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:
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.
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.
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.
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.
I’ve just returned from pilgrimage to the Anglican Shrine of Our Lady of Walsingham in Norfolk. It was my first visit, and I wasn’t sure how it would be, but am glad to say it was entirely positive.
I first had opportunity to go to Walsingham while at theological college in St Michael’s College, Llandaff. The organisers were a couple of fellow students of the all-too-common pompous and precious branch of Anglo-Catholicism, rank and file Forward in Faith. I didn’t go when offered, knowing these colleagues to be theologically shallow and unpleasant to be around. And that was that: Walsingham remained in my mind associated with an exclusive and unwelcoming sect.
That was thirteen years ago. This time I went to Walsingham with my parish: my vicar and nine parishioners. Walsingham remains a centre for Forward in Faith, a place where Anglicans opposed to the ordination of women can pilgrimage and feel at home. However, there is a substantial section of Anglican Catholics, who might also wish to be described as ‘traditionalists’, who not only fully support the ministry of women, but is led by women priests. It is important that this section of the church continue to be represented at the shrine, stopping it from becoming an exclusive gentlemen’s club.
