Nearly all of the most prominent Catholic prayers are set to music, typically in the form of a chant setting. The Mass, the greatest prayer of all, developed to be fully sung; in the Extraordinary Form it would be the Missa Solemnis and Missa Cantata, and in the Ordinary Form the majority of the prayers have the option to be chanted. Singing has multiple purposes; it adds another layer of expression and dimension to the text, unifies the group more so than just recitation, and notably regarding the prayers of the Church, it is easier to comprehend the text in a large acoustic space without the aid of sound equipment. The great Marian prayer, Salve, Regina is an example of a prayer that is set to music.
Salve, Regina is a 11th century Marian prayer developed as an option for the final prayer of Compline in the Divine Office. It also the concluding prayer of the Rosary. Many orders, most notably the Order of the Preachers, have a strong devotion to this prayer, where they have an option to use it as the concluding prayer of Compline throughout the year, and they sing/recite it at the deathbed if a member of the Order.
Salve, Regina is a beautiful prayer in which the petitioner calls on the Blessed Mother as holy Queen, mother of mercy, a titled given to Mary after her coronation into Heaven. Following this petition is a series of expressions, which outline the petitioners grief and desperation for help. This leads towards the petition that the Blessed Mother intercede on our behalf, and help us to be closer to Christ. The prayer concludes with three beautiful adjectives of the Blessed Mother as a sigh of hope and trust.
This prayer, both as the concluding prayer of Compline and the Rosary demonstrates that though we might be going through desperate times or entering the dark of night, we have an advocate to intercede on our behalf, and help us to be brought closer to Christ.
Salve, Regina, Mater misericordiæ, vita, dulcedo, et spes nostra, salve. Ad te clamamus exsules filii Hevæ, Ad te suspiramus, gementes et flentes in hac lacrimarum valle. Eia, ergo, advocata nostra, illos tuos misericordes oculos ad nos converte; Et Jesum, benedictum fructum ventris tui, nobis post hoc exsilium ostende. O clemens, O pia, O dulcis Virgo Maria.
Hail, holy Queen, Mother of Mercy, Hail our life, our sweetness and our hope. To thee do we cry, Poor banished children of Eve; To thee do we send forth our sighs, Mourning and weeping in this vale of tears. Turn then, most gracious advocate, Thine eyes of mercy toward us; And after this our exile, Show unto us the blessed fruit of thy womb, Jesus. O clement, O loving, O sweet Virgin Mary.
On the Sunday after Trinity Sunday (or Thursday if a parish follows the Extraordinary Form), the Church celebrates the Solemnity of Corpus Christi, or the Most Holy Body and Blood of Christ. This great feast calls the faithful to refocus on the Eucharist. Throughout the liturgy it features Eucharistic language, which emphasizes Christ’s suffering, death, and resurrection, helping the faithful to more fully worship, give honor, and reminds the faithful that Christ is fully present, body and blood, soul and divinity in the Eucharist.
The Solemnity of Corpus Christi originated out of France in the early 13th century, and was decreed a feast in the Universal Church by Pope Urban IV in 1264. On the behest of Pope Urban IV, St. Thomas Aquinas, the preeminent theologian of the era, composed the Office of Corpus Christi. Aquinas wrote several hymns, a sequence, and the prayers for both the Mass and the Divine Office. One of the hymns that Aquinas composed for Corpus Christi was Pange Lingua.
Pange Lingua is a Eucharistic hymn explaining the transformation of the bread and wine into the Body and Blood of Christ. It is a hymn filled with theology and Scriptural quotations. The hymn begins with acclamation of praise detailing the purpose of Christ. The second stanza emphasizes the doctrine that Christ was indeed true Man and true God and mentions his ministerial life on Earth. The third stanza tells of the institution of the Eucharist when Christ broke bread with his disciples before his death and resurrection. The fourth stanza details the mystery of Transubstantiation, that the substance of the bread and wine are transformed in the substance of the Body and Blood of Christ. The fifth stanza is a vehicle for the singer to give adoration to the Eucharist. Lastly, the sixth stanza is a concluding doxology to the triune God.
Pange Lingua one of the most important hymns in the canon of Catholic hymnody. It is prescribed to be sung on Holy Thursday during the transfer of the Blessed Sacrament to its place of reserve and the final two stanzas (often just known as Tantum Ergo), and it is sung at Benediction of the Blessed Sacrament.
1.Pange, lingua, gloriósi 1. Sing, my tongue, the Saviour's glory, Córporis mystérium, Of His Flesh, the mystery sing; Sanguinísque pretiósi, Of the Blood, all price exceeding, Quem in mundi prétium Shed by our Immortal King, Fructus ventris generósi Destined, for the world's redemption, Rex effúdit géntium. From a noble Womb to spring.
2. Nobis datus, nobis natus 2. Of a pure and spotless Virgin Ex intácta Vírgine, Born for us on earth below, Et in mundo conversátus, He, as Man, with man conversing, Sparso verbi sémine, Stayed, the seeds of truth to sow; Sui moras incolátus Then He closed in solemn order Miro clausit órdine. Wondrously His Life of woe.
3. In suprémæ nocte coenæ 3. On the night of that Last Supper, Recúmbens cum frátribus Seated with His chosen band, Observáta lege plene He, the Paschal Victim eating, Cibis in legálibus, First fulfils the Law's command; Cibum turbæ duodénæ Then as Food to all his brethren Se dat suis mánibus. Gives Himself with His own Hand
4. Verbum caro, panem verum 4. Word-made-Flesh, the bread of nature Verbo carnem éfficit: By His Word to Flesh He turns; Fitque sanguis Christi merum, Wine into His Blood He changes: Et si sensus déficit, What though sense no change discerns. Ad firmándum cor sincérum Only be the heart in earnest, Sola fides súfficit. Faith her lesson quickly learns.
5. Tantum ergo sacraméntum 5. Down in adoration falling, Venerémur cérnui: Lo, the sacred Host we hail, Et antíquum documéntum Lo, o'er ancient forms departing Novo cedat rítui: Newer rites of grace prevail: Præstet fides suppleméntum Faith for all defects supplying, Sénsuum deféctui. When the feeble senses fail.
6. Genitóri, Genitóque 6. To the Everlasting Father Laus et jubilátio, And the Son who comes on high Salus, honor, virtus quoque With the Holy Ghost proceeding Sit et benedíctio: Forth from each eternally, Procedénti ab utróque Be salvation, honor, blessing, Compar sit laudátio. Might and endless majesty.
Following the Solemnity of Pentecost, the Church celebrates the Solemnity of the Most Holy Trinity, which gives special honor and praise to the Triune God. This great solemnity allows for us to focus on the Church’s teaching about the Triune God, with the Catechism of the Catholic Church stating, “[the Triune God] is the central mystery of Christian faith and life. It is the mystery of God himself. It is therefore the source of all the other mysteries of faith, the light that enlightens them” (CCC 234). Though the Trinity has been a central tenet in the faith, it was not until 1334, until the Feast of the Most Holy Trinity was established in the Universal Church[1]. One of the more well-known hymns relating to the Trinity is Reginald Heber’s (1783-1826) hymn, “Holy, Holy, Holy! Lord God Almighty!”1.
“Holy, Holy, Holy” comes from the British hymn genre of the “Literary hymn”. The “Literary hymn” is a subsection of hymnody stemming from the Romantic era of British literature (early 19th century). These types of hymns feature lyric expression of emotion, vivid descriptions of nature, and composed with the thought of beauty versus accessibility.[2] Reginald Heber, an Anglican Bishop, was the leader of this movement, attempted to compile a national hymnal, which would have been arranged to reflect the Church year, emotionally sensitive, and written in Romantic images and forms. Heber died before this project could have been completed, but he was a great influence to the next generation of British hymn writers.
“Holy, Holy, Holy” is a triumphant hymn of praise to the Triune God. It outlines the everlasting praise and honor the Communion of Saints and ranks of angels give to God (stanza 2), and mirrors the Sanctus of the Mass, another hymn of praise. The poetic meter is abnormal (11.12.12.10.), marking Heber’s desire to mirror the poetic trends of the era. Lastly, the ends of each phrase rhyme with the initial “Holy, holy, Holy!” creating an underlining driving rhyming scheme.
Holy, Holy, Holy NICAEA/John B. Dykes/Reginald Heber
1. Holy, Holy, Holy! Lord God Almighty! Early in the morning our song shall rise to thee: Holy, holy, holy! Merciful and mighty, God in three Persons, blessed Trinity.
2. Holy, Holy, Holy! All the saints adore thee, Casting down their golden crowns around the glassy sea; Cherubim and seraphim falling down before thee, Who was, and is, and evermore shall be.
3. Holy, Holy, Holy! Though the darkness hide thee, Though the eye made blind by sin they glory may not see, Only thou art holy; there is none beside thee, Perfect in Pow'r, in love, and purity.
4. Holy, Holy, Holy! Lord God Almighty! All they works shall praise thy Name, in earth, and sky, and sea; Holy, holy, holy! Merciful and mighty, God in three Persons, blessed Trinity.
Text: 11 12 12 10; Reginald Heber, 1783–1826, alt. Music: John B. Dykes, 1823–1876.
[1] Mershman, Francis. "Trinity Sunday." The Catholic Encyclopedia. Vol. 15. New York: Robert Appleton Company, 1912. 27 May 2021
[2] Eskew, Harry, and Hugh T. McElrath. Essay. In Sing with Understanding: An Introduction to Christian Hymnology. Church Street Press, 1995. 146-147.
The Holy Sacrifice of Mass is prescribed through the rubrics of the Roman Missal. Prayers, actions, readings, movements are all prearranged. Music, in the context of the Mass (sung prayer/Scripture), is also prescribed (though certain parts are not often sung in most parishes). The Ordinary’s, which include the Kyrie (or penitential act), the Gloria (sung/spoken throughout the year expect during Advent and Lent), the Credo (most often recited, not recited on ferial days), Sanctus, Memorial Acclamation, Great Amen, Angus Dei, and the Ite, missa est, are sung (or spoken) at every Mass. Furthermore, the Missal prescribes the Propers (Introit, Gradual, Alleluia, Offertory, and Communion), and on certain occasions, the Sequence.
On Pentecost Sunday, the Church prescribes a sequence, Veni, Sancte Spiritus, to be sung before the Gospel Acclamation. This is a unique feature of the Mass. There are only five sequences sung in the Church year, and only three sequences (Victimae Paschali Laudes for Easter Sunday, Veni, Sancte Spiritus for Pentecost, and Lauda Sion for Corpus Christi) which are commonly heard. A sequence is a liturgical hymn. They originated out a composer taking a phrase(s) of music and reusing it to a certain text.
Veni, Sancte Spiritus (Come, thou Holy Spirit), often known as the “Golden hymn” due to its beauty and excellence in Latin sacred poetry, is ascribed to Innocent III (1161-1216). The text describes the Holy Spirit in beautiful and accessible language, with verses relating the Spirit to light, refreshment (like water), and comforter. It emphasizes the Spirit as a light, which relates to Christ’s title as light of the world. Though there is this connection in titles of light, Veni, Sancte Spiritus distinguishes the Holy Spirit as the distinct third Person in the Trinity, outlining the unique actions of the Holy Spirit (verses 4, 7, 9).[1] This magnificent hymn concludes with a petition, “Give them virtue’s sure reward; Give them thy salvation, Lord; Give them joys that never end.”
Veni, Sancte Spiritus (Come, thou Holy Spirit)
1. Come, Thou Holy Spirit, come! And from Thy celestrial home Shed a ray of light divine!
2. Come, Thou Source of all our store! Come, within our bosoms shine!
3. Thou, of comforters the best; Thou, the soul’s most welcome Guest; Sweet refreshment here below;
4. In our labor, rest most sweet; Grateful coolness in the heat; Solace in the midst of woe.
5. O most blessed Light divine, Shine within these hearts of Thine, And our inmost being fill!
6. Where Thou art not, man hath naught, Nothing good in deed or thought, Nothing free from taint of ill.
7. Heal our wounds; our strength renew; On our dryness pour Thy dew; Wash the stains of guilt away;
8. Bend the stubborn heart and will; Melt the frozen, warm the chill; Guide the steps that go astray.
9. On the faithful, who adore And confess Thee, evermore In Thy sev’nfold gift descend;
10. Give them virtue’s sure reward Give them Thy salvation, Lord; Give them joys that never end. Amen. Alleluia.
Source: Translation by Edward Caswall Cong. Orat. 1814-78. Lyra Catholica, 1849
As the Easter season nears its conclusion, the Church celebrates the Ascension of Lord. Traditionally, and still in some dioceses, this solemnity is celebrated forty days after Easter Sunday. The Ascension of the Lord commemorates Christ’s bodily ascension to heaven, according to Mark 16:19, Luke 24:51, and Acts 1:2. It is one of the ecumenical feasts ranking alongside with the Passion, Easter, and Pentecost among the solemn feasts of the year. Tradition marks that Mount of Olivet near Bethany is where Christ ascended into heaven.[1] The hymn, “Hail the Day That Sees Him Rise” is a festive hymn, which gives praise to the ascended Christ.
“Hail the Day That Sees Him Rise” is a hymn composed by Charles Wesley (1707-1788) in 1739, and was first published in the hymnal, “Hymns and Sacred Poems” (1739) with ten stanzas. It is usual set to the tune LLANFAIR, which allows for shouts of alleluias following each phrase. The hymn describes the royalty of Christ, emphasizing his kingship. Stanza one outlines the action of Christ’s ascension. Stanza two functions as a trumpet blast, opening the gates of heaven for the King. Stanza three is Christ ascending to his throne, with emphasizing his Passion for mankind’s sake. Stanza four describes that though Christ is in heaven, he still is functioning as the High Priest for Man.
Hail the Day That Sees Him Rise LLANFAIR 1. Hail the day that sees him rise Alleluia! To his throne beyond the skies; Alleluia! Christ, the Lamb for sinners giv’n, Alleluia! Enters now the highest heav’n! Alleluia!
2. There for him high triumph waits: Alleluia! Lift your heads, eternal gates; Alleluia! He has conquered death and sin; Alleluia! Take the King of glory in. Alleluia!
3. See! he lifts his hands above. Alleluia! See! he shows the wounds of love. Alleluia! Hark! his gracious lips bestow, Alleluia! Blessings on his church below. Alleluia!
4. Highest heav’n its Lord receives; Alleluia! Yet he loves the earth he leaves; Alleluia! Though returning to his throne, Alleluia! Still he calls the world his own. Alleluia!
Text: 77 77 with alleluias; Charles Wesley, 1707–1788, alt. Music: Robert Williams, 1781–1821.