Poem: O Deus Ego Amo Te (O God, I Love Thee)

Painting by Paul Rubens - Courtesy of Wikipedia

O Deus Ego Amo Te (O God, I Love Thee) is a translation by Fr. Gerard Manley Hopkins, S.J. (1844-1889) of O Deus Ego Amo Te, attributed to the early Jesuit missionary, St. Francis Xavier (1506-1552). It was probably written sometime in the 1540's during his time in India and was likely composed as a sonnet in Spanish or Portuguese, then later translated into Latin, either by Xavier himself and/or by others, for there are several Latin versions. O Deus Ego Amo Te (O God, I Love Thee) is included in the Poetry Appendix of the Liturgy of the Hours (1975).

O DEUS EGO AMO TE by Gerard Manley Hopkins (Public Domain)

O God, I love thee, I love thee-
Not out of hope of heaven for me
Nor fearing not to love and be
     In the everlasting burning.
Thou, thou, my Jesus, after me
     Didst reach thine arms out dying,
For my sake sufferedst nails, and lance,
Mocked and marred countenance,
     Sorrows passing number,
     Sweat and care and cumber,
Yea and death, and this for me,
     And thou couldst see me sinning:
Then I, why should not I love thee,
Jesu, so much in love with me?
Not for heaven's sake; not to be
Out of hell by loving thee;
Not for any gains I see;
But just the way that thou didst me
I do love and I will love thee:
What must I love thee, Lord, for then?
For being my king and God. Amen.


Original Latin hymn sung by the Benedictines of Mary, Queen of Apostles

O DEUS, EGO AMO TE - Anonymous 18th Century Hymn

O Deus, ego amo te,
Nec amo te ut salves me,
Nec quod qui te non diligent,
Æterno igne pereunt.

Ex cruces lingo germinat,
Qui pectus amor occupant,
Ex pansis unde brachiis,
Ad te amandum arripes. Amen.


O DEUS, EGO AMO TE by St. Francis Xavier

O Deus, ego amo te,
Nec amo te, ut salves me,
Aut, quia non amantes te
Æterno punis igne.

Tu, tu, mi Jesu, totum me
Amplexus es in cruce;
Tuliste clavos, lanceam,
Multamque ignominiam,

Innumeros dolores,
Sudores, et angores,
Et mortem, et hæc propter me,
Ac pro me peccatore.

Cur igitur non amem te,
O Jesu amantissime,
Non, ut in cœlo salves me,
Aut ne æternum damnes me,

Nec præmii ullius spe;
Sed sicut tu amasti me?
Sic amo et amabo te,
Solum quia Rex meus es,
Et solum, quia Deus es.

Christ the True Light of Us

Thou All the Night Our Guardian Be

Christ the True Light of Us is a translation by Walter H. Shewring (1906–1990) of an 8th century text. A convert to the Catholic Faith, Shewring was professor of classics for nearly 60 years at Ampleforth, a Benedictine College in the UK. Christ the True Light of Us is set to the tune, O Amor Quam Exstaticus. An alternative tune that can also be used is Winchester New, as featured in the following video. In the Divine Office (1974), Christ the True Light of Us is one of the optional hymns for Night Prayer (Compline).


Alternative Tune: Winchester New

Joy Fill Your Heart, O Queen Most High

Painting of Coronation of Mary - Wikipedia

Joy Fill Your Heart, O Queen Most High was written by the Scottish Jesuit Priest, Fr. James Quinn (1919-2010). It is set to the tune Lasst Uns Erfreuen, first published in the Jesuit hymnal: Ausserlesene Catlwlische Geistliche Kirchengesänge of 1623. In the Divine Office (1974), Joy Fill Your Heart, O Queen Most High is sung after Night Prayer (Compline) as an antiphon - a final anthem to the Blessed Virgin Mary.


Tune: Lasst Uns Er­freu­en

Liturgical Guide: Night Prayer (Compline)

"Now during those days he went out to the mountain to pray; and he spent the night in prayer to God." - Luke 6:12

The hymns selected for Night Prayer (Compline) in the Divine Office draw upon the images of nightfall, darkness, sleep, and death to express Compline's themes: contrition of a sinful soul who desires to make peace with God, and petition for protection for "a peaceful night, and a perfect end".

LITURGY OF THE HOURS (1975)

33. O Christ, You Are the Light and Day

34. Lord Jesus Christ, Abide With Us

42. Day is Done
48. We Praise You, Father, for Your Gifts
49. Holy God, We Praise Thy Name
50. This World, My God
51. Now at Daylight's Ending
52. All Praises to You, O God, This Night
53. The Master Came
99. When from the Darkness
184. O Radiant Light, O Sun Divine

DIVINE OFFICE (1974)
109. Christ the True Light of Us, True Morn
110. Now it is Evening
111. Lead Kindly Light
112. Abide With Me
113. The Day Thou Gavest
114. Now Thank We All Our God
115. Lord of All Hopefulness

Wilt Thou Forgive That Sin, Where I Begun

And Do Run Still, Though Still I Do Deplore ?

Wilt Thou Forgive that Sin, Where I Begun is an adaptation of the poem, A Hymn to God the Father by English poet, lawyer, and Anglican Cleric John Donne (1572-1631). Likely written in 1623, he composed it while recovering from an unknown deadly illness (possibly typhus) that was endemic in London at the time. Later upon hearing his poem sung by the Chor­is­ters of St. Paul’s Ca­thed­ral, Donne remarked: “the words of this hymn have re­stored to me the same thoughts of joy that pos­sessed my soul in my sick­ness, when I com­posed it. And, O the pow­er of Church-mu­sic! that har­mo­ny add­ed to this hymn has raised the af­fect­ions of my heart, and quick­ened my grace of zeal and gra­ti­tude; and I ob­serve that I al­ways re­turn from pay­ing this pub­lic duty of pray­er and praise with an un­ex­press­i­ble tran­quil­i­ty of mind, and will­ing­ness to leave the world.” - Izaak Walton's Lives, 1670. Among the many musical settings of the poem, probably the most common tune for congregational singing is So Giebst Du (Dresden, 1694) with harmonization added by Johann Sebastian Bach (1685-1720). In some publications of the Divine Office, such as Christian Prayer: Liturgy of the Hours (St. Paul Editions, 1976), A Hymn to God the Father is included as an optional poem to be recited (see 2nd video) at Night Prayer.

Tune: So Giebst Du

WILT THOU FORGIVE THAT SIN? by John Donne, 1623 (Public Domain)

Wilt Thou forgive that sin, by man begun,
Which was my sin though it were done before?
Wilt Thou forgive that sin, through which I run,
And do run still, though still I do deplore?
When Thou hast done, Thou hast not done,
For I have more.

Wilt Thou forgive that sin which I have won
Others to sin, and made my sin their door?
Wilt Thou forgive that sin which I did shun
A year or two, but wallowed in a score?
When Thou hast done, Thou hast not done,
For I have more.

I have a sin of fear, that when I’ve spun
My last thread, I shall perish on the shore;
But swear by Thyself, that at my death Thy Son
Shall shine, as He shines now and heretofore:
And, having done that, Thou hast done:
I fear no more.
 

Poem read by Richard Burton

Abide With Me

The Darkness Deepens, Lord With Me Abide

Abide With Me was written in 1847 by the Anglican Clergyman, Henry Francis Lyte (1793-1847). The hymn was composed just weeks before his death. Suffering from tu­ber­cu­lo­sis, he completed the text the same morning that he gave his farewell sermon at the parish where he served. After leaving for Italy in a bid to regain his health, he died three weeks later in Nice, France. In 1861, Lyte's words were set to music by William H. Monk (1823-1889). While attending a meeting as music editor for the collection, Hymns: Ancient and Modern, he realized Lyte's lyric was to be included, but had no music. Sitting down at the piano, Monk's thoughts turned to the recent death of his 3-year-old daughter as (within 10 minutes) he composed the tune, Eventide. Since then, Abide With Me has become one of the most widely known and beloved of Christian hymns. A favourite of Mahatma Gandhi, it has been sung at everything from Royal Weddings, to English football matches, to the funeral of Mother Teresa of Calcutta. In the Liturgy of the Hours it is sung or recited during Night Prayer.



ABIDE WITH ME by Henry Lyte, 1847 (Public Domain)

1. Abide with me; fast falls the eventide;
The darkness deepens; Lord with me abide.
When other helpers fail and comforts flee,
Help of the helpless, O abide with me.

2. Swift to its close ebbs out life's little day;
Earth's joys grow dim; its glories pass away;
Change and decay in all around I see;
O Thou who changest not, abide with me.

3. Not a brief glance I beg, a passing word,
But as Thou dwell'st with Thy disciples,
Lord, Familiar, condescending, patient, free.
Come not to sojourn, but abide with me.

4. Come not in terrors, as the King of kings,
But kind and good, with healing in Thy wings;
Tears for all woes, a heart for every plea.
Come, Friend of sinners, thus abide with me.

 5. Thou on my head in early youth didst smile,
And though rebellious and perverse meanwhile,
Thou hast not left me, oft as I left Thee.
On to the close, O Lord, abide with me.

6. I need Thy presence every passing hour.
What but Thy grace can foil the tempter's power?
Who, like Thyself, my guide and stay can be?
Through cloud and sunshine, Lord, abide with me.

7. I fear no foe, with Thee at hand to bless;
Ills have no weight, and tears no bitterness.
Where is death's sting? Where, grave, thy victory?
I triumph still, if Thou abide with me.

8. Hold Thou Thy cross before my closing eyes;
Shine through the gloom and point me to the skies.
Heaven's morning breaks, and earth's vain shadows flee;
In life, in death, O Lord, abide with me.

Lead, Kindly Light

The Night is Dark and I Am Far From Home

Lead, Kindly Light was written by John Henry Newman (1801-1890) in 1833. Throughout the first half of that year, Newman accompanied fellow Anglican Priest and early member of the Oxford Movement, Hurrell Froude on a tour of the Mediterranean. While visiting Sicily, Newman became seriously ill and was bedridden for a number of weeks. After recovering he was overcome with a great desire to return to England and continue his work for the Church. On route to Marseille, his sailing ship was delayed by a week of calm weather in the Strait of Bonifacio. It was there, at sea that Newman composed the words to Lead, Kindly Light. The poem was subsequently published in a number of different collections. In 1868 it was included in the popular Church of England hymnal: Hymns Ancient and Modern, and has since become best known as a hymn. When later asked about his hymn's popularity, Newman attributed it to the tune of Lux Benigna, written in 1865 by John B. Dykes (1823-1876) that his verses had been set to. Over the years, it's words of consolation have inspired many musical settings and pairings, both for congregational and choral use. One of the best known is the 1860 tune, Sandon (see 2nd video) by Charles H. Purday (1799-1885). One particular story that relates the deep affection that people have for this hymn involves the Stanley Pit Mine Disaster of 1909. Escaping from poisonous and combustible gas, 34 miners sought refuge in a seam where there was a pocket of air. Huddled in the darkness and fearing the worst, the miners began to sing Lead, Kindly Light. Some of the men later died from the effects of the gas, but most of the them were rescued. In 2010, Lead, Kindly Light was sung at Benedict XVI's Hyde Park Vigil during the Pontiff's tour of the UK in which he celebrated the Beatification of Cardinal Newman. In the Liturgy of the Hours, it is sung or recited at Night Prayer (Compline).


Tune: Lux Benigna

LEAD, KINDLY LIGHT by John Henry Newman, 1833 (Public Domain)

Lead, Kindly Light, amid the encircling gloom
Lead Thou me on!
The night is dark, and I am far from home—
Lead Thou me on!
Keep Thou my feet; I do not ask to see
The distant scene—one step enough for me.

I was not ever thus, nor pray'd that Thou
Shouldst lead me on.
I loved to choose and see my path, but now
Lead Thou me on!
I loved the garish day, and, spite of fears,
Pride ruled my will: remember not past years.

So long Thy power hath blest me, sure it still
Will lead me on,
O'er moor and fen, o'er crag and torrent, till
The night is gone;
And with the morn those angel faces smile
Which I have loved long since, and lost awhile.


Tune: Sandon


Contemporary version by Audrey Assad

Queen of Heaven, Rejoice / Regina Caeli

Basilica of the Assumption, Covington KY - Courtesy of Wikipedia

Queen of Heaven, Rejoice is an anonymous translation of the 12th century Latin hymn: Regina Cæli which is traditionally sung as a Marian antiphon after Compline in the Roman Breviary from Easter till Pentecost. An ancient tradition relates how at Easter time in the year 596, as Rome suffered from a great pestilence, Pope St. Gregory the Great (c.540-604), barefoot and holding an icon of the Madonna said to have been painted by St. Luke, heard the first three lines of Regina Cæli sung by angels as he led a procession through the city at dawn to entreat deliverance. He answered them with: "Ora pro nobis Deum. Alleluia!", and saw a vision of an angel with sword, readied for battle. From that day, the pestilence is said to have ceased. In the Divine Office (1974), the Liturgy of the Hours (1975), and the Little Office of the Blessed Virgin Mary, Regina Cœli is sung at the conclusion of Night Prayer. In the Divine Office (1974), Queen of Heaven, Rejoice is sung as a final anthem after Night Prayer.



Regina coeli laetare, Alleluia,
Quia quem meruisti portare. Alleluia,
Resurrexit, Sicut dixit, Alleluia.
Ora pro nobis Deum. Alleluia.

Mother of Christ, Hear Thou Thy People's Cry / Alma Redemptoris Mater

Gate of Heaven

Mother of Christ, Hear Thou Thy People's Cry is a translation by of the 11th century Latin hymn, Alma Redemptoris Mater composed by the Benedictine Abbot, St. Hermann Contractus of Reichenau (1013-1054). Crippled from birth and suffering from a paralytic condition, at the age of 7 he was placed in the care of the Benedictine monks on the Monastic Island of Reichenau. The Abbey was a center of arts and learning at the time. There he excelled, becoming an expert scholar, composer, music theorist, mathematician, and astronomer. Alma Redemptoris Mater was traditionally sung after Compline in the Roman Breviary and used from the First Sunday of Advent to the Feast of Purification (Feb. 2). In 1849 it was translated into English as Mother of Christ, Hear Thou Thy People's Cry by Fr. Edward Caswall and included in his collection, the Lyra Catholica.

MOTHER OF CHRIST, HEAR THOU THY PEOPLE'S CRY by Edward Caswall, 1849 (Public Domain)

Mother of Christ, hear thou thy people's cry
Star of the deep and Portal of the sky!
Mother of Him who thee made from nothing made.
Sinking we strive and call to thee for aid:
Oh, by what joy which Gabriel brought to thee,
Thou Virgin first and last, let us thy mercy see.



Alma Redemptoris Mater, quae pervia caeli
Porta manes, et stella maris, succurre cadenti,
Surgere qui curat, populo: tu quae genuisti,
Natura mirante, tuum sanctum Genitorem
Virgo prius ac posterius, Gabrielis ab ore
Sumens illud Ave, peccatorum miserere.

Hail, Our Queen and Mother Blest / Salve Regina

Mother of Mercy

Hail, Our Queen and Mother Blest is a translation of the Latin hymn, Salve Regina. This translation, used as an Antiphon sung after Night Prayer in modern Divine Office is set to the tune, Gaudeamus Pariter (Ave Virgo Virginum) composed by Johann Roh (c.1495-1547) and adapted in 1584 by Johann Leisentrit (1527-1586). The lyrics can be found here, under the heading: "English hymns based on the Latin original". Salve Regina (see 2nd video) is an anonymous Latin hymn that dates back to the Middle Ages. It is one of four Marian antiphons traditionally sung after Compline in the Roman Breviary. Authorship is uncertain, but modern research suggests the Benedictine Abbot, St. Hermann of Reichenau (1013-1054) as the most likely composer. Crippled from birth and suffering from a paralytic condition, at the age of 7 he was placed in the care of the Benedictine monks on the Monastic Island of Reichenau. The Abbey was a center of arts and learning at the time. There he thrived, becoming an expert scholar, composer, music theorist, mathematician, and astronomer. He is also credited with the composition of another of the Marian antiphon's, Alma Redemptoris Mater. The text of Salve Regina in it's current form was set down at Cluny Abbey in the 12th century. In the Liturgy of the Hours and the Little Office of the Blessed Virgin Mary it is sung or recited at the conclusion of Night Prayer. It is also included as an optional hymn for Monday Evening Prayer in the Little Office of the Blessed Virgin Mary.


Tune: Gaudeamus Pariter

SALVE REGINA

Salve Regina, Mater misericordiae,
Vita dulcedo et spes nostra salve.
Ad te clamamus exsules filii Hevae.
Ad te suspiramus gementes et flentes,
in hac lacrimarum valle.

Eja 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.


Gregorian

The Master Came

Through Jesus, hear us.

The Master Came, first published in 1965 was written by Gabriel Huck. It is set to the tune: Ich Glaub' an Gott, first published in 1870 as part of the Mainz Gesangbuch, it is also the melody used for To Jesus Christ, Our Sovereign King (as shown in the following video). In the Liturgy of the Hours, The Master Came to Bring Good News is used during Ordinary Time for Night Prayer and during the Season of Lent.


Tune: Ich Glaub' an Gott

All Praises to You, O God, This Night

For All The Blessings Of The Light

All Praise to You, O God, This Night, first published in 1709 was written by Anglical Bishop Thomas Ken (1637-1711). He is one of the early writers of congregational hymns for the Church of England. A number of them were intended for Morning and Evening prayer service. It is set to the tune, Illsley by John Bishop (1665-1737). A more commonly used melody is Tallis' Canon , as shown in the following video. In the Liturgy of the Hours, All Praise to You, O God, This Night is used during Ordinary Time for Night Prayer.

Tune: Tallis' Canon

ALL PRAISE TO THEE, MY GOD, THIS NIGHT by Thomas Ken, 1709 (Public Domain)

1. All praise to Thee, my God, this night,
For all the blessings of the light!
Keep me, O keep me, King of kings,
Beneath Thine own almighty wings.

2. Forgive me, Lord, for Thy dear Son,
The ill that I this day have done,
That with the world, myself, and Thee,
I, ere I sleep, at peace may be.

3. Teach me to live, that I may dread
The grave as little as my bed.
Teach me to die, that so I may
Rise glorious at the judgment day.

4. O may my soul on Thee repose,
And with sweet sleep mine eyelids close,
Sleep that may me more vigorous make
To serve my God when I awake.

5. When in the night I sleepless lie,
My soul with heavenly thoughts supply;
Let no ill dreams disturb my rest,
No powers of darkness me molest.

6. O when shall I, in endless day,
For ever chase dark sleep away,
And hymns divine with angels sing,
All praise to thee, eternal King?

7. Praise God, from Whom all blessings flow;
Praise Him, all creatures here below;
Praise Him above, ye heavenly host;
Praise Father, Son, and Holy Ghost.

Now at Daylight's Ending

When life's brief daylight ends.

Now At The Daylight's Ending, first published in 1969 was written Fr. James Quinn (1919-2010). In his Obituary, it said that in his final years he accepted the changes brought on by age and illness, and though he was no longer able to continue writing hymns, he started writing jokes and sharing them with everyone who came to visit. Now at Daylight's Ending is set to the Lutheran funeral hymn, Christus Der Ist Mein Leben (1609) by German singer and composer Melchior Vulpius. In the Liturgy of the Hours it is used during Ordinary Time for Night Prayer.

Tune: Christus Der Ist Mein Leben (with introduction)

This World, My God

Held Within Hand

This World, My God, first published in 1968 was written by theologian and historian, Fr. Hamish Swanston (b.1933) and British composer Herbert Howells (1892-1983). Howells was noted for his organ and choral works written for the Anglican Liturgy. He titled this tune: In Manus Tuas (Into Your Hands), which is the Latin name for the Canticle of Simeon (Lk.2:29-32) prayed at Compline. An alternative tune is the Old 124th, as shown in the following video. In the Litany of the Hours, This World, My God, is Held Within Your Hand is used during Ordinary Time for Night Prayer.

Tune: Old 124th

Holy God, We Praise Thy Name / Te Deum

Hark the glad celestial hymn

Holy God, We Praise Thy Name, first published 1774 was written by Ig­naz Franz (1719-1790). It is based upon the text of the early Latin hymn, Te Deum which is today prayed at the conclusion of the Office of the Readings on Solemnities and on Sundays outside of Lent. The 1858 English translation from the original German was by Fr. Clarence Walworth (1820-1900), an American Catholic who practiced law before entering into the Priesthood. It is set to the tune Grosser Gott (Te Deum), first published in 1774 it has been attributed to Austrian composer Franz Joseph Haydn (1732-1809). In the Liturgy of the Hours, Holy God, We Praise Thy Name is used during Ordinary Time for Night Prayer.
 

HOLY GOD, WE PRAISE THY NAME by Clarence Walworth, 1858 (Public Domain)

1. Holy God, we praise Thy Name;
Lord of all, we bow before Thee!
All on earth Thy scepter claim,
All in Heaven above adore Thee;
Infinite Thy vast domain, Everlasting is Thy reign. (2X)

2. Hark! the loud celestial hymn
Angel choirs above are raising,
Cherubim and seraphim,
In unceasing chorus praising;
Fill the heavens with sweet accord: Holy, holy, holy, Lord. (2X)

3. Lo! the apostolic train
Join the sacred Name to hallow;
Prophets swell the loud refrain,
And the white robed martyrs follow;
And from morn to set of sun, Through the Church the song goes on. (2X)

4. Holy Father, Holy Son,
Holy Spirit, Three we name Thee;
While in essence only One,
Undivided God we claim Thee;
And adoring bend the knee, While we own the mystery. (2X)

5. Thou art King of glory,
Christ: Son of God, yet born of Mary;
For us sinners sacrificed,
And to death a tributary:
First to break the bars of death, Thou has opened Heaven to faith. (2X)

6. From Thy high celestial home,
Judge of all, again returning,
We believe that Thou shalt come
In the dreaded doomsday morning;
When Thy voice shall shake the earth, And the startled dead come forth. (2X)

7. Spare Thy people, Lord, we pray,
By a thousand snares surrounded:
Keep us without sin today,
Never let us be confounded.
Lo, I put my trust in Thee; Never, Lord, abandon me. (2X)


Gregorian Chant

TE DEUM, Anonymous (Public Domain)

Te Deum laudamus: te Dominum confitemur.
Te aeternum Patrem omnis terra veneratur.
Tibi omnes Angeli; tibi caeli et universae Potestates;
Tibi Cherubim et Seraphim incessabili voce proclamant:
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.
Pleni sunt caeli et terra maiestatis gloriae tuae.
Te gloriosus Apostolorum chorus,
Te Prophetarum laudabilis numerus,
Te Martyrum candidatus laudat exercitus.
Te per orbem terrarum sancta confitetur Ecclesia,
Patrem immensae maiestatis:
Venerandum tuum verum et unicum Filium;
Sanctum quoque Paraclitum Spiritum.
Tu Rex gloriae, Christe.
Tu Patris sempiternus es Filius.
Tu ad liberandum suscepturus hominem,
non horruisti Virginis uterum.
Tu, devicto mortis aculeo,
aperuisti credentibus regna caelorum.
Tu ad dexteram Dei sedes, in gloria Patris.
Iudex crederis esse venturus.
Te ergo quaesumus, tuis famulis subveni:
quos pretioso sanguine redemisti.
Aeterna fac cum sanctis tuis in gloria numerari.

V. Salvum fac populum tuum, Domine, et benedic hereditati tuae.
R. Et rege eos, et extolle illos usque in aeternum.
V. Per singulos dies benedicimus te;
R. Et laudamus Nomen tuum in saeculum, et in saeculum saeculi.
V. Dignare, Domine, die isto sine peccato nos custodire.
R. Miserere nostri Domine, miserere nostri.
V. Fiat misericordia tua,
R. Domine, super nos, quemadmodum speravimus in te.
V. In te, Domine, speravi: non confundar in aeternum. Amen

We Praise You, Father, for Your Gifts

Within Your Hands We Rest Secure

We Praise You, Father, for Your Gifts was written by the Anglican Benedictine Nuns of West Malling Abbey. The original Abbey was founded in 1090 as a Benedictine Convent by Gundulf, Bishop of Rochester but fell into secular ownership after Henry VIII's dissolution of the monasteries. It was restored as a home for an Anglican Benedictine Order of Nuns in the late 19th century. We Praise You, Father, for Your Gifts is shown in the Liturgy of the Hours as being set to Gregorian Chant Mode VIII for Te Lucis ante Terminum, a Compline hymn attributed to St. Ambrose Although there are many beautiful settings of this ancient latin hymn, I have not been able to find any that match the musical notation provided in the Divine Office. Fortunately, #620 in the Adoremus Hymnal does match the melody as shown in the Breviary. In the Liturgy of the Hours, We Praise You, Father, for Your Gifts is used during Ordinary Time for Night Prayer.