior Organ Scholar Ed Whitehead performed André Campra‘s Messe de Requiem. Listen to the recording below.

Because of it themes of death and mortality, risen life and immortality, many composers have set the liturgical texts of the requiem to music. The requiem takes its name from the first line that is sung in the service: Requiem æternam dona eis, Domine, ‘Give them eternal rest, Lord’. The second line is et lux perpetua luceat eis, ‘and let light perpetual shine upon them’, and Campra focuses on the repetition of luceat, ‘shine’, as his keyword for the entire work. These two lines begin the introit, or entrance antiphon, but are repeated at various points in the service.

André Campra (1660–1744) was variously maître de musique in Toulon, his home town of Aix, Arles, Toulouse, Montpellier, Notre Dame de Paris and the chapelle royale of Louis XV. He excelled in composing opéra-ballets, and this musical style influenced his sacred music, much to the ire of his ecclesiastical patrons.

Campra’s Requiem is scored for a baroque chamber orchestra, choir and at vocal trio consisting of haute-contre, tenor and bass. Its movements include the usual ‘ordinary of the mass’: the Kyrie, Sanctus and Agnus Dei. Alongside these staples, he set the four proper antiphons for a requiem mass: the Introit, Gradual, Offertory and Communion antiphons. Strikingly, Campra omitted music for the lengthy requiem sequence Dies Iræ, with its fire-and-brimstone vision of the day of judgement, which had come to be seen as pastorally inappropriate. Neither did he set an excerpt from it, such as Lacrimosa or Pie Jesu. Instead, Campra’s glorious Offertory antiphon — the Domine Jesu Christe — takes centre stage, with surging, uplifting music as the priest goes to the altar and prepares bread and wine.

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Ancient & Modern: history and future

On By Gareth Gilbert-HughesIn Anglicanism, Featured, Liturgy, Music2 Comments

As the ninth edition of the hymnal Ancient & Modern has been published — the most popular stable of hymnbooks in the Church of England — here is a little Ancient & Modern history, followed by a few thoughts on what the 21st century holds for hymnbooks.

For my review of the ninth edition of Ancient & Modern, see Ancient & Modern: a review.

A little Ancient & Modern history

The history of Hymns Ancient & Modern begins with a chance meeting on a train between two hymnal editors. In 1852, Francis Murray had published the Hymnal for Use in the English Church; William Denton had produced his Church Hymnal in the following year. Both were Tractarians, and their publications were part of a great flood of hymnals that rode in the wake of the Oxford Movement. Much of the content of these hymnals were archaeological recoveries of ancient and mediaeval hymns in Latin and Greek. John Mason Neale‘s Hymnal Noted (1852 & 1854) is the prime example of this tradition. Murray and Denton’s conversation on the train seems to have been about the problem of a profusion of hymnals targeted at the various niche congregations within the church. They gathered a group of hymnologists to form the future ‘proprietors’ of Hymns Ancient & Modern. Denton only remained with the project for a few months (possibly because the 1855 second edition of the Church Hymnal was starting to sell more copies), but the proprietors were now ably led by Henry Baker with William Henry Monk as music editor. They produced a trial selection of 138 hymns in 1859. In 1861, most of these found their way into the collection of 273 hymns that was the first edition of Hymns Ancient & Modern. The name of the hymnal referred to the fairly even division between the ‘ancient’ — patristic and mediaeval hymns mostly translated from Latin — and the ‘modern’ hymns of the eighteenth and nineteenth centuries.

‘Eternal Father, strong to save’ with the tune Melita.

The subsequent appearance of the Appendix to the hymnal in 1868 showed a desire to keep the book fresh. In 1875, Monk produced the second edition, being the first in a line of composers to steer the project, and it was this edition that cornered the hymnal market in the church. It was so popular that the 1904 New and Revised Edition, which was otherwise a perfectly decent third edition, was roundly rejected for rearranging hymns and giving them new numbers. This forced the proprietors to abandon it and return to the popular, previous edition of Monk, bound with its supplement by Charles Steggall (1889), which became known contrastingly as the ‘Old Complete Edition’. In 1916, a second supplement was added by Sydney Nicholson, and, in 1922, he lightly edited the hymnal to produce the Standard Edition.

Gerald Hocken Knight and John Dykes Bower took over as editors, producing the more heavily edited Revised Edition in 1950, adding new hymns and removing those that had not stood the test of time. In 1983 the pruning continued, with almost half of the hymns in the Revised Edition being removed and all 200 of the combined contents of 100 Hymns for Today (1969) and More Hymns for Today (1980) being uncritically added without being dispersed among the remnant, producing the New Standard Edition. Both the Revised (AMR) and the New Standard (AMNS) editions remain in use in many churches. In 2000, the hymnal was rebranded Common Praise as an accompaniment to the liturgy of Common Worship. Common Praise included a fair number of hymns that were traditionally indicative of the rival stable of the New English Hymnal, which encouraged some churches and cathedrals that used the latter to make the switch, and continued the concept of it being a single hymnal of broad appeal. The supplement Sing Praise was produced in 2010 (New English Praise, a similar supplement to New English Hymnal came out in 2006). In 2013, these two were combined and edited together as Ancient & Modern, dropping the Hymns from the title.

A 21st-century hymnal?

Some might question the need for hymnals in the digital age. A minority of churches use digital projectors to ‘shew forth’ hymn and liturgical texts for their congregations. Though this emphasizes the corporate nature of worship — singing from the same hymn sheet! — it can make worship something observed, something virtual. Only once in my life have I been to an Anglican church where everyone had a single volume of the Prayer Book bound with a hymnal, and that was in rural Co. Antrim. Most other churches present the worshipper with more or fewer books, booklets and sheets. Increasingly, hymn texts for the service are printed on a pew sheet, and hymnbooks have become the preserve of the choir and organist, and a resource directory for those who select hymns for services. The trend for ever larger hymnals (the latest edition of Mission Praise has 1250 entries) suggests that compilers recognise that the hymnbook has become more of a resource than an aid in worship, placing inclusion ahead of exclusion. It would be good to have a large scale survey of churches using this hymnal, at some point in the future, to see what the usage rate of each item is.

I commented before that it would take 2½ years to sing through all 847 items without repeating one, given four hymns every Sunday morning and three in the evening. Of course, there are always going to be some hymns that are not to the taste of clergy, musicians and congregations, and others that are repeat favourites. Some of the liturgical items might be used week in, week out, or not at all. The question is how many hymns does an individual church need at any given time. A cheeky answer might be: only the few that we are singing in this service. However, my question is how big can an individual church’s repertoire of hymnody be. I am sure there is some variation here. One response would be to create print-on-demand hymnals tailored to a church’s choices and traditions, yet perhaps this might take us back to the disunity that Francis Murray and William Denton deplored when they met that day on the train.

For my review of the ninth edition of Ancient & Modern, see Ancient & Modern: a review.

Ancient & Modern: a review

On By Gareth Gilbert-HughesIn Anglicanism, Featured, Liturgy13 Comments

My copy of Ancient & Modern: Hymns and Songs for Refreshing Worship (2013) has just arrived. It is the ninth edition of what is the most enduring and popular lineage of hymnals in the Church of England. We currently use Common Praise (2000, the eighth edition of A&M), in the College Chapel. My former churches have used Sing Glory (1999), Ancient & Modern New Standard Edition (1983) and New English Hymnal (1986) as their main hymnbooks, which is progress of sorts! Unlike some churches, the Church of England has never had an official hymnbook, but the Ancient & Modern stable comes closest to a standard.

For some background and a couple of thoughts about hymnals in the 21st century, see Ancient & Modern: history and future.

Ancient & Modern has 847 items: the largest inventory in this hymnbook’s history, beating the 779 hymns of the Standard Edition (1916 & 1920). Not all of these are hymns, some are liturgical songs and ‘short chants’. It is not too much of a surprise that this is an increase on the 628 hymns of Common Praise. However, seeing that the intermediate supplement Sing Praise (2010) has 330 entries, there has been a bit of a cull. I guestimate that around 150 hymns in Common Praise have been cut (inexplicably, the cloying ‘In a world where people walk in darkness’ (CP 476, AM9 677) has survived!). I confess to some alarm that so many hymns that were thought necessary of inclusion 13 years ago have proved disposable. It makes me wonder how many in the current volume will last as long. The proprietors actually suggest that those who already have Common Praise should make the lesser investment in Sing Praise rather than switching directly to the new edition. I believe, though, that would mean that there would be around fifty or more items in the ninth edition that those with the two previous volumes would be missing.

Physically, the full-music editions of the two hymnals, eighth and ninth editions, are about the same size. Although this is perhaps due to my old Common Praise being stretched with use, the paper used for the ninth edition is clearly thinner, yet this has not led to a reduction in print quality. Unlike some poorly produced editions of Hymns Old & New (nothing to do with Ancient & Modern), verso print does not obviously show through on the recto, and vice versa. The same typesetter and music engraver, the laudable Andrew Parker, worked on the two editions, yet there has been progress toward a brighter, clearer printing. Music and textual credits have been moved to the bottom of the page, into space, allowing for a little more information to be given. For the three translations of Phos hilaron are given their Greek title in Greek script: a nicely revived tradition that flatters the singer. These three are John Keble’s text set to John Stainer’s Sebaste at 17, Christopher Idle’s more recent offering at 18 and Robert Bridges’s at 20, with the latter being the preferred translation of the rival English Hymnal tradition.

It would take 2½ years to sing through all 847 items without repeating one, given four hymns every Sunday morning and three in the evening. Of course, there are always going to be some hymns that are not to the taste of clergy, musicians and congregations, and others that are repeat favourites. Some of the liturgical items might be used week in, week out, or not at all.

The arrangement of the hymns follows the tried and tested pattern of the A&M stable: the diurnal of morning and evening, the seasons of the church year, saints’ days, a few service themes and the lucky dip of ‘Hymns throughout the Year’ (the odd name of the category used in Common Praise) or ‘General’ (the more sensible title in the ninth edition). The ninth edition’s categories are a joy: after the saints’ days, there are decent selections of hymns for Christian initiation, marriage, and funerals and the departed. Then there are selections of hymns chosen for use in a generalised sequence of sections of church services: gathering, penitence, the word of God, canticles and affirmations of faith, prayer and intercession, Holy Communion, and sending out. These mix hymns with liturgical texts, like the three modern Kyries (370–2) in the penitence category; the first is that from James MacMillan’s Mass of the Blessed John Henry Newman. The word category begins with the traditional sixth-mode Alleluia (374), and goes on to provide an Alleluia setting by Bernadette Farrell (376) and James Walsh’s Pilgrim’s Alleluia (377) — I am left to wonder why the Stanbrook Abbey hymn ‘Bright as fire in darkness’ intrudes at 375. There is also a Marty Haugen song that can be used as an Alleluia at 385, demonstrating the problem that items are arranged mainly in alphabetical order within categories rather then rational groupings. Thankfully the metrical Magnificats and other canticles are grouped together. The category for prayer and intercession includes a number of simple, modern chants that can be used as sung responses to supplications. It is not necessarily obvious, but four metrical settings of Gloria in excelsis Deo (413–16) are in the Holy Communion category, followed by two settings of Sanctus (417, 418) and one Agnus Dei (419). The 61 items in this category could really have done with a finer level of grouping within the category.

The later categories of themes — the church’s ministry and mission, wholeness and healing, sorrow and lament, creation and the environment, justice and peace, and national and remembrance — are welcome, if still slightly thin. Even with all of these categories, there are still 246 ‘general’ hymns (29 % of the inventory). Still, this is an improvement on the like category of 265 hymns in Common Praise (42 %). There are hymnals, like Mission Praise, Sing Glory and Hymns Old & New, that take the unimaginative approach of arranging all their entries in alphabetical order of their textual incipits (though I do remember some old copies of Mission Praise took a unique approach to the alphabet!). Given a decent index, and the ninth edition has indexes aplenty (read on if you, like me, sadly spend more time in hymn indexes than with the hymns themselves), it makes sense to organise things by sensible categories and relationally. Thus, I am sure the compilers saw the need to keep the lucky dip to a minimum, recognising it as a sign of methodological laxity. A rough grouping of these hymns by theological themes would have been a welcome change, alongside better grouping of items within the other categories. The group of 17 ‘short chants’ at the end, mostly from Taizé and Iona, alongside some in other categories, will be a welcome addition in many churches.

The indexes include the now standard and practical parade of biblical index, hymn suggestions for each Sunday and major feast, alphabetical index of tunes, metrical index of tunes, index of composers, index of authors, and the index of first lines and tunes. Alongside these there is a list of hymns ‘suitable for all-age worship’ that some might use, but also a particularly handy thematic index that lists hymn numbers appropriate to a wide range of theological and other themes. Some of these (e.g. marriage) exactly reproduces a category, adding the belt to the braces. Yet this extra index shows an appropriate response to the problem of categories: what to do with those items that fit multiple categories. It also allows for themes that are too vague to have been categories (e.g. water).

The influence of Hymns Old & New (first Anglican Edition in 1986, with the popular New Anglican Edition a decade later, now superseded by others) can be seen in the ninth edition. Although Hymns Old & New has had major flaws in its musical arrangements and production quality, it brought together favourite hymns with choruses, praise songs and chants. Its coup was to provide what many churches wanted. Starting with Sing Praise, the Ancient & Modern tradition began to incorporate this wider repertoire, and the ninth edition includes symbols for guitar chords above the music for some items, thankfully not following Hymns Old & New in providing them for all items, even where they conflict with the musical arrangement.

For controversialists, Stuart Townend and Keith Getty‘s ‘In Christ alone my hope is found’ is included (678), with its words ‘the wrath of God was satisfied’ in the second verse. Whereas some have rewritten the line, Getty has, understandably, refused to allow it to be used with an altered text. While American Presbyterians have recently decided to omit the hymn because of that line, it now makes Ancient & Modern look doctrinally brave/timid for including it.

For some background and a couple of thoughts about hymnals in the 21st century, see Ancient & Modern: history and future.