A Mighty Fortress is Our God

From Age to Age, the Same

A Mighty Fortress is Our God is a Fredrick H. Hedge (1805-1890) translation of the famous hymn by the Protestant Reformer, Martin Luther (1483-1546).  Luther wrote both the words and melody (Ein Feste Burg) to this paraphrase of Psalm 46 sometime between 1527 and 1529. It has been translated into almost every known language. Among the 70 or so English versions, Hedge's 1852 translation is the most widely know. In the Liturgy of the Hours, A Mighty Fortress is Our God is used in the Common of One Martyr, and the Common of Several Martyrs.

Tune: Ein Feste Burg

A MIGHTY FORTRESS IS OUR GOD translated by Fred­er­ic Hedge, 1853 (PUBLIC DOMAIN)

1. A mighty fortress is our God, a bulwark never failing;
Our helper He, amid the flood of mortal ills prevailing:
For still our ancient foe doth seek to work us woe;
His craft and power are great, and, armed with cruel hate,
On earth is not his equal.

2. Did we in our own strength confide, our striving would be losing;
Were not the right Man on our side, the Man of God’s own choosing:
Dost ask who that may be? Christ Jesus, it is He;
Lord Sabaoth, His Name, from age to age the same,
And He must win the battle.

 3. And though this world, with devils filled, should threaten to undo us,
We will not fear, for God hath willed His truth to triumph through us:
The Prince of Darkness grim, we tremble not for him;
His rage we can endure, for lo, his doom is sure,
One little word shall fell him.

 4. That word above all earthly powers, no thanks to them, abideth;
The Spirit and the gifts are ours through Him Who with us sideth:
Let goods and kindred go, this mortal life also;
The body they may kill: God’s truth abideth still,
His kingdom is forever.

Christ, in Whose Passion Once Was Sown

From Thee the Martyrs, We From Those

Christ, in Whose Passion Once Was Sown was written by Walter H. Shewring (1906–1990). A convert to the Catholic Faith, he was professor of classics at Ampleforth, a Benedictine College in the UK for nearly 60 years. He wrote or translated several hymns for the New Westminster Hymnal (1961), in which Christ, in Whose Passion Once was Sown was first published. It is sung to a setting of the Magnificat: Mein Seel, O Gott, Muss Loben Dich by the German Baroque composer and organist, Michael Praetorius (1571-1621) from his Lutheran choral work, Puericinium (1621). An alternative tune that can also be used is Winchester New, as featured in the following video. In the Liturgy of the Hours, Christ, in Whose Passion Once Was Sown is used in the Common of One Martyr, and the Common of Several Martyrs.


Alternative Tune: Winchester New

Now Let the Heav'ns Resound with Praise / Exsúltet Cælum Láudibus / Exsultet Orbis Gaudiis

He Sent Apostles in His Love

Now Let the Heav'ns Resound with Praise is a 1972 Peter J. Scagnelli S.J. (b. 1949) translation of the 10th century Latin hymn, Exultet Caelum Laudibus. In 1632, accordance with revisions made to the hymns of the Divine Office by Pope Urban VIII (1568-1644), it was altered and changed to Exultet Orbis Gaudiis. Both versions are shown below. Ordained in 1976, Fr. Scagnelli is a priest and liturgist of the Diocese of Providence and acts as a consultant in Latin-to-English translations for the International Commission on English in the Liturgy (ICEL). Now Let the Heav'ns Resound with Praise is set to the tune: Rex Gloriose Martyrum (1st video), first published in the Ca­thol­ische Geist­liche Ge­säsange of 1608. In the Liturgy of the Hours it is used in the Commons of the Apostles.


Tune: Rex Gloriose Martyrum

EXSULTET CAELUM LAUDIBUS
Listen

Exsúltet cælum láudibus,
resúltet terra gáudiis:
Apostolórum glóriam
sacra canunt sollémnia.

Vos, sæcli iusti iúdices
et vera mundi lúmina,
votis precámur córdium,
audíte preces súpplicum.

Qui cælum verbo cláuditis
serásque eius sólvitis,
nos a peccátis ómnibus
sólvite iussu, quæsumus.

Quorum præcépto súbditur
salus et languor ómnium,
sanáte ægros móribus,
nos reddéntes virtútibus,

Ut, cum iudex advénerit
Christus in fine sæculi,
nos sempitérni gáudii
fáciat esse cómpotes.

Deo sint laudes glóriæ,
qui dat nos evangélicis
per vos doctrínis ínstrui
et prósequi cæléstia. Amen.


Exsúltet Cælum Láudibus performed by Giovanni Vianini


Exsultet Orbis Gaudiis performed by Giovanni Vianini

EXSULTET ORBIS GAUDIIS (1632 Revision)

1. Exsultet orbis gaudiis:
Cælum resúltet láudibus:
Apostolórum glóriam
Tellus et astra concinunt.

2. Vos sæculórum iúdices,
Et vera mundi lúmina:
Votis precámur córdium,
Audíte voces súpplicum.

3. Qui templa cæli cláuditis,
Serásque verbo sólvitis,
Nos a reátu noxios
Solvi iubete, quæsumus.

4. Præcépta quorum protinus
Languor salusque sentiunt:
Sanáte mentes languidas:
Augete nos virtútibus.

5. Ut, cum redibit arbiter
In fine Christus sæculi,
Nos sempitérni gáudii
Concedat esse cómpotes.

6. Patri, simúlque Fílio,
Tibique Sancte Spíritus,
Sicut fuit, sit iúgiter
Sæclum per omne glória. Amen.


Setting of Exsultet Orbis Gaudiis by Francesco Cavalli (1602-1676)

The Eternal Gifts of Christ the King / Aeterna Christi Munera

Their Faith in Christ the Lord Prevailed

The Eternal Gifts of Christ the King is a 1851 John Mason Neale (1818-1866) translation of the Ambrosian hymn, Ae­ter­na Christi Mu­nera by St. Ambrose of Milan (340-397). Originally it was sung on Feast Days of Martyrs. In the Roman Breviary it was revised for use during Matins on Feast Days of the Apostles and Evangelists. The Eternal Gifts of Christ the King is set to the 15th century melody, Deo Gratias (Agincourt Carol) attributed to the English composer, John Dunstable (c.1390-1453). It is more commonly associated with the tune, Ae­ter­na Christi Mu­nera. In the Liturgy of the Hours, it is used in the Commons of the Apostles.


Tune: Deo Gratias (Agincourt Carol)

THE ETERNAL GIFTS OF CHRIST THE KING by John Mason Neale, 1851 (Public Domain)

1. The eternal gifts of Christ the King,
The Apostles’ glorious deeds, we sing;
And while due hymns of praise we pay,
Our thankful hearts cast grief away.

2. The Church in these her princes boasts,
These victor chiefs of warriors hosts;
The soldiers of the heavenly hall,
The lights that rose on earth for all.

3. ’Twas thus the yearning faith of saints,
The unconquered hope that never faints,
The love of Christ that knows not shame,
The prince of this world overcame.

4. In these the Father’s glory shone;
In these the will of God the Son;
In these exults the Holy Ghost;
Through these rejoice the heavenly host.

5. Redeemer, hear us of Thy love,
That, with this glorious band above,
Hereafter, of Thine endless grace,
Thy servants also may have place.


Chant: (Verses 1,2,_,_,3,_,_)*

AETERNA CHRISTI MUNERA (Public Domain)

 1. Aeterna Christi munera,
 Apostolorum gloriam,
 Palmas et hymnos debitos
 Laetis canamus mentibus.

2. Ecclesiarum Principes,
Belli triumphales duces
Ccelestis aulae milites,
Et vera mundi lumina.

3. Devota sanctorum fides,
Invicta spes credentium,
Perfecta Christi caritas
Mundi tyrannum content. 

4. In his Paterna gloria,
In his triumphat Filius,
In his voluntas Spiritus,
Coelum repletur gaudio.

5. Patri, simulque Filio,
Tibique sancte Spiritus,
Sicut fuit, sit jugiter
Sseclum per omne gloria.

*The above Latin text is from: ‘Hymns of the Breviary and Missal', Britt (1922). It is unfortunately not an exact match with the video, as sung by Giovanni Vianini.

Queen of Heaven

Queen of Heaven, Rejoice, Alleluia!

Queen of Heaven was written by Fr. Lucien Deiss C.S.Sp. (1921-2007). It was first published in 1965 as part of the collection: Biblical Hymns and Psalms, Volume 1. He composed approximately 400 hymns for the Church. Jubilee, a 2 CD set representing the best of his work in available through WLP. In the Liturgy of the Hours, Queen of Heaven is used in the Commons of the Blessed Virgin Mary.

Praise to Mary, Heaven's Gate / Ave Maris Stella

Mother of Our Lord and King

Praise to Mary, Heaven's Gate is a 1965 Rev. Michael M. Quinn O.P. translation of the 9th. century anonymous Latin hymn, Ave Maris Stella (see 2nd video). From earliest times it was used in the Roman Breviary at Vespers on Marian Feast Days. Fr. Quinn's text is set to the tune, Gott Sei Dank (Lubeck) by the Lutheran Pastor and Theologian, Johann Anastasius Freylinghausen (1670-1739). His Geistreiches Gesangsbuch of 1704 (also known as Freylinghausen's Songbook), in which Gott Sei Dank was first published, is considered an importatant advancement in the development and organization of hymnals. In the Liturgy of the Hours, Praise to May, Heaven's Gate is used in the Commons of the Blessed Virgin Mary and on the Feast of the Assumption.

Tune: Lubeck

AVE MARIS STELLA (Public Domain)

1. Ave maris stella,
Dei Mater alma,
atque semper Virgo,
felix caeli porta.

2. Sumens illud Ave
Gabrielis ore,
funda nos in pace,
mutans Hevae nomen.

3. Solve vincula reis,
profer lumen caecis
mala nostra pelle,
bona cuncta posce.

4. Monstra te esse matrem:
sumat per te preces,
qui pro nobis natus,
tulit esse tuus.

5. Virgo singularis,
inter omnes mites,
nos culpis solutos,
mites fac et castos.

6. Vitam praesta puram,
iter para tutum:
ut videntes Iesum
semper collaetemur.

7. Sit laus Deo Patri,
summo Christo decus,
Spiritui Sancto,
tribus honor unus. Amen.

Gregorian (Sung by the Daughters of St. Paul)

Mary the Dawn

Mary the Dawn, Christ the Perfect Day

Mary the Dawn was first published in 1949 under the pen name 'Paul Cross', believed to be a pseudonym for Fr. Justin Mulcahy, C.P. (1894-1981). A Passionist Priest from the St. Paul of the Cross Province, he studied at the Pius X School of Liturgical Music in New York and eventually earned a degree in Church Music from the Pontifical Institute of Sacred Music, Vatican. The haunting melody of Mary the Dawn is an adaptation of Gregorian Mode IV. In some hymnals, the text is attributed to 'Anonymous', while others show the author as Paul Cross.  In the Liturgy of the Hours it is used in the Commons of the Blessed Virgin Mary and on the Feast of the Assumption. The 1st video below features a choral version conducted by Richard Proulx from the album, Marian Classics. The 2nd video features a contemporary interpretation by the Daughters of St. Paul from their album, Stella Maris.

Mother of Holy Hope

May Every Age Call His Mother Holy and Blest

Mother of Holy Hope was written by Fr. Lucien Deiss C.S.Sp. (1921-2007). It was first published in 1965 as part of the collection: Biblical Hymns and Psalms, Volume 1. Besides writing many hymns honouring the Blessed Virgin Mary, the Reverend Deiss also authored the book: Mary, Daughter of Sion (Liturgical Press, 1972), which reflects upon the life of Mary as a Daughter of Abraham. In the Liturgy of the Hours, Mother of Holy Hope is used in the Commons of the Blessed Virgin Mary and on the Feast of the Assumption.

The God Whom Earth and Sea and Sky / Quem Terra, Pontus, Aethera / Quem Terra, Pontus, Sidera

Whose Might They Own, Whose Praise They Tell

The God Whom Earth and Sea and Sky is a John Mason Neale (1818-1866) translation of the 6th century Latin in hymn, Quem Terra, Pontes, Aethera (see 2nd video) attributed to the Bishop of Tours, Venantius Fortunatus (c.530-c.600). According to changes made to the Roman Breviary in 1632, the hymn was sung on Feast Days of the Blessed Virgin Mary in two parts: the first at Matins and the other, O Gloriosa Virginum at Lauds. The God Whom Earth and Sea and Sky is set to the tune: Eisenach by the Lutheran Pastor, Johann Hermann Schein (1586-1630). In the Liturgy of the Hours it is used in the Commons of the Blessed Virgin Mary.



THE GOD WHOM EARTH, AND SEA, AND SKY by John M. Neale, 1854 (Public Domain)

 1. The God Whom earth, and sea, and sky,
Adore, and laud, and magnify,
Who o’er their threefold fabric reigns,
The virgin’s spotless womb contains.

 2. The God Whose will by moon and sun
And all things in due course is done,
Is borne upon a maiden’s breast,
By fullest heavenly grace possest.

3. How blest the mother, in whose shrine
The great Artificer Divine,
Whose hand contains the earth and sky,
Vouchsafed, as in His ark, to lie!

4. Blest, in the message Gabriel brought;
Blest, by the work the Spirit wrought:
From whom the Great Desire of earth
 Took human flesh and human birth. 

5. All honor, laud, and glory be,
O Jesu, virgin-born, to Thee!
All glory, as is ever meet,
To Father and to Paraclete.

Quem Terra, Pontus, Aethera: Sacred Motet by William Byrd

QUEM TERRA, PONTUS, AETHERA by Venan­ti­us For­tu­na­tus

1. Quem terra, pontus, aethera
colunt, adorant, praedicant,
trinam regentem machinam
claustrum Mariae baiulat.

2. Cui Luna, Sol, et omnia
deserviunt per tempora,
perfusa caeli gratia,
gestant Puellae viscera.

3. Beata Mater, munere,
cuius supernus Artifex,
mundum pugillo continens,
ventris sub arca clausus est.

4. Beata caeli nuntio,
fecunda Sancto Spiritu,
desideratus Gentibus,
cuius per alvum fusus est.

5. Iesu, Tibi sit gloria,
qui natus es de Virgine,
cum Patre, et almo Spiritu,
in sempiterna saecula. Amen.


Quem Terra, Pontus, Sidera

QUEM TERRA, PONTUS, SIDERA (1632 Revision)

1. Quem terra, pontus, sidera
colunt, adorant, praedicant,
trinam regentem machinam
claustrum Mariae baiulat.

2. Cui Luna, Sol, et omnia
deserviunt per tempora,
perfusa caeli gratia,
gestant Puellae viscera.

3. Beata Mater, munere,
cuius supernus Artifex,
mundum pugillo continens,
ventris sub arca clausus est.

4. Beata caeli nuntio,
fecunda Sancto Spiritu,
desideratus Gentibus,
cuius per alvum fusus est.

5. Iesu, Tibi sit gloria,
qui natus es de Virgine,
cum Patre, et almo Spiritu,
in sempiterna saecula. Amen.

Hail, Holy Queen

By You the Light has Entered the World

Hail, Holy Queen was written by Fr. Lucien Deiss C.S.Sp. (1921-2007). It was first published in 1965 as part of the collection: Biblical Hymns and Psalms, Volume 1. Besides writing many hymns honouring the Blessed Virgin Mary, Father Deiss also authored the book: Joseph, Mary, Jesus (Liturgical Press, 1996) which reflects on the childhood of Jesus and the influence, both intellectually and spiritually that Joseph and Mary had in his life. In the Liturgy of the Hours, Hail, Holy Queen is used on August 15th, the Feast of the Assumption; and in the Commons of the Blessed Virgin Mary.

Rejoice, O Virgin Mary

Rejoice, Full of Grace

Rejoice, O Virgin Mary was written by the Spiritan Priest, Fr. Lucien Deiss C.S.Sp. (1921-2007). It was first published in 1965 as part of the collection: Biblical Hymns and Psalms, Volume 1. Fr. Deiss composed over 400 songs during his lifetime. Biblical Hymns and Psalms, Vol. 1 along with it's follow-up: Biblical Hymns and Psalms, Vol. 2 (1970), in total, sold over one million copies worldwide. In the Liturgy of the Hours, Rejoice, O Virgin Mary is used on the Solemnity of the Annunciation of the Lord and for the Commons of the Blessed Virgin Mary.

Hail, This Festival Day

Ave Maria, the Maid Who Bore Us the Redeemer

Hail, This Festive Day is a John Dunn adaption of the 1906 Maurice Frederick Bell (1862-1947) translation of the Latin hymn: Salve, Festa Dies by the poet and priest of the Merovingian Court, Venantius Fortunatus (530-609). It remains a custom in some monasteries to go in procession through the cloister singing Salve, Festa Dies on the way to Chapel for the praying of Lauds on Easter morning. Hail, This Festive Day is sung to the original tune, Salve Festa Dies. First published in the English Hymnal of 1906 with Bell's translation, the melody was originally credited to "Anonymous", but later publications named the English composer, Ralph Vaughan Williams (1872-1958) as the writer. In the Liturgy of the Hours it is used for the Solemnity of the Annunciation of the Lord and in the Commons of the Blessed Virgin Mary.



HAIL THEE, FESTIVAL DAY by Maurice F. Bell (Public Domain)

Refrain: Hail thee, festival day!
              Blest day that art hallowed forever;
              Day wherein Christ arose,
              Breaking the kingdom of death.

1. Lo, the fair beauty of earth,
from the death of the winter arising,
every good gift of the year
now with its Master returns.

2. He who was nailed to the Cross
 is God and the Ruler of all things;
all things created on earth
worship the Maker of all.

3. God of all pity and power,
let thy word be assured to the doubted;
light on the third day returns:
rise, Son of God, from the tomb!

4. Ill doth it seem that thy limbs
 should linger in lowly dishonor;
ransom and price of the world,
veiled from the vision of men.

5. Loosen, O Lord, the enchained,
the spirits imprisoned in darkness;
rescue, recall into life those
who are rushing to death.

6. Ill it beseemeth that thou,
by whose hand all things are encompassed,
captive and bound shouldst remain,
deep in the gloom of the rock.

7. Rise now, O Lord, from the grave
and cast off the shroud that enwrapped thee;
thou art sufficient for us;
nothing without thee exists.

8. Mourning they laid thee to rest,
who art Author of life and creation;
treading the pathway of death,
life thou bestowedst on man.

9. Show us thy face once more,
that the ages may joy in thy brightness;
give us the light of day,
darkened on earth at thy death.

10. Out of the prison of death
thou art rescuing numberless captives;
freely they tread in the way
whither their Maker has gone.

11. Jesus has harrowed hell;
he had led captivity captive;
darkness and chaos and death
flee from the face of the light.

Mother of Christ

Star of the Sea, Our Beacon in Distress 

Mother of Christ was written by the Scottish Jesuit priest, theologian and hymnodist; Fr. James Quinn, S.J. (1919-2010). It was first published in 1969 as part of the collection: New Hymns for New Seasons. After Fr. Quinn lamented the fact that there were too few hymns in the vernacular to compliment the New Mass, his fellow priest in the Edinburgh parish where they served, challenged him to write some of his own. All total, Fr. Quinn would eventually write about 300 hymns, some of which have become standards. Mother of Christ is sung to the tune Farley Castle, written in 1638 by Henry Lawes (1596-1662) as a setting for Psalm 72. It can also be sung to the tune: Old 124th (see the following video). In the Liturgy of the Hours it is used for the Solemnity of the Annunciation of the Lord and in the Commons of the Blessed Virgin Mary.


ALTERNATIVE TUNE: OLD 124TH

Holy Mary, Now We Crown You

Glorious Queen

Holy Mary, Now We Crown You was first published in 1955. It was written by the Sulpician Priest, Fr. Melvin L. Farrell. He is the author of a number of books including Getting to Know the Bible: A Catholic Guide to Studying Scripture (2003). Holy Mary, Now We Crown You is set to the 1735 tune: Steiner by Johann Ludwig Steiner (1688-1761). The following video features a new musical setting by the contemporary Philippine composer and organist, Alejandro D. Consolacion II. It uses stanzas 3,4, and 5; plus the refrain. In the liturgy of the Hours, Holy Mary, Now We Crown You is used in the Commons of the Blessed Virgin Mary.


ALTERNATE TUNE

Mary Immaculate, Star of the Morning

Mary Immaculate, Mother of God

Mary Immaculate, Star of the Morning was written by F. W. Wetherell (1829-1903), a minister of the Church of Ireland. It is set to Liebster Immanuel, a melody from the Himmels-Lust of 1679, adapted and harmonized by the German composer, Johann Sebastian Bach (1685-1750). It can also be sung to the tune: Morning Star (see video). In the Liturgy of the Hours, Mary Immaculate, Star of the Morning is used in the Commons of the Blessed Virgin Mary.

Alternative Tune: Morning Star

MARY IMMACULATE, STAR OF THE MORNING by F. W. Wetherell (Public Domain)

1. Mary Immaculate, Star of the morning,
Chosen before the creation began,
Chosen to bring, for Thy bridal adorning,
Woe to the serpent and rescue to man.

2. Here in an orbit of shadow and sadness,
Veiling Thy splendor, Thy course Thou hast run;
Now Thou art throned in All glory and gladness,
Crowned by the hand of the Savior and Son.

3. Sinners, we honor Thy sinless perfection;
Fallen and weak, for Thy pity we lead;
Grant us the shield of Thy Sovereign protection,
Measure Thine aid by the depth of our need.

4. Bend from Thy throne At the voice of our crying,
Bend to this earth which Thy footsteps have trod;
Stretch out Thine arms to us, Living and dying,
Mary Immaculate, Mother of God.

Mary, Crowned with Living Light

Place of Peace and Holiness

Mary, Crowned with Living Light was written by the Benedictine Nuns of the Abbey of Our Lady of Consolation, more commonly known as Stanbrook Abbey. They played an active role in the revision of the Office during the 1970's, and in particular the Hymnal Supplement for the Liturgy of the Hours which included many selections from the Stanbrook Abbey Hymnal, edited by Dame Hildelith Cumming, OSB (1909-1991). Mary, Crowned with Living Light is set to the tune Glorification from Gossner's Choralbuch, Leipzig, 1832. In the following video, an alternative tune is used. It is sung by the Cistercian Nuns of St. Mary's Abbey, Glencairn, Ire. In the Liturgy of the Hours it is used in the Commons of the Blessed Virgin Mary and on the Feast of the Assumption.


ALTERNATE TUNE

155. The Church's One Foundation

One Lord, One Faith, One Birth

The Church's One Foundation was written in 1866 by the Anglican Vicar, Samuel Stone (1839-1900). He wrote the hymn in response to a series of controversial treatises on the Pentateuch and the Book of Joshua written by John William Colenso (1814–1883), first Anglican Bishop of Diocese of Natal, South African. In them he raised the possibility of biblical fallibility, arguing that parts of scripture were not literally or historically accurate. The Church's One Foundation is set to the tune Aurelia, written in 1864 by the English organist and composer Samuel Sebastian Wesley (1810-1876). He was the grandson of Charles Wesley. In the Liturgy of the Hours it is used in the Commons of the Dedication of a Church.

Christ is Made Our Sure Foundation / Angularis Fundamentum / Alto Ex Olympi Vertice

Christ is Head and Cornerstone

Christ is Made Our Sure Foundation is an Anthony G. Petti adaption of the 1851 Rev. John Mason Neale (1818-1866) translation of the 7th century anonymous Latin hymn: Angularis Fundamentum, which was the original hymn at Lauds for the Common of the Dedication of a Church in the Roman Breviary. Under Pope Urban VIII, it was revised and changed to Alto Ex Olympi Vertice. Both versions are shown below. Christ is Made the Sure Foundation is set to the tune, Westminster Abbey (Belville), an anthem written in 1680 by the English Baroque composer Henry Purcell (1659-1895) and later adapted for use as a hymn by Ernest Hawkins (1802-1868). In the Liturgy of the Hours, Christ is Made Our Sure Foundation is used for the Commons of the Dedication of a Church.

Tune: Westminster Abbey (Belville)

CHRIST IS MADE THE SURE FOUNDATION by John Neale, 1851 (Public Domain)

1. Christ is made the sure Foundation,
Christ the Head and Cornerstone;
Chosen of the Lord, and precious,
Binding all the Church in one,
Holy Zion’s Help forever,
And her Confidence alone.

2. All that dedicated city,
Dearly loved of God on high,
In exultant jubilation,
Pours perpetual melody,
God the One in Three adoring
In glad hymns eternally.

3. To this temple, where we call Thee,
Come, O Lord of Hosts, today;
With Thy wonted lovingkindness
Hear Thy servants as they pray.
And Thy fullest benediction
Shed within its walls alway.

4. Here vouchsafe to all Thy servants
What they ask of Thee to gain;
What they gain from Thee forever
With the blessèd to retain,
And hereafter in Thy glory
Evermore with Thee to reign.

5. Laud and honor to the Father,
Laud and honor to the Son,
Laud and honor to the Spirit,
Ever Three and ever One;
Consubstantial, co-eternal,
While unending ages run.

Gregorian Chant

ANGULARIS FUNDAMENTUM

1. Angularis fundamentum
lapis Christus missus est,
qui parietum compage
in utroque nectitur,
quem Sion sancta suscepit,
in quo credens permanet.

2. Omnis illa Deo sacra
et dilecta civitas,
plena modulis in laude
et canore jubilo,
trinum Deum unicumque
cum fervore prædicat.

3. Hoc in templo, summe Deus,
exoratus adveni,
et clementi bonitate
precum vota suscipe;
largam benedictionem
hic infunde jugiter.

4. Hic promereantur omnes
petita acquirere
et adepta possidere
cum sanctis perenniter,
paradisum introire
translati in requiem.

5. Gloria et honor Deo
usquequaque altissimo,
una Patri Filioque
inclyto Paraclito,
Cui laus est et potestas
per æterna sæcula.


ALTO EX OLYMPI VERTICE (1632 Revision)

1. Alto ex Olympi vertice
Summi Parentis Filius,
Ceu monte desectus lapis
Terras in imas decidens,
Domus supernae, et infimae,
Utrumque junxit angulum.

2. Sed ilia sedes coelitum
Semper resultat laudibus,
Deumque Trinum et Unicum
Jugi canore preedicat:
Illi canentes jungimur
Almae Sionis eemuli.

3. Haec templa, Rex coelestium,
Imple benigno lumine:
Huc o rogatus adveni,
Plebisque vota suscipe,
Et nostra corda jugiter
Perfunde coeli gratia.

4. Hie impetrent fidelium
Voces precesque supplicum
Domus beatae munera,
Partisque donis gaudeant:
Donee soluti corpore
Sedes beatas impleant.

5. Decus Parenti debitum
Sit usquequaque Altissimo,
Natoque Patris unico,
Et inclyto Paraclito,
Cui laus, potestas, gloria
Sterna sit per saecula. Amen

You Holy Angels Bright

Assist Our Song

You Holy Angels Bright is an adaption of a poem by Richard Baxter (1615-1691) first published in 1681. He took Holy Orders in the Church of England in 1640, but over time adopted increasingly Puritanical views.  During the English Civil War (1642–1651) he acted as Chaplain to one of Oliver Cromwell's (1599-1658) regiments. When the throne was restored, he was offered a bishopric, but he declined. He spent the remainder of his life as a Non-Conformist Minister. Ye Holy Angels Bright was written the same year that he lost his wife. The poem was adapted by Anglican Clergyman, John Hampden Gurney (1802–1862) as a hymn, with a later modern revision by editor, Anthony G. Petti for the New Catholic Hymnal. It is set to Darwall's 148th by the Anglican Clergyman and hymnodist, John Darwall (1731-1789). It was written in 1770 for the inauguration of a new organ at St. Matthew's Parish Church in Walsall where he was vicar. In the Liturgy of the Hours You Holy Angels Bright is used on September 29 on the Feast of Sts. Michael, Gabriel, and Raphael; Archangels.




YE HOLY ANGELS BRIGHT by Richard Baxter, 1681 (Public Domain)

 1. Ye holy angels bright,
Who wait at God's right hand,
Or through the realms of light
Fly at your Lord's command,
Assist our song, or else the theme
Too high doth seem for mortal tongue.

 2. Ye blessèd souls at rest,
Who ran this earthly race
And now, from sin released,
Behold your Savior's face,
God's praises sound, as in His light
With sweet delight ye do abound.

 3. Ye saints, who toil below,
Adore your heavenly King,
And onward as ye go
Some joyful anthem sing;
Take what He gives, and praise Him still,
Through good or ill, who ever lives.

 4. My soul, bear thou thy part,
Triumph in God above,
And with a well-tuned heart
Sing thou the songs of love;
Let all thy days till life shall end,
Whate'er He send, be filled with praise.

They Come, God's Messengers of Love

They Come from Realms of Peace Above

They Come, God's Messengers of Love, by Scottish Barrister Robert Campbell (1814-1868) and was first published in the Episcopal Church of Scotland sanctioned St. Andrew's Hymnal of 1850. In 1852 he converted to the Roman Catholic Church. They Come, God's Messengers of Love is set to the traditional Irish tune, Daniel. An alternative tune that it can be sung to is St. Crispin, as shown in the following video. In the Liturgy of the Hours it is used on September 29th, the Feast of Michael, Gabriel, and Raphael; Archangels.

Tune: St. Crispin

THEY COME, GOD'S MESSENGERS OF LOVE by Robert Campbell, 1850 (Public Domain)

1. They come, God’s messengers of love,
They come from realms of peace above,
From homes of never fading light,
From blissful mansions ever bright.

2. They come to watch around us here,
To soothe our sorrow, calm our fear:
Ye heavenly guides, speed not away,
God willeth you with us to stay.

3. But chiefly at its journey’s end
’Tis yours the spirit to befriend,
And whisper to the faithful heart,
“O Christian soul, in peace depart.”

4. Blest Jesu, Thou Whose groans and tears
Have sanctified frail nature’s fears,
To earth in bitter sorrow weighed,
Thou didst not scorn Thine angel’s aid;

5. An angel guard to us supply,
When on the bed of death we lie;
And by Thine own Almighty power
O shield us in the last dread hour.

6. To us the zeal of angels give,
With love to serve thee while we live;
To us an angel-guard supply,
When on the bed of death we lie.

 7. To God the Father, God the Son,
And God the Spirit, Three in One,
From all above and all below,
Let joyful praise unceasing flow.

Praise the Lord, Ye Heavens, Adore Him

Heaven and Earth and All Creation

Praise the Lord, Ye Heavens, Adore Him first appeared in 1796 edition of Psalms, Hymns, and An­thems of the Found­ling Hos­pi­tal, included as part of a leaflet inserted into the end of some copies. The original two stanza hymn was an anonymous paraphrase of Psalm 148. The 3rd stanza was added in 1836 by phy­si­cian and author Edward Osler (1798-1863). It is set to the 1797 tune Austria, written by composer, Franz Joseph Haydn (1732-1809) as the melody for Gott erhalte Franz den Kaiser, anthem to Francis II, the last Emperor of the Holy Roman Empire. In the Liturgy of the Hours, Praise the Lord, Ye Heavens, Adore Him is used on September 29th, the Feast of Michael, Gabriel, and Raphael; Archangels.



PRAISE THE LORD, YE HEAVENS, ADORE HIM by Foundling Hospital (1796) / Edward Osler (1836), Public Domain

1. Praise the Lord: ye heavens, adore Him;
Praise Him, angels in the height.
Sun and moon, rejoice before Him;
Praise Him, all ye stars of light.
Praise the Lord, for He hath spoken;
Worlds His mighty voice obeyed.
Laws which never shall be broken
For their guidance He hath made.

2. Praise the Lord, for He is glorious;
Never shall His promise fail.
God hath made His saints victorious;
Sin and death shall not prevail.
Praise the God of our salvation;
Hosts on high, His power proclaim.
Heaven and earth and all creation,
Laud and magnify His name.

3. Worship, honor, glory, blessing,
Lord, we offer unto Thee.
Young and old, Thy praise expressing,
In glad homage bend the knee.
All the saints in Heaven adore Thee;
We would bow before Thy throne.
As Thine angels serve before Thee,
So on earth Thy will be done.

O Cross of Christ Immortal Tree

O Faithful Cross, You Stand Unmoved

O Cross of Christ Immortal Tree was composed by the Benedictine Nuns of Stanbrook Abbey. When it was first published, the Nuns of the Conventus of Our Lady of Consolation were living in their Victorian era Stanbrook Abbey in Worcestershire, UK. Recently, that location was sold and the Sisters established a new home in the North York Moors National Park. With the aid of patrons and friends, they plan to eventually add a new Abbey Church, Monastic Retreat House, and library. O Cross of Christ Immortal Tree is sung to the tune: Saint Flavian, adapted from the setting of Psalm 132 in John Day's Psalter of 1562. In the Liturgy of the Hours it is used on September 14, the Feast of the Triumph of the Cross.

'Tis Good, Lord, To Be Here

Thy Glory Fills the Night

'Tis Good, Lord, To Be Here was written by the Anglican Priest, J. Armitage Robinson (1858-1933). He was a renowned scholar in patristics (the study of the Early Church Fathers), and participated in the Malines Conversations which explored the possibilities of reunion between the Roman Catholic Church and the Church of England. 'Tis Good, Lord, To Be Here is set to the tune, Narenza adapted by Anglican Priest and hymn writer, William Henry Havergal (1793-1870) from a melody of the Catholicum Hymnologium Germanicum of 1584. In the Liturgy of the Hours it is used on August 6th, the Feast of the Transfiguration.

Tune: Narenza

'TIS GOOD, LORD, TO BE HERE by J. Armitage Robinson, 1888 (Public Domain)

1. 'Tis good, Lord, to be here,
thy glory fills the night;
thy face and garments, like the sun,
shine with unborrowed light.

2. 'Tis good, Lord, to be here,
thy beauty to behold
where Moses and Elijah stand,
thy messengers of old.

3. Fulfiller of the past!
Promise of things to be,
we hail thy body glorified
and our redemption see.

4. Before we taste of death,
we see thy kingdom come;
we fain would hold the vision bright
and make this hill our home.

5. 'Tis good, Lord, to be here.
yet we may not remain;
but since thou bidst us leave the mount,
come with us to the plain.

O Raise Your Eyes on High and See

His Glory is This Day Revealed

O Raise Your Eyes on High and See is written by Benedictine monk and poet, the Rev. Ralph Wright O.S.B. (b.1938). He received his early education at the Benedictine College of Ampleforth in Yorkshire, UK before entering into the religious life. For over 30 years Fr. Wright has been at the Saint Louis Abbey in St. Louis, Missouri where he acts as the Abbey's vocational director. O Raise Your Eyes on High and See is set to the tune of This Endris Nyght, a 15th century English carol. In the Liturgy of the Hours it is used on August 6th, the Feast of the Transfiguration and on the Feast of the Assumption.

What Fairer Light / Aurea Luce / Decora Lux / Beate Pastor Petre

Rejoice, Oh Rome, This Day

What Fairer Light is a Msgr. Ronald A. Knox (1888–1957) translation of the 5th century Latin hymn Aurea Luce attributed to H. Elphis (d.493), first wife of the Roman philosopher-poet Boethius (c.475–525?). He would eventually be martyred for his defence of the faith against the Arian ruler: Theodoric the Great, King of the Ostrogoths (c.454-526). Msgr. Knox, a convert from Anglicanism, was a noted scholar, author, and translator. Under direction of his religious superiors, he re-translated the Latin Vulgate Bible into English from Hebrew and Greek sources. What Fairer Light is set to the tune, Decora Lux by the English Catholic composer, Samuel Webbe (1740–1816). In 1632, in accord with changes called for by the Council of Trent, Pope Urban VIII (1568-1644) revised  the original text of Aurea Luce and divided it into two new hymns for Lauds and Vespers: Decora Lux and Beate Pastor Petre. All versions are shown below. In the Liturgy of the Hours, What Fairer Light is used on June 29th, the Solemnity of Sts. Peter and Paul, Apostles.


Gregorian Chant

AUREA LUCE (5th Century)

1. Aurea luce et decore roseo,
Lux lucis, omne perfudisti saeculum:
decorans caelos inclito martyrio.
Hac sacra die, quae dat reis veniam.

2. Janitor caeli, doctor orbis pariter,
Judices saecli, vera mundi lumina:
Per crucem alter, alter ense triumphans,
Vitae senatum laureati possident.

3. O felix Roma, quae tantorum principum
 es purpurata pretioso sanguine,
 non laude tua, sed ipsorum meritis
 excellis omnem mundi pulchritudinem.

4. Jam, bone Pastor Petre, clemens accipe
Vota precantum, et peccati vincula
Resolve, tibi potestate tradita,
Qua cunctis cœlum verbo claudis, aperis.

5. Doctor egregie, Paule, mores instrue,
Et mente polum nos transferre satage:
Donec perfectum largiatur plenus,
Evacuato quod ex parte gerimus.

6. Olivae binae pietatis unicae,
fide devotos, spe robustos maxime,
fonte repletos caritatis geminae
post mortem carnis impetrate vivere.

7. Sit Trinitati sempiterna gloria,
honor, potestas atque iubilatio,
in unitate, cui manet imperium
ex tunc et modo per aeterna saecula


DECORO LUX (1632 revision by Pope Urban VIII)

1. Decora lux æternitatis, auream
Diem beatis irrigavit ignibus,
Apostolorum quæ coronat Principes,
Reisque in astra liberam pandit viam.

2. Mundi Magister, atque cœli Janitor,
Romæ parentes, arbitrique Gentium,
Per ensis ille, hic per crucis victor necem
Vitæ senatum laureati possident.

3. O Roma felix, quæ duorum Principum
Es consecrata glorioso ceteras
Horum cruore purpurata ceteras
Excellis orbis una pulchritudines.

4. Sit Trinitati sempiterna gloria,
Honor, potestas, atque jubilatio,
In unitate gubernat omnia,
Per universa sæculorum sæcula.


BEATE PASTOR PETRE (1632 revision by Pope Urban VIII)

1. Beate Pastor Petre, clemens accipe
Voces precantum, criminumque vincula
Verbo resolve, cui potestas tradita,
Aperire terris cœlum, apertum claudere.

2. Egregie Doctor Paule, mores instrue,
Et nostra tecum pectora in cœlum trahe;
Velata dum meridiem cernat fides,
Et solis instar sola regnet caritas.

3. Sit Trinitati sempiterna gloria,
Honor, potestas, atque jubilatio,
In unitate, quæ gubernat omnia,
Per universa æternitatis sæcula.