Gaudete Sunday is upon us. Priests wear rose colored vestments on the third Sundays of Advent and Lent, to suggest a pause or lift in the penitential focus of these seasons, appropriate because of the initial Latin words of the collects for these Sundays, which mention rejoicing.
The first mass of Christmas, in the Extraordinary Form will be at St. Anthony Catholic Church at 10:00 p.m. not midnight. Please take note, there will NOT be a midnight mass but will be celebrated two hours earlier at 10:00
The Propers of mass menu (right column) has been fixed. Feel free to download and use these propers I created for the Latin Mass Community of St. Anthony. They represent an entire year of work. Larry Bethel also put in a good amount of time in proof reading the propers as well as covering the cost (of the printed material). I used to insert these propers into the red missalettes before mass each week. Do you think there is still a need?
This unusual vestment color, optionally worn only twice a year on Gaudete and Laetare Sundays, are for the joyful days in the middle of penitential seasons. That black vestments were formerly worn in these seasons makes this color contrast even greater.
The Latin rosacea is translated as rose-colored, but of course roses can be red, white, pink, or yellow or many other colors in the warm part of the color gamut. So we ought to look closer at history.
Traditionally, textile dyes were made from organic sources, often with little or no special processing. Because of the limited number of natural dyes that were available before the introduction of the first synthetic dye in 1856, we can often quite accurately deduce the precise colors of historical textiles. The bright pink often used as the liturgical rose color probably dates no earlier than the 1960s, when fluorescent dyes were first broadly used.
Rose Madder is an organic dye, made from the root of the madder plant, which was extensively used until its active ingredient, alizarin, was synthesized in the late 19th century. This was the traditional rose-colored dye used since remote antiquity in Egypt. Due to its relative weakness, the use of this pigment was limited to textiles rather than for oil paint.
O come, O come, Emmanuel is a translation of the Latin text ("Veni, veni, Emmanuel") by John Mason Neale and Henry Sloane Coffin in the mid-19th century. It is a metrical version of a collation of various Advent Antiphons (the acrostic O Antiphons), which now serves as a popular Advent hymn. Its origins are unclear, it is thought that the antiphons are from at least the 8th Century, but "Veni, veni Emmanuel" may well be 12th Century in origin. The text is based on the biblical prophecy from Isaiah 7:14 that states that God will give Israel a sign that will be called Immanuel (Lit.: God with us). Matthew 1:23 states fulfillment of this prophecy in the birth of Jesus of Nazareth.
It is believed that the traditional music stems from a 15th Century French processional for Franciscan nuns, but it may also have 8th Century Gregorian origins. It is one of the most solemn Advent hymns.
One widespread practice in the Catholic Church has two subsequent verses sung each week of Advent, beginning with the First Sunday of Advent as verses 1 & 2. The Second Sunday of Advent, verses 3 & 4 are sung. On the Third Sunday of Advent, verses 5 & 6. On the Fourth Sunday of Advent however, verses 1 & 7 are then sung.
Performance variations exist today over the rhythm of the music. Many performances pause after "Emmanuel" in both the verse and the chorus, or extend the final syllable through a similar count. Often however, performances omit these pauses to emphasize the meaning of the chorus: "Rejoice, rejoice, Emmanuel shall come to thee O Israel". If a pause is included, the meaning may be confused, as an audible comma is perceived between "Emmanuel" and "shall come to thee...", changing the grammatical subject of the sentence from Israel to Emmanuel. Rushing the first and final lines to omit the pause produces a greater sense of movement, which may or may not be desirable in performance as it contrasts with the unhurried pace of the remainder of the song.