Friday, January 09, 2004
William Byrd (1543-1623) biog
Studied under Thomas Tallis. Was organist of Lincoln Cathedral and later of Queen Elizabeth's Chapel Royal. Famous for his church music, he was also one of the founders of the English Madrigal School, wrote music for viols, and was a leading figure in Europe in the development of a true keyboard style.
Studied under Thomas Tallis. Was organist of Lincoln Cathedral and later of Queen Elizabeth's Chapel Royal. Famous for his church music, he was also one of the founders of the English Madrigal School, wrote music for viols, and was a leading figure in Europe in the development of a true keyboard style.
Epiphany
Words: Judith Bingham
Deep midwinter, the dark centre of the year,
Wake, O earth, awake,
Out on the hills a star appears,
Here lies the way for pilgrim kings,
Three magi on an ancient path,
Black hours begin their journeyings.
Their star has risen in our hearts,
Empty thrones, abandoned fears,
Ou on the hills their journey starts,
In dazzling darkness God appears.
Words: Judith Bingham
Words: Judith Bingham
Deep midwinter, the dark centre of the year,
Wake, O earth, awake,
Out on the hills a star appears,
Here lies the way for pilgrim kings,
Three magi on an ancient path,
Black hours begin their journeyings.
Their star has risen in our hearts,
Empty thrones, abandoned fears,
Ou on the hills their journey starts,
In dazzling darkness God appears.
Words: Judith Bingham
Thursday, January 08, 2004
The Lamb (1982) christmas
Music: John Tavener (b. 1944)
Words: William Blake (1757-1827)
Little Lamb, who made thee?
Dost thou know who made thee?
Gave thee life, and bid thee feed
By the stream and o'er the mead;
Gave thee clothing of delight,
Softest clothing, woolly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little Lamb, who made thee?
Dost thou know who made thee?
Little Lamb, I'll tell thee,
Little Lamb, I'll tell thee:
He is called by thy name,
For he calls himself a Lamb.
He is meek, and he is mild;
He became a little child.
I, a child, and thou a lamb,
We are called by his name.
Little lamb, God bless thee!
Little lamb, God bless thee!
Music: John Tavener (b. 1944)
Words: William Blake (1757-1827)
Little Lamb, who made thee?
Dost thou know who made thee?
Gave thee life, and bid thee feed
By the stream and o'er the mead;
Gave thee clothing of delight,
Softest clothing, woolly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little Lamb, who made thee?
Dost thou know who made thee?
Little Lamb, I'll tell thee,
Little Lamb, I'll tell thee:
He is called by thy name,
For he calls himself a Lamb.
He is meek, and he is mild;
He became a little child.
I, a child, and thou a lamb,
We are called by his name.
Little lamb, God bless thee!
Little lamb, God bless thee!
Jubilate Deo
words
music by Michael Berkeley
Michael Berkeley biographical information:
Michael (Fitzhardinge) Berkeley ( 1948 -- )
British composer, son of Lennox Berkeley. Britten was a family friend and Michael's godfather. MB studied at the Royal Academy of Music, London, and with Richard Rodney Bennett. He has composed concertos, orchestral, chamber, and choral works, including a powerful plea for peace in a nuclear age, the oratorio Or Shall We Die? (1983, text by Ian McEwan).
words
music by Michael Berkeley
Michael Berkeley biographical information:
Michael (Fitzhardinge) Berkeley ( 1948 -- )
British composer, son of Lennox Berkeley. Britten was a family friend and Michael's godfather. MB studied at the Royal Academy of Music, London, and with Richard Rodney Bennett. He has composed concertos, orchestral, chamber, and choral works, including a powerful plea for peace in a nuclear age, the oratorio Or Shall We Die? (1983, text by Ian McEwan).
A Hymn to the Trinity
words:
music: Leighton
words:
music: Leighton
Bethlehem Down
Words by Bruce Blunt
Music by Peter Warlock
“When He is King we will give him the King's gifts,
Myrrh for its sweetness, and gold for a crown,
Beautiful robes,” said the young girl to Joseph,
Fair with her first-born on Bethlehem Down.
Bethlehem Down is full of the starlight
Winds for the spices, and stars for the gold,
Mary for sleep, and for lullaby music
Songs of a shepherd by Bethlehem fold.
When He is King they will clothe him in grave-sheets,
Myrrh for embalming, and wood for a crown,
He that lies now in the white arms of Mary,
Sleeping so lightly on Bethlehem Down.
Here He has peace and a short while for dreaming,
Close huddled oxen to keep him from cold,
Mary for love, and for lullaby music
Songs of a shepherd by Bethlehem fold.
NOTES BY MIKE LEUTY
Bethlehem Down... is a hauntingly beautiful and reverent piece of music. You might imagine such music is written with the purest motives, but this is not always the case. Bethlehem Down was written to subsidise a bout of drinking.
Philip Heseltine was born in the Savoy Hotel, London in 1894. He received little formal musical training but was influenced by a number of composers, including Delius (who acted as his mentor) and the Elizabethans. He had a deep poetic insight (particularly appreciating Yeats and the Elizabethans) and was also influenced by Celtic culture. He had a close friendship with D H Lawrence, but they later fell out and he had to take legal action to prevent an unflattering portrait of himself from appearing in “Women in Love”. He was interested in the occult, which was why he chose the pseudonym “Peter Warlock”.
He composed over a hundred solo songs which are reckoned to be among the finest English examples, and are notable for their intensity, memorable tunes and harmonic individuality. In Bethlehem Down the harmonic writing is slow-moving but perfectly judged, so for example slight changes in the third verse convert the security of Mary's arms into the promised anguish of the passion.
By 1927 Warlock was in financial difficulty, due in part to a fall in the demand for his songs. He struck up a friendship with Bruce Blunt, a journalist, poet and “bon viveur”. The first record of their association was a press report about them being arrested “drunk and disorderly” in Chelsea. Running short of money, the two friends wrote Bethlehem Down to submit to the Daily Telegraph's annual carol contest. They duly won the prize, which was used to finance an “immortal carouse” on Christmas Eve 1927. But Warlock suffered from lack of self-confidence, had never had stable employment, and found himself unable to develop his musical language, possibly for lack of formal training. His financial situation got worse, he suffered several bouts of depression, and was found dead of gas poisoning in his Chelsea flat in December 1930 at the age of 36.
Like most of us Warlock was an imperfect character, and his motives for writing Bethlehem Down were not completely pure, and yet he created a thing of great beauty and reverence. The carol shows us that we do not have to be perfect in order to do good, while in its haunting harmonies I hear the compassion of the King for all our imperfections.
Mike Leuty
Words by Bruce Blunt
Music by Peter Warlock
“When He is King we will give him the King's gifts,
Myrrh for its sweetness, and gold for a crown,
Beautiful robes,” said the young girl to Joseph,
Fair with her first-born on Bethlehem Down.
Bethlehem Down is full of the starlight
Winds for the spices, and stars for the gold,
Mary for sleep, and for lullaby music
Songs of a shepherd by Bethlehem fold.
When He is King they will clothe him in grave-sheets,
Myrrh for embalming, and wood for a crown,
He that lies now in the white arms of Mary,
Sleeping so lightly on Bethlehem Down.
Here He has peace and a short while for dreaming,
Close huddled oxen to keep him from cold,
Mary for love, and for lullaby music
Songs of a shepherd by Bethlehem fold.
NOTES BY MIKE LEUTY
Bethlehem Down... is a hauntingly beautiful and reverent piece of music. You might imagine such music is written with the purest motives, but this is not always the case. Bethlehem Down was written to subsidise a bout of drinking.
Philip Heseltine was born in the Savoy Hotel, London in 1894. He received little formal musical training but was influenced by a number of composers, including Delius (who acted as his mentor) and the Elizabethans. He had a deep poetic insight (particularly appreciating Yeats and the Elizabethans) and was also influenced by Celtic culture. He had a close friendship with D H Lawrence, but they later fell out and he had to take legal action to prevent an unflattering portrait of himself from appearing in “Women in Love”. He was interested in the occult, which was why he chose the pseudonym “Peter Warlock”.
He composed over a hundred solo songs which are reckoned to be among the finest English examples, and are notable for their intensity, memorable tunes and harmonic individuality. In Bethlehem Down the harmonic writing is slow-moving but perfectly judged, so for example slight changes in the third verse convert the security of Mary's arms into the promised anguish of the passion.
By 1927 Warlock was in financial difficulty, due in part to a fall in the demand for his songs. He struck up a friendship with Bruce Blunt, a journalist, poet and “bon viveur”. The first record of their association was a press report about them being arrested “drunk and disorderly” in Chelsea. Running short of money, the two friends wrote Bethlehem Down to submit to the Daily Telegraph's annual carol contest. They duly won the prize, which was used to finance an “immortal carouse” on Christmas Eve 1927. But Warlock suffered from lack of self-confidence, had never had stable employment, and found himself unable to develop his musical language, possibly for lack of formal training. His financial situation got worse, he suffered several bouts of depression, and was found dead of gas poisoning in his Chelsea flat in December 1930 at the age of 36.
Like most of us Warlock was an imperfect character, and his motives for writing Bethlehem Down were not completely pure, and yet he created a thing of great beauty and reverence. The carol shows us that we do not have to be perfect in order to do good, while in its haunting harmonies I hear the compassion of the King for all our imperfections.
Mike Leuty
Ave Maria
Parsons
Parsons
All wisdom cometh from the Lord (Moore)
Were you there? Bob Chilcott
NOTES ON CHILCOTT
Bob Chilcott was born in Plymouth, England in 1955. He was a chorister at King's College, Cambridge, and in 1973 returned there to read music; he received his MA in 1978. At the time he also studied composition with Alan Ridout at the Royal College of Music in London.
Since then he has combined writing with performing and teaching. From 1976 - 1986 he worked as a freelance singer in London, as an arranger of orchestral music for BBC radio, and as a choral motivator in Sweden. From 1985-1997 he sang (tenor) with The King's Singers, an experience that focussed his love of choral music, and helped give direction to his writing.
Since 1997 he has worked full time as a composer.
NOTES ON CHILCOTT
Bob Chilcott was born in Plymouth, England in 1955. He was a chorister at King's College, Cambridge, and in 1973 returned there to read music; he received his MA in 1978. At the time he also studied composition with Alan Ridout at the Royal College of Music in London.
Since then he has combined writing with performing and teaching. From 1976 - 1986 he worked as a freelance singer in London, as an arranger of orchestral music for BBC radio, and as a choral motivator in Sweden. From 1985-1997 he sang (tenor) with The King's Singers, an experience that focussed his love of choral music, and helped give direction to his writing.
Since 1997 he has worked full time as a composer.
Sing joyfully - Byrd
Three Kings from Persian Lands afar epiphany
Music by Peter Cornelius (
Music by Peter Cornelius (
O thou, the central Orb
words adapted by H R Bramley
Music: Charles Wood (1866-1926)
O thou the central orb of righteous love,
Pure beam of the most high, eternal light
Of this our wintry world, thy radiance bright
Awakes new joy in faith, hope soars above.
Come, quickly come, and let thy glory shine,
Gilding our darksome heaven with rays divine;
Thy saints with holy lustre round thee move,
As stars about thy throne, set in the height
Of God's ordaining counsel, as thy sight
Gives measured grace to each, thy power to prove.
Let thy bright beams disperse the gloom of sin,
Our nature all shall feel eternal day,
In fellowship with thee, transforming clay
To souls erewhile unclean, now pure within. Amen.
words adapted by H R Bramley
Music: Charles Wood (1866-1926)
O thou the central orb of righteous love,
Pure beam of the most high, eternal light
Of this our wintry world, thy radiance bright
Awakes new joy in faith, hope soars above.
Come, quickly come, and let thy glory shine,
Gilding our darksome heaven with rays divine;
Thy saints with holy lustre round thee move,
As stars about thy throne, set in the height
Of God's ordaining counsel, as thy sight
Gives measured grace to each, thy power to prove.
Let thy bright beams disperse the gloom of sin,
Our nature all shall feel eternal day,
In fellowship with thee, transforming clay
To souls erewhile unclean, now pure within. Amen.
Here is the little door Howells
Herbert Howells wrote Here is the little door in 1918, when he was in his mid-20’s. Described as a carol-anthem, it sets words by Frances Chesterton on the giving of gifts to the infant Jesus. Its dynamic contrasts make it a dramatic piece.
Herbert Howells wrote Here is the little door in 1918, when he was in his mid-20’s. Described as a carol-anthem, it sets words by Frances Chesterton on the giving of gifts to the infant Jesus. Its dynamic contrasts make it a dramatic piece.
Solus ad victimam Music by Kenneth Leighton (1929-88)
Alone to sacrifice thou goest, Lord, giving thyself to Death whom thou hast slain. For us thy wretched folk is any word? Who know that for our sins this is thy pain?
For they are ours, O Lord, our deeds, our deeds. Why must thou suffer torture for our sin? Let our hearts suffer in thy Passion, Lord, that very suffering may thy mercy win.
This is the night of tears, the three days' space, sorrow abiding of the eventide, Until the day break with the risen Christ, and hearts that sorrowed shall be satisfied.
So may our hearts share in thine anguish, Lord, that they may sharers of thy glory be; Heavy with weeping may the three days pass, to win the laughter of thine Easter Day.
Peter Abelard (1079-1142), trans. Helen Waddell
Alone to sacrifice thou goest, Lord, giving thyself to Death whom thou hast slain. For us thy wretched folk is any word? Who know that for our sins this is thy pain?
For they are ours, O Lord, our deeds, our deeds. Why must thou suffer torture for our sin? Let our hearts suffer in thy Passion, Lord, that very suffering may thy mercy win.
This is the night of tears, the three days' space, sorrow abiding of the eventide, Until the day break with the risen Christ, and hearts that sorrowed shall be satisfied.
So may our hearts share in thine anguish, Lord, that they may sharers of thy glory be; Heavy with weeping may the three days pass, to win the laughter of thine Easter Day.
Peter Abelard (1079-1142), trans. Helen Waddell
Five Black Spirituals (from A Child of our Time) Tippett
Steal away (from A Child of our Time) Tippett
Nobody Knows Nobody knows the trouble I see, Lord, Nobody knows the trouble I see.
Nobody knows the trouble I see, Lord, Nobody knows like Jesus.
O brothers, pray for me, And help me to drive old Satan away.
O mothers, pray for me And help me to drive old Satan away.
Nobody knows the trouble I see, Lord, Nobody knows the trouble I see.
Nobody knows the trouble I see, Lord, Nobody knows like Jesus.
By and by (from A Child of our Time) Tippett
Tippett
Culture on the Margins:
The Black Spiritual and the Rise of American Cultural Interpretation
Jon Cruz ISBN: 0-691-00474-9
In Culture on the Margins, Jon Cruz recounts the "discovery" of black music by white elites in the nineteenth century, boldly revealing how the episode shaped modern approaches to studying racial and ethnic cultures. Slave owners had long heard black song making as meaningless "noise." Abolitionists began to attribute social and political meaning to the music, inspired, as many were, by Frederick Douglass's invitation to hear slaves' songs as testimonies to their inner, subjective worlds. This interpretive shift--which Cruz calls "ethnosympathy"--marks the beginning of a mainstream American interest in the country's cultural margins. In tracing the emergence of a new interpretive framework for black music, Cruz shows how the concept of "cultural authenticity" is constantly redefined by critics for a variety of purposes--from easing anxieties arising from contested social relations to furthering debates about modern ethics and egalitarianism.
In focusing on the spiritual aspect of black music, abolitionists, for example, pivoted toward an idealized religious singing subject at the expense of absorbing the more socially and politically elaborate issues presented in the slave narratives and other black writings. By the end of the century, Cruz maintains, modern social science also annexed much of this cultural turn. The result was a fully modern tension-ridden interest in culture on the racial margins of American society that has long had the effect of divorcing black culture from politics.
Steal away (from A Child of our Time) Tippett
Nobody Knows Nobody knows the trouble I see, Lord, Nobody knows the trouble I see.
Nobody knows the trouble I see, Lord, Nobody knows like Jesus.
O brothers, pray for me, And help me to drive old Satan away.
O mothers, pray for me And help me to drive old Satan away.
Nobody knows the trouble I see, Lord, Nobody knows the trouble I see.
Nobody knows the trouble I see, Lord, Nobody knows like Jesus.
By and by (from A Child of our Time) Tippett
Tippett
Culture on the Margins:
The Black Spiritual and the Rise of American Cultural Interpretation
Jon Cruz ISBN: 0-691-00474-9
In Culture on the Margins, Jon Cruz recounts the "discovery" of black music by white elites in the nineteenth century, boldly revealing how the episode shaped modern approaches to studying racial and ethnic cultures. Slave owners had long heard black song making as meaningless "noise." Abolitionists began to attribute social and political meaning to the music, inspired, as many were, by Frederick Douglass's invitation to hear slaves' songs as testimonies to their inner, subjective worlds. This interpretive shift--which Cruz calls "ethnosympathy"--marks the beginning of a mainstream American interest in the country's cultural margins. In tracing the emergence of a new interpretive framework for black music, Cruz shows how the concept of "cultural authenticity" is constantly redefined by critics for a variety of purposes--from easing anxieties arising from contested social relations to furthering debates about modern ethics and egalitarianism.
In focusing on the spiritual aspect of black music, abolitionists, for example, pivoted toward an idealized religious singing subject at the expense of absorbing the more socially and politically elaborate issues presented in the slave narratives and other black writings. By the end of the century, Cruz maintains, modern social science also annexed much of this cultural turn. The result was a fully modern tension-ridden interest in culture on the racial margins of American society that has long had the effect of divorcing black culture from politics.
Let all mortal flesh keep silence Bairstow (advent, christmas, epiphany)
Let all mortal flesh keep silence
and with fear and trembling stand;
ponder nothing earthly-minded,
for with blessing in his hand
Christ our God to earth descendeth,
our full homage to demand.
This powerful and moving hymn is based on the Prayer of the Cherubic Hymn from the Liturgy of St James (4th century), one of the earliest extant liturgies of the Christian Church, and is found in both Greek and Syriac. It is still in use among Orthodox Christians, who recite it in Jerusalem on the Sunday after Christmas.
Let all mortal flesh keep silence
and with fear and trembling stand;
ponder nothing earthly-minded,
for with blessing in his hand
Christ our God to earth descendeth,
our full homage to demand.
This powerful and moving hymn is based on the Prayer of the Cherubic Hymn from the Liturgy of St James (4th century), one of the earliest extant liturgies of the Christian Church, and is found in both Greek and Syriac. It is still in use among Orthodox Christians, who recite it in Jerusalem on the Sunday after Christmas.
Jubilate Deo Walton
The text of Jubilate Deo is taken from the Book of Common Prayer:
O be joyful in the Lord, all ye lands: serve the Lord with gladness, and come before his presence with a song.
Be ye sure that the Lord he is God: it is he that hath made us, and not we ourselves; we are his people, and the sheep of his pasture.
O go your way into his gates with thanksgiving, and into his courts with praise: be thankful unto him, and speak good of his name.
For the Lord is gracious, his mercy is everlasting: and his truth endureth from generation to generation.
Glory be to the Father, and to the Son, and to the Holy Ghost;
As it was in the beginning, is now, and ever shall be: world without end.
Amen.
The text of Jubilate Deo is taken from the Book of Common Prayer:
O be joyful in the Lord, all ye lands: serve the Lord with gladness, and come before his presence with a song.
Be ye sure that the Lord he is God: it is he that hath made us, and not we ourselves; we are his people, and the sheep of his pasture.
O go your way into his gates with thanksgiving, and into his courts with praise: be thankful unto him, and speak good of his name.
For the Lord is gracious, his mercy is everlasting: and his truth endureth from generation to generation.
Glory be to the Father, and to the Son, and to the Holy Ghost;
As it was in the beginning, is now, and ever shall be: world without end.
Amen.
I know my soul hath power to know all things
Text Sir John Davies (1569-1626)
Set by Sir Hubert Parry (1848-1918), from Songs of Farewell, no. 2.
I know my soul hath power to know all things,
Yet she is blind and ignorant in all:
I know I'm one of Nature's little kings,
Yet to the least and vilest things am thrall.
I know my life's a pain and but a span;
I know my sense is mock'd in ev'rything;
And, to conclude, I know myself a Man,
Which is a proud and yet a wretched thing.
Biog on Parry
Sir (Charles) Hubert (Hastings) Parry ( 1848 -- 1918 ); composer, born in Bournemouth, Dorset, S England, UK. He studied at Oxford, was professor at the Royal College of Music (1883), and in 1895 became its director. He composed three oratorios, an opera, five symphonies, and many other works, but is best known for his unison chorus "Jerusalem' (1916), words by William Blake, sung as an unofficial anthem at the end of each season of Promenade Concerts in London.
Text Sir John Davies (1569-1626)
Set by Sir Hubert Parry (1848-1918), from Songs of Farewell, no. 2.
I know my soul hath power to know all things,
Yet she is blind and ignorant in all:
I know I'm one of Nature's little kings,
Yet to the least and vilest things am thrall.
I know my life's a pain and but a span;
I know my sense is mock'd in ev'rything;
And, to conclude, I know myself a Man,
Which is a proud and yet a wretched thing.
Biog on Parry
Sir (Charles) Hubert (Hastings) Parry ( 1848 -- 1918 ); composer, born in Bournemouth, Dorset, S England, UK. He studied at Oxford, was professor at the Royal College of Music (1883), and in 1895 became its director. He composed three oratorios, an opera, five symphonies, and many other works, but is best known for his unison chorus "Jerusalem' (1916), words by William Blake, sung as an unofficial anthem at the end of each season of Promenade Concerts in London.
Holy is the True Light Harris
Holy is the True Light, and passing wonderful,
lending radiance to them that endured in the heat of the conflict,
from Christ they inherit a home of unfading splendour,
wherein they rejoice with gladness evermore.
Alleluia!
from the Salisbury Diurnal by GH Palmer
William Henry Harris (1883-1973)
He studied at the Royal College of Music, where he later became a professor, and was organist of New College, Oxford, Christ Church Cathedral and St. George's Chapel, Windsor.
Holy is the True Light, and passing wonderful,
lending radiance to them that endured in the heat of the conflict,
from Christ they inherit a home of unfading splendour,
wherein they rejoice with gladness evermore.
Alleluia!
from the Salisbury Diurnal by GH Palmer
William Henry Harris (1883-1973)
He studied at the Royal College of Music, where he later became a professor, and was organist of New College, Oxford, Christ Church Cathedral and St. George's Chapel, Windsor.
God is gone up with a triumphant shout Gerald Finzi (Edward Taylor)
Text by Edward Taylor (1646?-1729), from "Sacramental Meditations".
Set by Gerald Finzi (1901-1956), op. 27 no. 2 (1951). [anthem for SATB chorus, organ and strings]
God is gone up with a triumphant shout:
The Lord with sounding Trumpets' melodies:
Sing Praise, sing Praise, sing Praise, sing Praises out,
Unto our King sing praise seraphic wise!
Lift up your Heads, ye lasting Doors, they sing,
And let the King of Glory enter in.
Methinks I see Heaven's sparkling courtiers fly,
In flakes of Glory down him to attend,
And hear Heart-cramping notes of Melody
Surround his Chariot as it did ascend;
Mixing their Music, making ev'ry string
More to enravish as they this tune sing.
Text by Edward Taylor (1646?-1729), from "Sacramental Meditations".
Set by Gerald Finzi (1901-1956), op. 27 no. 2 (1951). [anthem for SATB chorus, organ and strings]
God is gone up with a triumphant shout:
The Lord with sounding Trumpets' melodies:
Sing Praise, sing Praise, sing Praise, sing Praises out,
Unto our King sing praise seraphic wise!
Lift up your Heads, ye lasting Doors, they sing,
And let the King of Glory enter in.
Methinks I see Heaven's sparkling courtiers fly,
In flakes of Glory down him to attend,
And hear Heart-cramping notes of Melody
Surround his Chariot as it did ascend;
Mixing their Music, making ev'ry string
More to enravish as they this tune sing.
Beati quorum via
Words Psalm 119
Music Charles Villiers Stanford (1852-1924)
Beati quorum via integra est:
qui ambulant in lege Domini
Blessed are the undefiled in the way,
who walk in the law of the Lord.
Psalm 119
Words Psalm 119
Music Charles Villiers Stanford (1852-1924)
Beati quorum via integra est:
qui ambulant in lege Domini
Blessed are the undefiled in the way,
who walk in the law of the Lord.
Psalm 119
Ave verum corpus
words
music W A Mozart
Ave Verum Corpus natum
de Maria Virgine.
Vere passum immolatum
in cruce pro homine:
cuius latum perforatum
aqua fluxit et sanguine.
Esto nobis praegustatum
in mortis examine.
O Iesu dulcis!
O Iesu pie!
O Iesu Fili Mariae. Amen.
(or: O clemens, O pie
O dulcis Jesu, Fili Mariae.)
Hail, true Body, truly born
of the Virgin Mary mild.
Truly offered, wracked and torn,
on the Cross for all defiled,
from Whose love-pierced, sacred side
flowed Thy true Blood's saving tide:
be a foretaste sweet to me
in my death's great agony.
O my loving, Gentle One,
Sweetest Jesus,
Mary's Son. Amen.
(or: o gentle, o pious
o sweet Jeus, Son of Mary.) (Translation by Fr. Edward Francis Garesche, SJ)
words
music W A Mozart
Ave Verum Corpus natum
de Maria Virgine.
Vere passum immolatum
in cruce pro homine:
cuius latum perforatum
aqua fluxit et sanguine.
Esto nobis praegustatum
in mortis examine.
O Iesu dulcis!
O Iesu pie!
O Iesu Fili Mariae. Amen.
(or: O clemens, O pie
O dulcis Jesu, Fili Mariae.)
Hail, true Body, truly born
of the Virgin Mary mild.
Truly offered, wracked and torn,
on the Cross for all defiled,
from Whose love-pierced, sacred side
flowed Thy true Blood's saving tide:
be a foretaste sweet to me
in my death's great agony.
O my loving, Gentle One,
Sweetest Jesus,
Mary's Son. Amen.
(or: o gentle, o pious
o sweet Jeus, Son of Mary.) (Translation by Fr. Edward Francis Garesche, SJ)
