20th – 21st Century Roman Catholic English-

Language Eucharistic Hymnody

Tracking Liturgical and Devotional Changes

Fr. Jan Michael Joncas

19 June 2012

University of Notre Dame

What is a Hymn?

Augustine of Hippo: “praises to God with singing” (Commentary on Psalm 148)

Carl F. Price: “A Christian Hymn is a lyric poem, reverently and devotionally conceived, which is designed to be sung and which expresses the worshipper’s attitude toward God or God’s purposes in human life. It should be simple and metrical in form, genuinely emotional, poetic and literary in style, spiritual in quality, and its ideas so direct and immediately apparent as to unify a congregation while singing it.” (Paper VI of the Hymn Society of America, 1937, p. 8)

What is a Eucharistic Hymn? By Function:

To accompany the movement of communicants in the reception and consumption of the consecrated bread and wine at Mass

To express the sentiments of praise and thanksgiving of worshipers after the reception and consumption of the consecrated bread and wine at Mass

To express the devotion of worshipers toward the Blessed Sacrament in ritual settings outside of Mass (e.g., Holy Thursday procession, Corpus Christi procession, Exposition and Benediction of the Blessed Sacrament, 40 Hours devotion, Novenas, etc.)

To catechize those preparing for the reception of First Holy Communion

By Content:

Substantial reference to the meal ministry of Jesus or other New Testament Eucharistic texts

Substantial reference to Old Testament texts as types of New Testament Eucharistic texts

Substantial reference to the elements of bread and wine, their relation to the Body and Blood of the Lord, their use by the Church, their anticipation of a heavenly banquet

N.B. classic distinction between “objective” and “subjective” hymnody (“A Mighty Fortress Is Our God” vs. “Ah, Holy Jesus, How Have I Offended?”)

Limits of Presentation

Limited to Western Catholic traditions (thus no exploration of the vast repertoire of, e.g., Byzantine troparia, kontakia and kanons on eucharistic themes)

Limited to Roman Rite tradition (thus no exploration of, e.g., Sancti, venite, Christi corpus sumite from the Antiphonary of Bangor)

Limited to English-language Roman Rite Catholic tradition in the United States (thus no exploration of, e.g., Pange, lingua, gloriosi corporis mysterium from Thomas Aquinas’ texts for Corpus Christi)

Objects for Examination

Pre-Vatican II hymnal: The Pius X Hymnal (1953)

Vatican II hymnal: People’s Mass Book (1970)

Post-Vatican II hymnal: Worship, Fourth Edition (2011)

Questions for Analysis

For what ritual setting is the hymn intended?

What is the self-identity of the singer(s)?

To whom is the hymn addressed?

How are the Divine Persons imaged and in what proportion?

How is the Eucharist imaged?

What are the hoped-for consequences of engaging the Eucharist?

How is the Bible referenced?

What linguistic characteristics appear (meter, rhyme, vocabulary, register)?

The Pius X Hymnal

The Pius X Hymnal

Compiled by Pius X Hymnal Committee: Josephine Morgan, R.S.C.J. / Catherine A. Carroll, R.S.C.J. / J. Vincent Higginson / Margaret Leddy / Theodore Marier / Mary B. Saunders

Pius X School of Liturgical Music (Manhattanville College of the Sacred Heart, Purchase, New York [Archdiocese of New York])

Published by McLauglin & Reilly Co. / Boston, MA

1953 (50th anniversary of Tra le sollecitudini)

Organizational Principles

General (Topical) / Seasonal / Service Music

Within each of these three categories: Chants / Hymns / Polyphony

“Blessed Sacrament” appears in the General Category =

7 Latin chants (in 13 musical settings) + 1 English chant (“Soul of Christ, Be My Sanctification”)

6 Latin hymns (in 19 musical settings) + 9 English hymns

3 Latin polyphonic texts (in 4 musical settings)

Latin Chants

Adoro Te (ascribed to Thomas Aquinas) Mode V

Ave Verum Corpus (ascribed to Innocent VI) Mode VI

5 “Laudate Dominum” Antiphons + Psalm 116/117 (Modes I, V, VI)

Rorate caeli desuper et nubes pluant justum.

Attende Domine, et miserere, quia peccavimus tibi.

Cor Jesu sacratissimum, miserere nobis.

Adoremus in aetenum sactissimum Sacramentum.

Christus vincit, Christus regnat, Christus imperat.

Ecce Panis Angelorum (Thomas Aquinas) Mode VII

O Sacrum Convivium (Thomas Aquinas) Mode V

O Salutaris Hostia (Thomas Aquinas) [2 chant settings: Modes IV, VIII]

Tantum Ergo Sacramentum (Thomas Aquinas) [2 chant settings: Mode V, III (as part of Pange Lingua]

Pange Lingua Gloriosi Corporis Mysterium (Thomas Aquinas) Mode III

Latin Polyphonic Settings

Ave Verum Corpus (Josquin des Pres) SAB

O Salutaris Hostia (Russell Woolen) 3 equal voices

Tantum Ergo Sacramentum (Flor Peeters) 2 equal voices

Tantum Ergo Sacramentum (Russell Woolen) 3 equal voices

Latin Hymns

Ecce Panis Angelorum (Hungarian melody, 1842)

O Esca Viatorum (Andernach, 1608)

O Esca Viatorum (Heinrich Isaak, +1531)

O Salutaris Hostia (Cologne melody, 1572)

O Salutaris Hostia (Cyr de Brant)

O Salutaris Hostia (German melody, 1619)

O Salutaris Hostia (D. Lorenzo Perosi)

O Salutaris Hostia (Ashley Pettis)

O Salutaris Hostia (Polish melody)

Panis Angelicus (Hungarian melody, 1695)

Tantum Ergo Sacramentum (Anon. XVII C.)

Tantum Ergo Sacramentum (Kalman Antos)

Tantum Ergo Sacramentum (German melody)

Tantum Ergo Sacramentum (D. Lorenzo Perosi)

Tantum Ergo Sacramentum (Ashley Petis)

Tantum Ergo Sacramentum (Slovak melody)

Tantum Ergo Sacramentum (F. Wasner)

Tantum Ergo Sacramentum (S. Webbe +1816)

Verbum Supernum Prodiens (Cyr de Brant)

English Hymns

“Dear Jesus, I Have Longed for You” (First Communion) [text: Omer Goulet / music: F. Campbell-Watson)

“Dearest Lord, I Love Thee” [text: St. Ignatius, tr. S. N. D. / music: G. Landore)

“O Lamb of God” [text: Omer Goulet / music: F. Campbell-Watson]

“Godhead Here in Hiding” [text: Adoro te devote, tr. G. M. Hopkins / music: Hungarian melody, 1887)

“Jesus, Food of Angels” [text: St. Aphonsus, tr. E. Vaughn / music: J. E. Ronan]

“Jesus, Jesus, Come to Me” [text: Angelus Silesius / music: Joseph Mohr]

“Jesus, My Lord, My God, My All” [text: F. Faber / English melody, 1852]

“Hail, True Body” [text: Ave verum, tr. J. Oxenham / music: Anon.]

“Soul of My Savior” [text: Latin, XIV C, tr. Anon. / music: W. J. Maher]

Dear Jesus, I Have Longed For You

Text: Omer Goulet

Music: F. Cambell-Watson

1. Dear Jesus, I have longed for You

Since I was very small.

Upon my mother’s knee I learned

That You were not so tall.

2. She said You were quite wonderful

To set aside Your crown

And come, a Babe, to Bethlehem,

A simple, lowly town.

3. I learned You grew in age and grace

Until You were a Man

Who wanted all the little ones

Be number’d in Your plan.

4. I heard, the night before You died,

You took a loaf and cup

And changed them into Your own flesh

That ev’ry one might sup.

5. But now I see You, little Host,

A Babe in body whole,

Come down to me, O Mary’s Son,

And cradle in my soul.

6. O Jesus mine, I love you so;

I hold You to my heart.

From this divine embrace, O pray,

That I shall never part.

Analysis of “Dear Jesus, I Have Longed For You”

For what ritual setting is the hymn intended? First Communion, presumably to be sung by the first communicants, but when is unclear

What is the self-identity of the singer(s)? Presumably children of grade-school age who have mothers (note that there is no reference to fathers being involved in their catechesis), who remember what they were taught about Jesus, who have an emotional longing to be embraced by him

To whom is the hymn addressed? Jesus

How are the Divine Persons imaged and in what proportion? No reference to God the Father / Dear Jesus, Babe, Man, little Host, Mary’s Son, Jesus mine / No reference to the Holy Spirit

How is the Eucharist imaged? Loaf and cup changed at Last Supper but only Host at Mass (no reference to Precious Blood)

What are the hoped-for consequences of engaging the Eucharist? Union with Jesus (soul as cradle for Jesus; continual embrace

How is the Bible referenced? Birth at Bethlehem; growth in wisdom, age, and grace; allusion to “let the children come to me”; Last Supper

What linguistic characteristics appear (86.86. Common Meter / xaxa rhyme / simple, non-archaic vocabulary / register = close to doggerl)?

Jesus, Jesus, Come to Me

Text: Angelus Silesius (Tr. G. Ouid)

Music: Joseph Mohr, adapt.

1. Jesus, Jesus, come to me;

O how much I long for Thee!

Come, Thou of all friends the best,

Take possession of my breast.

2. Take, O Lord, this heart of mine.

Fill it with Thy love divine;

For I fain would cleave to Thee

Through a glad eternity.

3. All unworthy, Lord, am I,

Yet Thou wilt not pass me by;

Only speak one word of pow’r,

Heal me in this self-same hour.

4. Come, Lord Jesus, quickly come;

Make my longing soul Thy home;

Cleanse, absolve and strengthen me,

Never let me part from Thee.

Analysis of “Jesus, Jesus, Come to Me”

For what ritual setting is the hymn intended? Unclear: could be reception of communion at Mass, but probably Exposition and/or Benediction of the Blessed Sacrament, 40 Hours devotion, Novena, etc.

What is the self-identity of the singer(s)? Individual who is longing for a loving union with Jesus, but feels unworthy, in need of healing, cleansing, absolution, and strengthening

To whom is the hymn addressed? Jesus as Lord

How are the Divine Persons imaged and in what proportion? God the Father is not mentioned / Jesus is a best Friend who takes possession of the singer’s heart and fills it with love, speaks a word of healing power, and can make his home in the singer’s soul / No mention of the Holy Spirit

How is the Eucharist imaged? No direct mention of the Eucharist

What are the hoped-for consequences of engaging the Eucharist? No direct mention / Constant union with Jesus

How is the Bible referenced? No direct reference / possibly blind Bartimaeus / Book of Revelation: “Lord Jesus, come.”

What linguistic characteristics appear? (77.77 meter / aabb rhyme / archaic-sacral vocabulary (e.g., “Thee-Thou,” “fain would cleave,” “wilt”) / common to elevated register

Liturgical/Devotional Practices Enshrined in The Pius X Hymnal

These English-language Eucharistic hymns are primarily intended for adoration of the consecrated Host: therefore Exposition of the Blessed Sacrament, Benediction of the Blessed Sacrament, 40 Hours Devotion, etc.

These Eucharistic hymns are primarily subjective rather than objective in character

These Eucharistic hymns are exclusively addressed to Christ, usually as “Dear[est] Jesus”

These Eucharistic hymns articulate a piety of individual encounter with Jesus, often expressed in terms of seeking intense union with Jesus here on earth, fear of falling away from union with Jesus, and longing for final union with Jesus in heaven

These Eucharistic hymns present worshipers conscious of their sinfulness, seeking forgiveness, and desiring protection from malign forces

These Eucharistic hymns make no mention of present human community, but reference solidarity with the saints, e.g., Doubting Thomas, the “good thief”, the Blessed Virgin Mary

These Eucharistic hymns emphasize ocular rather than consummatory communion

These Eucharistic hymns do not reference the Bible in any extensive manner, either directly or typologically

These Eucharistic hymns are composed in standard meters: CM / LM / LM + 88 REFRAIN / 55.55 D / 65.65 / 65.65 D / 77.77 / 87.87 + 87 REFRAIN

These Eucharistic hymns are composed mostly in standard rhyme schemes (xaxa / xaxa D / aabb) although two non-standard rhyme schemes appear in two hymns with Refrains (xaxabb[b] / xaxaxx)

These Eucharistic hymns employ a mixture of standard and sacral-archaic vocabulary

These Eucharistic hymns employ mostly common but on occasion elevated registers

People’s Mass Book

People’s Mass Book

“A Hymnal Containing the New Order of Mass”

Compiled by the People’s Mass Book Committee

Published by World Library of Sacred Music, Cincinnati, Ohio

1970

Organizing Principle

Seasonal Hymns (Advent / Christmas / Epiphany / Lent / Easter / Ascension / Holy Spirit / Blessed Trinity / Our Lord)

Mass Hymns (Entrance / Kyrie / Gloria / Liturgy of the Word / General Intercessions / Offertory / Sanctus / Great Amen / Lord’s Prayer / Breaking of the Bread / Eucharist [Hymns without guitar chords/ Hymns with guitar chords] / Dismissal)

Order of Mass

Hymns Throughout The Year (Biblical Songs / Praise and Thanksgiving / Christian Life / Blessed Virgin / All Saints / Saint Joseph / The Church / Bishop’s Reception / Marriage / Baptism / Faithful Departed / Patriotic)

Hymns Shared with Pius X Hymnal

“Humbly We Adore Thee” based on “Adoro te devote” (Tr. Melvin Farrell, cf. “Godhead Here in Hiding”, tr. G. M. Hopkins)

“Praise We Christ’s Immortal Body” based on “Pange lingua gloriosi” (Tr. Melvin Farrell) [N.B. in the Pius X Hymnal this chant appeared only in Latin]

“Humbly Let Us Voice Our Homage” based on “Tantum ergo sacramentum” (Tr. Melvin Farrell) [N.B. in the Pius X Hymnal this text appeared only in Latin in multiple musical settings; in the People’s Mass Book it includes versicles and responses between Priest and People for use at Benediction]

New Hymns , i.e., Hymns Not Found in The Pius X Hymnal

Category 1: Hymns not supplied with guitar chords

Category 2: Hymns supplied with guitar chords

N.B. I am omitting Lucien Deiss’ “Give the Bread of Life” because its form departs rather radically from metrical hymnody: ANTIPHON / Variable Verse A (taken from Psalm 63) / REFRAIN / Variable Verse B (taken from Psalm 63)

Hymns Not Supplied with Guitar Chords

“O Lord with Wondrous Mystery” [text: Michael Gannon / music: Hendrink Andriesson]

“Where Charity and Love Prevail” [text: “Ubi caritas” (para. J. Clifford Evers [Omer Westendorf]) / music: Dom Paul Benoit, O.S.B.]

“Lord, Who At Your First Eucharist Did Pray” [text: William Harry Turton / music: William H. Monk]

“See Us, Lord, About Your Altar” [text: J. Greally, S.J. / music: Edward Elgar]

“Shepherd of Souls, In Love Come Feed Us” [text: J. Clifford Evers [Omer Westendorf] / music: George Joseph]

“Cup of Blessing That We Share” [text: Bernard Mischke, O.S.C. / Henry Papale]

“Let Us Break Bread Together” [text and music: Negro spiritual]

“Members of One Mystic Body [text: J. Clifford Evers [Omer Westendorf] / music: Angelo della Picca]

“Let All Mortal Flesh Keep Silence” [text: Gerard Moultrie / music: France, 17th C.]

“O Bread of Life” [text: Michael Gannon, alt. / Abbe Duguet + ca. 1767]

See Us, Lord, About Your Altar

Text: J. Greally, S.J.

Music: Edward Elgar

1. See us, Lord about your altar,

Though so many we are one;

Many souls by love united

In the heart of Christ, your Son.

2. Hear our prayers, O loving Father,

Hear in them your Son our Lord;

Hear him speak our love and worship

As we sing with one accord.

3. Once were seen the blood and water:

Now are seen but bread and wine;

Once in human form he suffered,

Now his form is but a sign.

4. Wheat and grape contain the meaning:

Food and drink he is to all;

One in him, we kneel adoring,

Gathered by his loving call.

5. Hear us yet: so much is needful

In our frail, disordered life;

Stay with us and tend our weakness

Till that day of no more strife.

6. Members of his Mystic Body

Now we know our prayer is heard,

Heard by you because your children

Have received the eternal Word.

Analysis of “See Us, Lord, About Your Altar”

For what ritual setting is the hymn intended? Possibly Gathering Rite at Mass [“about your altar” / “hear our prayers”]; possibly for procession to receive the consecrated bread and wine [“wheat and grape” / “food and drink”]; possibly for adoration of the consecrated host [“Now his form is but a sign”]

What is the self-identity of the singer(s)? many souls united by love in the heart of Christ = vs. 1; singers offering love and worship to the Father through Christ = vs. 2; kneeling adorers, gathered by Christ’s call = vs. 4; frail, disordered, weak in this life, longing for eternal peace = vs. 5; members of Christ’s Mystical Body gifted with God’s Word

To whom is the hymn addressed? God the Father

How are the Divine Persons imaged and in what proportion? God the Father = Lord, Father of Christ, loving Father of the worshiping community, tender of human weakness, hearer of human prayers through Christ // Jesus = son of God the Father, Lord of the worshiping community,, unity of worshipers, call to worshipers, Mystical Body, eternal Word // God the Holy Spirit is not directly mentioned

How is the Eucharist imaged? blood and water, bread and wine, human form, [eucharistic] sign, wheat and grape, food and drink

What are the hoped-for consequences of engaging the Eucharist? Acceptance of worshiping community’s prayers, continued union with God [the Father] who tends human frailty and weakness until eternity

How is the Bible referenced? Cf. imagery for the Divine Persons and for the Eucharist

What linguistic characteristics appear?

87.87 meter

xaxa rhyme scheme

Standard vocabulary

Common register

Hymns Supplied with Guitar Chords

“Come Before the Table of the Lord” [text and music: Tom Parker]

“In Love We Gather” [text and music: Robert J. Schaffer]

“Yours Is the Kingdom” [text: Didache, adapt. by J. H. Miffleton / music: J. H. Miffleton]

“To Be Your Body” [text and music: Joseph Wise]

“We Are Your Bread” [text and music: Joseph Wise]

We Are Your Bread

Text and Music: Joseph Wise

REFRAIN: We are your bread now; he is our life now.

We are your bread now; the bread of love are we.

We are your heart now; we are your flesh now.

We are your bread now; the bread of love are we.

1. With one heart and one voice we sing to him we know.

In the breaking of the bread of our table and ourselves,

A song of love with hearts full open and full free,

In the Word of him who melodies our lives.

2. How to sing the joy we know just standing here in you.

On this the day of our dying and our birth;

Or the wonder that we fell to know that this, the bread of heav’n

Was first and is still the bread of earth.

3. Alleluia, Alleluia, Alleluia, my Lord.

Alleluia, Alleluia, there is no word to sing,

Only a word to live the love word of God

The rainbow thanks the word of self we bring.

4. Give us this day, oh Lord, our daily bread,

The bread of all we do and all this day we are to meet.

Take us with trust to ev’ry table that you set,

That we never be afraid to take and eat.

5. With joy do I hear the beauty of his words,

Make this your own bread, my body; and we do,

And the thrill of a heart that is happy just to know

That the grain of me is next to you.

6. Many the grains, but one the bread we form;

In the wonder of a thousand loves we stand here rich and poor.

I am yours and you are mine; and we are Christ’s the Lord,

And he, oh joy, is God’s.

Analysis of “We Are Your Bread”

For what ritual setting is the hymn intended? Procession to receive the consecrated bread [and wine?], possibly thanksgiving after the reception of holy communion

What is the self-identity of the singer(s)? God’s bread, Jesus’ life, bread of love, God’s heart, God’s flesh = REFRAIN // singers with open and free hearts = vs. 1 // standing singers of joy in God [Jesus?] = vs. 2 // those with no word to sing but God’s love word to live = vs. 3 // those who need daily bread, those who are brought by God to take and eat at other’s tables = vs. 4 // individual who hears beauty Jesus’ command to make Eucharist, individual who is happy to be next to another at Eucharist = vs. 5 // one loaf, rich and poor, one another’s in Christ = vs. 6

To whom is the hymn addressed? Primarily to God the Father, although some ambiguous elements would seem to be addressed to Jesus [“We are your flesh now”]

How is the Eucharist imaged? The breaking of the bread of our table and ourselves = vs. 1 / the bread of heav’n was first and is still the bread of earth = vs. 2 / our daily bread [?], the bread of all we do and all this day we are to meet = vs. 4 / many the grains but one the bread = vs. 6

What are the hoped-for consequences of engaging the Eucharist? How to sing our joy and wonder at paschal mystery and eucharist = vs. 2 / living the love word of God, offering gift of self [?] = vs. 3 / daily bread, trust = vs. 4 / Christian community [?] = vs. 5 / union with one another and with God through Christ = vs. 6

How is the Bible referenced? Not through citations, but through allusions to “breaking of the bread,” the Lord’s Prayer, the Institution Narrative (only bread), “many the grains, one the bread,” “we are Christ’s and Christ is God’s”

What linguistic characteristics appear (meter, rhyme, vocabulary, register)?

Irregular vss. + 55.56 REFRAIN

No regular end rhymes

Peculiar “poetic” vocabulary usages: “melodies” as a verb, “rainbow” as an adjective

Register: common but with non-standard practices (ellipsis of “those” in “all this day we are to meet”, “grain of me is next to you”)

The majority of these Eucharistic hymns are primarily intended for use during the procession to receive the consecrated bread (and in some cases the consecrated wine); note the appearance of Refrain/Verse structure to facilitate this ritual use. These hymns might also be used in a time of thanksgiving after communion.

Fewer of the Eucharistic hymns might also or preferably be used for adoration of the Blessed Sacrament (e.g., “Humbly We Adore Thee,” “O Bread of Life,” “Humbly Let Us Voice Our Homage”)

Liturgical/Devotional Practices Enshrined in People’s Mass Book

The singers of these Eucharistic hymns primarily identify themselves as members of the Mystical Body of Christ, united in or seeking to be united in love with other members of the worshiping community.

The majority of these Eucharistic hymns are addressed to Christ, with a few addressed to God the Father. An equal number are addressed to the community itself, generally prescribing some attitudes or behaviors (e.g., “Where Charity and Love Prevail,” “Let Us Break Bread Together,” “Come Before The Table of the Lord of Hosts”).

These Eucharistic hymns present God the Father as loving, feeding Hebrew people on manna, the object of adoration properly offered at an altar, the one who receives the community’s prayers through Christ

These Eucharistic hymns present Jesus as Son of God and Lord, institutor of Eucharist and Church, indentified with the consecrated bread and wine, source of unity for Christians, Mystical Body, proper recipient of kingdom, power and glory

These Eucharistic hymns do not explicitly mention the Holy Spirit

These Eucharistic hymns present the Eucharist primarily as an action, a meal to be enacted, with most imagery involving eating and drinking consecrated bread and wine. N.B. “O Lord, With Wondrous Mystery” as an attempt to bridge between the worlds of contemplating the consecrated host and of engaging in the sacrificial meal:

O Lord, with wondrous mystery You take our bread and wine

And make of these two humble things Yourself, our Lord divine.

Our wheat and drink become our Light, Our altar bears your awful might;

O Lord, we thank you for the gift That lies before our sight.

You are the same, our Christ and Lord, who blessed the supper room;

You are the God who died and rose Triumphant from the tomb.

This host bears your divinity, This cup contains infinity;

The myst’ry fills our souls with love, O Holy Majesty!

These Eucharistic hymns envision the consequences of engaging the Eucharist primarily as growth in human community in the here and now, although there are some references to future fulfillment

These Eucharistic hymns mostly allude to rather than cite scripture, though some texts are more explicitly evoke the scriptural heritage (e.g., “Cup of Blessing That We Share” [1 Corinthians 10:16], “Shepherd of Souls, in Love Come Feed Us” [OT types of Christian Eucharist])

These Eucharistic hymns employ:

standard meters (though fewer CM and LM) and very irregular meters

multiple rhyme schemes and no end rhyme schemes

standard, idiosyncratic and sacral-archaic vocabulary

common, slightly elevated, and colloquial registers

Worship, Fourth Edition

Worship, Fourth Edition

Compiled by Worship, Fourth Edition Committee: Kelly Dobbs-Mickus, Rev. Ronald F. Krisman, Robert J. Batastini, Rev. James J. Chepponis, Charles Gardner

Published by GIA Publications, Inc., Chicago, IL

2011

Organizing Principles

Liturgy of the Hours (Morning Prayer/Lauds; Evening Prayer/Vespers; Night Prayer/Compline)

Psalms and Canticles

Rites of the Church (Christian Initiation of Adults; Baptism of Children; Confirmation; Holy Communion outside Mass; Eucharistic Exposition and Benediction; Reconciliation of Several Penitents; Anointing of the Sick; Marriage; Holy Orders; Funerals)

Mass (Order of Mass; Additional Chants; Eight Mass Settings; Service Music)

Hymns and Songs (Advent; Christmas; Holy Family; Mary, Mother of God; Epiphany of the Lord; Baptism of the Lord; Lent; Palm Sunday; Holy Thursday; Good Friday; Easter; Ascension of the Lord; Pentecost; Trinity; Body and Blood of Christ; Sacred Heart of Jesus; Christ the King //

Creation; Providence; Light; Word; Praise; Thanksgiving; Grace/Mercy; Petition/Prayer; Lament; Blessing; Faith; Trust; Love; Comfort; Kingdom/Reign of God; Church; Parables/Teachings of Jesus; Christian Life; Humility; Discipleship; Mission/Ministry; Social Concern; Stewardship; Peace; Unity //

Sunday; Gathering; Morning; Evening; Harvest; Second Coming; Eternal Life/Heaven; Presentation of the Lord; Joseph, Husband of Mary; Annunciation of the Lord; Nativity of John the Baptist; Peter and Paul, Apostles; Transfiguration of the Lord; Assumption of Mary; Exaltation of the Holy Cross; All Saints; Immaculate Conception //

Dedication of a Church; Blessed Virgin Mary; Apostles; Martyrs; Holy Women; Holy Men; Christian Initiation/Baptism; Eucharist; Penance/Reconciliation; Pastoral Care of the Sick; Marriage; Funeral; National; New Year)

Lectionary

Hymns Found in Earlier Hymnals

“O Salutaris hostia”/”O Saving Victim” positioned in Eucharistic Exposition and Benediction

“Tantum ergo sacramentum”/”Come adore this wondrous presence” positioned in Eucharistic Exposition and Benediction

“Adoro te devote”/”Hidden Here Before Me” positioned at Body and Blood of Christ

“O Esca Viatorum”/”O Food of Exiles Lowly” positioned at Body and Blood of Christ

“Ave verum”/”Hail, true Body” positioned in Eucharist

“Lord, who at your first Eucharist” positioned in Eucharist

Omitted Compositions

N.B. I omit three compositions which appear in the Eucharist section since they do not appear to fit the definition of hymns:

“In Memory of You” (Text and Music: C. Alexander Peloquin)

“Eat This Bread” (Text: John 6, adapt. Robert Batastini; Music: Jacques Berthier)

“This is the Body of Christ” (Text and Music: John L. Bell)

Metrical Hymns with No Refrains

“I Come With Joy” [text: Brian Wren / music: DOVE OF PEACE]

“Draw Us in the Spirit’s Tether” [text: Percy Dearmer / music: UNION SEMINARY]

“Shepherd of Souls [Refresh and Bless]” [text: James Montgomery / music: ST. AGNES]

“Draw Near and Take the Body of the Lord” [text: Sancti, venite, Christi corpus sumite”, tr. John M. Neale / COENA DOMINI]

“Alleluia, Sing to Jesus” [text: William C. Dix / music: HYFRYDOL]

Alleluia! Sing to Jesus!

Text: William C. Dix

Music: HYFRYDOL (Rowland H. Prichard)

1. Alleluia! Sing to Jesus! His the scepter, his the throne.

Alleluia! His the triumph, His the victory alone.

Hark! The songs of peaceful Zion Thunder like a mighty flood:

“Jesus out of ev’ry nation Has redeemed us by his blood.”

2. Alleluia! Not as orphans Are we left in sorrow now;

Alleluia! He is near us; Faith believes, nor questions how.

Though the cloud from sight received him When the forty days were o’er,

Shall our hearts forget his promise: “I am with you evermore”?

3. Alleluia! Bread of angels, Here on earth, our food, our stay!

Alleluia, Here the sinful Flee to you from day to day.

Intercessor, Friend of sinners, Earth’s redeemer, plead for me,

Where the sons of all the sinless Sweep across the crystal sea.

4. Alleluia! King eternal, You the Lord of lords we own;

Alleluia! Born of Mary, Earth your footstool, heav’n your throne.

You within the veil have entered, Robed in flesh, our great high priest;

Here on earth both priest and victim In the eucharistic feast.

Analysis of “Alleluia! Sing to Jesus”

For what ritual setting is the hymn intended? Probably for the celebration of an eschatological feast such as Ascension, Christ the King, the First Sunday of Advent; Possibly for a procession to received the consecrated bread (and wine?), possibly as a song of thanksgiving after receiving communion, possibly as a song of adoration to the consecrated host

What is the self-identity of the singer(s)? Those left on earth without Jesus’ bodily historical presence yet with his sacramental presence

To whom is the hymn addressed? The praying community

How are the Divine Persons imaged and in what proportion?

No mention of God the Father

Jesus: ruler, recipient of the acclamatory songs of peaceful Zion, redeemer by his blood = vs. 1 / near to the worshiping community, ascended, promise-giver of his presence = vs. 2 / bread of angels, food, stay, intercessor, friend of sinners, earth’s redeemer = vs. 3 / King eternal, Lord of lords, Mary’s child, sovereign of earth and heaven, heavenly great high priest vested in human flesh, priest and victim in the eucharistic feast

No mention of the Holy Spirit

How is the Eucharist imaged? Bread of angels, food, feast

What are the hoped-for consequences of engaging the Eucharist? Experiential union with Jesus ascended into heaven, sustenance for earthly life, forgiveness, union with those praising Jesus in heaven (?)

How is the Bible referenced? Inspired by Revelation 5:9, Luke 24: 50-52 par., Acts 1:9 par

What linguistic characteristics appear?

87.87 D meter

xaxaxbxb rhyme scheme

slightly sacral-archaic vocabulary (“Hark!”, “o’er,” “stay”)

common to lightly elevated register

Metrical Hymns with Refrains

“I Receive the Living God” [text: Bernard Geoffrey, tr. Ronald F. Krisman / music: LIVING GOD, Dom Clemont Jacob, OSB

“Bread of Life, Cup of Blessing” [text: Delores Dufner, OSB / music: BREAD BROKEN, Michel Guimont]

“Pan de Vida” [text: Bob Hurd and Pia Moriarty / music: Bob Hurd]

“Amen to the Body of Christ” [text: Delores Dufner, OSB / music: AMEN, Michel Guimont]

“Come to the Banquet” [text: Sancti, venite, Christi corpus sumite, tr. J. M. Neale + Refrain, James J. Chepponis / music: ST. MALACHY, James J. Chepponis]

“One Bread, One Body” [text and music: ONE BREAD, ONE BODY, John Foley, S.J.]

“As the Bread of Life is Broken” [text: James J. Chepponis / music: THAXTED, Gustav Holst]

“Jesus, Ever-Flowing Fountain” [text: Delores Dufner, OSB / music: GRACIOUS GIFT, Michel Guimont]

“Amén. El Cuerpo de Cristo” [text and music: John Schiavone]

“Draw Near” [text: Sancti, venite, Christi corpus sumite, tr. J. M. Neale / music: NEALE, Steven R. Janco]

“Where Two or Three are Gathered” [text: Liam Lawton / music: HEAVENLY FEAST, Liman Lawton]

“We Remember” [text: Marty Haugen / music: WE REMEMBER, Marty Haugen]

“You Satisfy the Hungry Heart” [text: Omer Westendorf / BICENTENNIAL, Robert Kreutz]

“Take and Eat” [text: James Quinn, S.J., refrain: Michael Joncas / music: CORPUS DOMINI, Michael Joncas]

“Many and Great” [text and music: Ricky Manalo]

“In the Breaking of the Bread” [text: Delores Dufner, OSB / music: Michel Guimont]

“Taste and See” [text and music: James E. Moore, Jr.]

“Come, Join the Feasting / Venga Todos al Banquete” [text: Spanish refrain by Ronald F. Krisman, vss. by Juan Bautista Cabrera, tr. by Mary Louise Bringle / music: CABRERA, Ronald F. Krisman]

“Bread of Life from Heaven / Pan de Vida Eterna” [text: Eng. by Susan R. Briehl, Sp. by Jaime Cortez / music: ARGENTINE SANTO, adapt. Marty Haugen]

“I Am the Bread of Life / Yo Soy el Pan de Vida” [text: Suzanne Toolan, RSM, tr. by anon., rev. by Ronald F. Krisman / music: BREAD OF LIFE, Suzanne Toolan, RSM]

“All Who Hunger” [text: Sylvia G. Dunstan / music: GRACE ETERNAL, Bob Moore]

“To the Wedding Feast” [text: Delores Dufner, OSB / music: SHALLOWFORD, Sally Ann Morris]

“Life-Giving Bread, Saving Cup” [text: James J. Chepponis / music: LIFE-GIVING BREAD, James J. Chepponis]

Take and Eat

Text: Verses: James Quinn, S.J. Refrain: Michael Joncas

Music: Michael Joncas

REFRAIN: Take and eat, take and eat:

this is my body given up for you.

Take and drink, take and drink:

this is my blood given up for you.

1. I am the Word that spoke and light was made;

I am the seed that died to be reborn;

I am the bread that comes from heav’n above;

I am the vine that fills your cup with joy.

2. I am the way that leads the exile home;

I am the truth that sets the captive free;

I am the life that raises up the dead;

I am your peace, true peace my gift to you.

3. I am the Lamb that takes away your sin;

I am the gate that guards you night and day;

You are my flock; you know the shepherd’s voice;

You are my own; your ransom is my blood.

4. I am the cornerstone that God has laid,

A chosen stone and precious in his eyes;

You are God’s dwelling-place, on me you rest;

Like living stones, a temple for God’s praise.

5. I am the light that came into the world;

I am the light that darkness cannot hide;

I am the morning star that never sets;

Lift up your face, in you my light will shine.

6. I am the first and last, the Living One;

I am the Lord who died that you might live;

I am the bridegroom, this my wedding song;

You are my bride, come to the marriage feast.

Analysis of “Take and Eat”

For what ritual setting is the hymn intended? Procession of the communicants to receive both consecrated bread and wine

What is the self-identity of the singer(s)? Christ

To whom is the hymn addressed? The worshiping community

How are the Divine Persons imaged and in what proportion?

God the Father = “God” in vs. 4

Jesus = Word, seed, bread, vine in vs. 1; way, truth, life, peace in vs. 2; Lamb, gate, shepherd, ransom in vs. 3; cornerstone, chosen/precious stone, resting spot for God’s dwelling place, the living stones of God’s temple in vs. 4; light, morning star in vs. 5; first and last, Living One, Lord, bridegroom in vs. 6

Holy Spirit is not mentioned

How is the Eucharist imaged? That which is taken and eaten = Christ’s body given up; That which is taken and drunk = Christ’s blood given up

What are the hoped-for consequences of engaging the Eucharist? Not mentioned

How is the Bible referenced? Direct citation of the Institution Narrative in the synoptics and 1 Corinthians; cf. the cascade of images in the verses

What linguistic characteristics appear?

10.10.10.10 + REFRAIN

no end rhyme

standard vocabulary

common register

General Analysis of Eucharistic Hymnody in Worship, Fourth

Edition

These Eucharistic hymns are all intended for use during the procession to receive the consecrated bread and wine; N.B. the majority of compositions in Refrain/Verse structure. Many may also be used as hymns of thanksgiving in the time after communion

These Eucharistic hymns identify their singers as joyful, gifted by God, given a mission by Christ for the sake of the world, able to sing in both English and Spanish

The majority of these Eucharistic hymns are addressed to the community singing, although a significant number are addressed to Jesus, and a few are addressed to God the Father. Rather frequently in compositions of Refrain-Verse pattern there is a split of address between Refrain and Verse, e.g., “Jesus, Ever-Flowing Fountain”:

REFRAIN: Jesus, ever-flowing fountain,

Give us water from your well,

In the gracious gift you offer

There is joy no tongue can tell.

VERSE ONE: Come to me, all pilgrims thirsty;

Drink the water I will give.

If you knew what gift I offer,

You would come to me and live.

These Eucharistic hymns present God the Father as Father of Jesus and of the worshiping community, source of the Word, source of the heavenly wedding feast

These Eucharistic hymns present a dazzling array of mostly scriptural titles for Jesus (e.g., “I Receive the Living God” verses)

These Eucharistic hymns present the Holy Spirit as the means by which the worshiping community recognizes Jesus as the Christ of God (“Welcome me, and you will walk / By the Spirit’s guiding light”) and unifies it in Christ (“The Spirit of the risen Christ, / Unseen, but ever near, / Is in such friendship better known, / Alive among us here.”)

These Eucharistic hymns image the Eucharist primarily as a meal of blessed and broken/poured out bread and wine to be eaten in memory of and in union with the Lord Jesus in an atmosphere of joy, love, thanksgiving and praise

These Eucharistic hymns envision the consequences of engaging the Eucharist as being united to Christ through being united more deeply with the worshiping community and being equipped for work in the world

These Eucharistic hymns are often saturated in Scripture; in fact some of the hymns are simply fairly direct settings of scriptural texts (“Bread of Life, Cup of Blessing” = John 15; “I Am the Bread of Life” = John 6 and 11)

What linguistic characteristics appear?

Wide variety of standard, non-standard and irregular meters

Wide variety of rhyme schemes as well as no end rhyme

Mostly standard vocabulary

Mostly common register

Questions for Further Study

How can the actual use of these hymns in English-speaking Roman Catholic worshiping communities in the periods under study be determined?

Sales records from the publishers?

Musical programs from worshiping communities?

Marks of usage in the hymnals themselves?

How can the effect of these hymns in shaping liturgical and devotional attitudes in English-speaking Roman Catholics during the periods under study be determined?

Which of the hymns represent “established” compositions reflective of broad acceptance and usage?

Which of the hymns represent what the hymnal’s editors believe are compositions that should be broadly accepted and used?

What criteria do the hymnal’s editors use in making such decisions (e.g., are compositions whose copyrights are owned by the hymnal’s publisher disproportionately represented?)?

What effect do official and scholarly documents have on the choice of these eucharistic hymns?

The Pius X Hymnal = Tra le sollecitudini

People’s Mass Book = Sacrosanctum Concilium / General Instruction on the Roman Missal / MR1970

Worship, Fourth Edition = Music in Catholic Worship / Liturgical Music Today / The Milwaukee Report / The Snowbird Statement / Sing to the Lord / GIRM2002 / MR2008

How will the development of other musical practices during the procession to receive the consecrated elements interact with the various traditions of Eucharistic hymnody?

Recovery of Communion antiphon [+ psalm]

Mantra-singing

Instrumental music