Tuesday, November 13, 2018

SEX CAPPARUM: And a New Book to Explain it All.

Here's a somewhat quick design for the celebration of a Solemnity which we call Sex Capparum on account of requiring six cantors vested in copes (cappae in late Latin).



Sex Capparum is the the term used for the triple celebrations in the Gothispanic and early Mozarabic Rite.

You can read about this and much more in our treatise on the matter now sold through Amazon.

It entails the decoration of all "three choirs" (the area of the altar, the area of the choir proper, and the area of the nave) with wall hangings, carpets, flowers, greenery and whatever else is customary.

The triple choir refers also to the the fact that "one choir" can mean a pair of choristers as required for the Memoriae II Capparum and the two pairs required for the Festa IIII Capparum.

Three choirs is generally interpreted as refering to the the three spaces (altar, quire and nave) occupied by the good Christians, but also the three pairs of choristers that from the north and south, facing each other, will sing the complex melodies of the celebration of a Solemnia VI Capparum.

For the solemnities, it is these six members of the chapel who vest in copes who are in charge of the melismatic singing peculiar to the Rite and is known as Eugenian or Melodic Chant.

The difference between our Eugenian Chant and the Gregorian Chant of the Roman Rite is the profusion of melesmas or florid adornment during sung vowels.  In Gregorian Chant one sings many syllables on one note, whereas we sing many notes for each syllable.




The image, besides the position of the six Caperos that constitute the triple choir,  shows the relative positions of the Lector, Subdeacon, and Deacon for their respective readings.

The celebrant seats "ante altare" since the curtains to the altar are open from the beginning of vespers which is the start of the Liturgical Day on account of the mass not being a Feria.

This allows the deacon to occupy the central tribune (aka pulpitum in Latin or chaire in French)  near the altar which is where the celebrant seats when the altar remains veiled on the Feriae until the Sacrificium (which is the equivalent of the roman Offertory).



The Lector and the Subdeacon reads the first two of the three readings, the Prophetia and Apostolus, while standing on escabeles  - small movable steps which raise them somewhat to be better heard by the people beyond the chancels of the roodscreen.  As we discussed here, the roodscreen is in Germany called the lettner, for it was from here that the readings took place.  In the Use of Sarum, albeit with its variations, this was also observed:





In the middle of the choir ("in medio chori") stands the bema (another movable tribune)  with the object of the celebration  - be it icon, image, baptismal font, bride-and-groom, catafalque, ordinant, or the Gospels as in the Feriae.

In this case it is a representation of the newborn Jesus in a Manger, which tells us that the scene is during the readings preceding the Mass of the Nativity on Christmas Eve.  Something of this use can still be seen in the mass at Saint Peter's Basilica at least on Christmas albeit not being the most common thing to see in the Roman Rite:

Related imageImage result for christmas vatican

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And the eastern orthodox churches  also still place icons in this position to this day.

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This set up is for public worship at a parish church, since architecture determined the degree of architecture allowed, the form and rubrics to be followed.   We have worked on a book on just these peculiarities of the Gothispanic Rite and early Mozarabic which did not survive past the reforms of the Cardinal Cisneros onto the Hispano-Mozarabic Rite celebrated in Toledo today, though vestiges of them dot the particular uses of many of the Hispanic provinces even though they follow the Roman Rite.



This project has been more than a decade in the works, and we feel it should add some light to the  peculiarities of the Gothispanic and Early Mozarabic Rite not as some sort of archaism, but a link between the liturgies of The Church before schisms and ruptures with tradition left her wanting of these intangible, cultural treasures.

Get a copy! Just click on the Book cover and then you know the steps.  Ultimately, 20% of all Profits go to Charity.  The rest, to fund research for future tomes and translations.




Many thanks for your interest and support!









Thursday, February 22, 2018

NO FAT TUESDAY FOR THE MOZARABS


In the Gothispanic and Early Mozarabic Rite, Lent begins on the Monday preceding the Roman Rite’s Ash Wednesday.  Tuesday, then, is not a time for carnival (saying goodbye to the meats)  but rather, the Sunday prior.

Our Carnival occurs on the Sunday “In Carnes Tollendas” which translates to “When the Meats are Removed” for indeed, fasting begins the following day: Monday.

With that Monday, then, begin the 40 days of Lent or preparation for the Pascal Mystery.

If you count the days, however, there seem to be 46 days in Lent, not 40 but there is a couple of  technical reasons for this:

1-      The six Sundays of Lent are not counted as fast-days, for they are Feasts of the Lord.  This is signified by keeping the altar visible from the Vespers on the evening of the sixth feria (Saturday) until after the Sunday mass is achieved.  We must remember that the altar remains veiled by curtains on all of the feriae, and no memory, feast or solemnity is celebrated during Lent in this Rite… not even that of Our Lady, for which the 18th of December was invented instead - Her Feast of the Expectation that initiates the octave to Christmas.  For Lent, the altar remains veiled for 40 of the 46 days except during the canon of the mass.
2-     In Holy Week, meaning the feriae after the sixth Sunday of Lent (aka Palm Sunday) includes Monday, Tuesday, Wednesday and Thursday.   These four feriae plus the six feriae preceding the six Sundays of Lent are what yield the 40 days of fasting  4+(6x6)=40.
3-     Holy Thursday is included because liturgical days begin the evening prior.  Thence, the Quarta Feria begins on the evening of the Tertia Feria of Holy Week (Wednesday evening). 
4-     The Extraordinary Service of The Institution of the Lord’s Supper which is celebrated as the beginning of The Holy Triduum is thus, technically, after the 40 days have been achieved.   It is performed after the reconciliation of the Penitents and last instruction of catechumens so they may partake in the Pascal Mystery achieved by Easter.
5-     The Triduum in Tenebris is not part of Lent.  The stripping of the altar, the curtains and extinguishing of every last light signifies the darkness (the Tenebrae) which can and will only be resolved with the lighting of the new fire on the beginning of the Resurrection (Easter Vigil which begins on the Sexta Feria which is Holy Saturday).
6-     During the Triduum in Tenebris, no lights are lit in the churches for the sake of ceremonial contrast against the Easter season of light.  For this reason, the liturgical functions such as the exit from the church after the expoliation of the altar on the Fourth Feria (Holy Thursday), Veneration of the Cross on the Fifth Feria and the Gathering of the faithful before the lighting of the new fire on the Sixth Feria (Easter Vigil) occur during the day (usually around 3pm or “hora nona”) so there is no need to light candles and the symbolism is preserved.  The natural sun light is otherwise blocked by window curtains or shutters according to the rubrics.

APPENDIX


Feast -0  Sunday In Carnes Tollendas (NOT part of Lent)
First week of Lent, called “In Carnes Tollendas”             6 Feriae
Feast - I Sunday of Lent                                                                    +
            Second week of Lent                                                              6 Feriae
Feast -II Sunday of Lent                                                                   +
Third week of Lent                                                                6 Feriae
Feast -III Sunday of Lent                                                                 +
Fourth week of Lent                                                              6 Feriae
Feast –IIII1 Sunday of Lent                                                             +
Fifth week of Lent                                                                 6 Feriae
Feast -V Sunday of Lent                                                                   +
Sixth week of Lent                                                                 6 Feriae
Feast -VI Sunday of Lent  = Palm Sunday                                    +
Holy Week                                                                              4 Feriae2
                                                                                                ___________
                                                                                                40 days of Fasting

***
The 6 Sundays are not counted, for they are not days of fasting on account of being celebrated as Feasts of the Lord.
Of the 40 days of fasting: 36 are the Feriae in during Lent, plus the 4 days of Holy Week prior to the beginning of the Liturgical Triduum.

***
1-IIII is used instead of IV in the Gothic Kingdom and the liturgical texts of its tradition in the Hispanic provinces and Gallia Narbonensis.

2-Holy Thursday (the 4th Feria) has its ordinary vespers, matins and mass before the “extraordinary” mass that commemorates the Institution of The Lord’s Supper, Stripping of the Altars, Washing of the Feet and Charity Meal for those who had their feet washed - ceremonies which begin and form part of the Holy Triduum.  It is deemed extraordinary, in part, because of its extensive and particular rubrics compared to all the other days preceding it.





This is part of a couple of books which we are in the process of editing, explaining the rites and rituals of the precursor of what you may know as the Hispano-Mozarabic Rite which is a result of the 16th century Cisnerian reforms.  

Our aim is bringing to light the earlier practices in hopes of enriching the patrimony of the Catholic Church with aspects which have been re-interpreted through modernizing paradigms and interpolations which ultimately has created new forms and forgotten some of the old.  Part of this, a key to decipher Eugenian Chant and later Mozarabic Chant.

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Monday, February 19, 2018

No Sex Capparum For Lent

Here's a somewhat quick design for the celebration of a Solemnity which we call Sex Capparum on account of requiring six cantors vested in copes (cappae in late Latin).

Sex Capparum is the the term used for the triple celebrations in the Gothispanic and early Mozarabic Rite, which is forbidden throughout Lent even if it were the feast of your Patron Saint.   



It entails the decoration of all "three choirs" (the area of the altar, the area of the quire, and the area of the nave) with wall hangings, carpets, flowers, greenery and whatever else is customary.

The triple choir refers also to the the fact that "one choir" means a pair of choristers where one faces north and the other south at the quire of the church.  Alternatively, one simple choir is required for the Memoriae II Capparum (Simple Feasts) and the two pairs required for the Festa IIII Capparum (our Double Feats).

The three pairs of choristers that face each other from the north and south will sing the complex melodies of the celebration of a Solemnia VI Capparum.

These six members of the chapel who vest in copes for the celebration of the Hours and Mass of the greatest feats, are in charge of the melismatic singing peculiar to the Gothispanic and Early Mozarabic Rite,  known as Eugenian or Melodic Chant.

The difference between our Eugenian Chant and  Gregorian Chant (as coined in the  Roman Rite) is the profusion of melesmas or florid adornment during sung vowels.  In Gregorian Chant one sings many syllables on one note, whereas we sing many notes for each syllable.

***

The image, besides the places of the six Caperos that constitute the triple choir,  shows the relative positions of the Lector, Subdeacon, and Deacon for their respective readings.

The celebrant seats "ante altare" since the curtains to the altar are open from the beginning of vespers which is the start of the Liturgical Day on account of the mass not being a Feria.

This allows the deacon to occupy the principal tribune (aka pulpitum in Latin or chaire in French)  near the altar which is where the celebrant seats when the altar remains veiled on the Feriae until the Sacrificium (which is the equivalent of the roman Offertory).

This is all part of an introductory text on the Gothispanic and Early Mozarabic Rites in the works, whose aim is explaining some of the particular liturgical practices which have not filtered through the Cisnerian reforms of the sixteenth century to become what scholars have reconstructed into the Hispano-Mozarabic Rite.

We already spoke about the importance of architecture in the liturgy designed by Saint Isidore (patron saint of the internet! yes..) and the other bishops of Spain from the 6th thru 11th centuries here.

Along with this, we are preparing another introductory text on Eugenian Chant with a key which we hope will help the music scholars decipher our apparently elusive neumes.

As now it is Lent, all altars remain veiled, no melodic singing, organum or for that reason, choirs vested in copes are allowed.  No Gloria, no Allelujas, no carpets, no flowers, no bema-tribune with icons or statues in medio choro nor days in which the curtains of the altar remain open for longer than the duration of the mass (other than Sundays).  None of this shall be again until the Vigil of Easter - when instead of the Newborn Jesus (of the image here), the Pascal Candle (or sometimes with it the baptismal font) will be center-stage. 

All time of preparation is in faith of a Resurrection if we have faith, is it not?

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More concrete details to follow soon.


Tuesday, January 16, 2018

A Chalice Pall Original


Last December we had the honour to work on a Chalice Pall for Canon Francis Altiere of the Institute of Christ the King in Kansas.  This is a square of linen stiffened with board which is used to cover the chalice while it is at the altar.  This prevents foreign objects (which can range from pieces of plaster from the ceiling to gnats, or even the strong aroma of the incense) mixing with its contents.  As with everything connected with the honour and glory due to God, it is fitting to render it as beautifully as our humble hands and imaginations can manage.  This is the result of our latest efforts:



It was a special piece since we worked on it through the Feast of the Expectation (also called "Maria de la O" because of the "Oh-Antiphons" sung that week) which is the octave preceding Christmas.  It paralleled the labors of the Virgin Mary and by the 25th, as the new-born King was celebrated, so too His name had already been embellished with these pearls on Wisdom in the pall.


Aptly, it reached Canon Altiere in time to be used for the Epiphany. You can see images of the celebration at the Old Saint Patrick's Oratory facebook page.

We would like to share our process towards making our one of a kind pieces when we are commissioned here at Klave Centesca.

We usually have an initial communication to understand the purpose, place, and circumstances for which the work is required.  Sometimes it is the look of a chalice, style of an altarpiece or time period which sparks the imagination.

The image is then translated into a couple of design options.  In this case, we had discussed a sunburst with the IHS in the center, perhaps embellished with some pearls:




From the initial choices, we have a starting point to tweak the design further.  We always aim at creating a one of a kind piece.  


Once digitized, we discussed a few other options and came up with these further variants after settling for the "Romanic" border with pearls.

 
Then which trim to choose?












And finally after we convene on the final details, the piece is finished. 

The Chalice Pall with Pearl Embroidery in white Linen and Gold commissioned by Canon Francis Altiere, Christmas 2017


Picking and choosing from the different options is always a possibility, as in this case Canon Altiere suggested using the same metal flowers he had seen on a mitre we did a couple of years ago but without the embroidered rosettes:


 As you can see, this is why we always call our pieces a collaboration.  Coming up with something extraordinary is our mission, but greater things always come out when we work together with you.

Be mindful that all the other unrealized designs are still available to commission, all you have to take is the first step and contact us by writing to info@klavecentesca.com 

Happy New Year to All! 

May Christ's Light Shine on All.