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"Lauda Sion" is a sequence prescribed for the Roman Catholic Mass for the feast of Corpus Christi. It was written by St. Thomas Aquinas around 1264, at the request of Pope Urban IV for the new Mass of this feast, along with Pange lingua, Sacris solemniis, and Verbum supernum prodiens, which are used in the Divine Office.
The Gregorian melody of the Lauda Sion is borrowed from the eleventh-century sequence Laetabundi iubilemus attributed to Adam of Saint Victor.
The hymn tells of the institution of the Eucharist and clearly expresses the belief of the Roman Catholic Church in transubstantiation and in Real presence, that is, that the bread and wine truly become permanently and irreversibly the Body and Blood of Christ when consecrated by a validly-ordained priest or bishop during the Mass. The fact that the hymn had been composed for the Holy Mass is testified by the sixth stanza: Dies enim solemnis agitur / In qua mensæ prima recolitur / Hujus institutio. [1]
Lauda Sion is one of only four medieval sequences which were preserved in the Roman Missal published in 1570 following the Council of Trent (1545–1563) by Will of Saint Pius V—the others being Victimae paschali laudes (Easter), Veni Sancte Spiritus (Pentecost), and Dies irae (requiem masses). (A fifth, Stabat Mater, would later be added in 1727.) Before Trent, many feasts had their own sequences. [2] The existing versions were unified in the Roman Missal promulgated in 1570. [3] The Lauda Sion is still sung today as a solemn Eucharistic hymn, though its use as a sequence is optional in the Ordinary Form of the Roman Rite. Before the reform of 1970, it was sung on Corpus Christi as a sequence between the gradual Oculi omnium and the Gospel of the day, after the verse of the Alleluia. [4]
As with Aquinas's other three Eucharistic hymns, the last few stanzas of the Lauda Sion are often used alone, in this case, to form the Ecce panis Angelorum.
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Another translation is used in the 1981 Lectionary approved for Australia and New Zealand (Volume 1, pages 601-603). It is by James Ambrose Dominic Aylward OP (1813-1872) and was published in Annus Sanctus in 1884, pages 194-196. [5]
A 1773 translation into German, "Deinem Heiland, deinem Lehrer", by Franz Xaver Riedel is a procession hymn for the Feast of Corpus Christi.
According to Dom Guéranger, Lauda Sion:
it is here that the utmost power of a Scholasticism, not crude and truncated, like that of today, but juicy and complete, like that of the Middle Ages, was able to bend the rhythm of the Latin language to the clear exposition and demand a dogma, as abstract for the theologian as it is sweet and consoling for the heart of the faithful.
"Pange lingua gloriosi corporis mysterium" is a Medieval Latin hymn attributed to Saint Thomas Aquinas (1225–1274) for the Feast of Corpus Christi. It is also sung on Maundy Thursday during the procession from the church to the place where the Blessed Sacrament is kept until Good Friday. The last two stanzas are sung at Benediction of the Blessed Sacrament. The hymn expresses the doctrine that the bread and wine are changed into the body and blood of Christ during the celebration of the Eucharist.
The Feast of Corpus Christi, also known as the Solemnity of the Most Holy Body and Blood of Christ, is a Christian liturgical solemnity celebrating the Real Presence of the Body and Blood, Soul and Divinity of Jesus in the elements of the Eucharist; it is observed by the Latin Church, in addition to certain Western Orthodox, Lutheran, and Anglican churches. Two months earlier, the institution of the Eucharist at the Last Supper is observed on Maundy Thursday in a sombre atmosphere leading to Good Friday. The liturgy on that day also commemorates Christ's washing of the disciples' feet, the institution of the priesthood, and the agony in the Garden of Gethsemane.
The Corporal of Bolsena dates from a Eucharistic miracle in Bolsena, Italy, in 1263 when a consecrated host began to bleed onto a corporal, the small cloth upon which the host and chalice rest during the Canon of the Mass. The appearance of blood was seen as a miracle to affirm the Roman Catholic doctrine of transubstantiation, which states that the bread and wine become the Body and Blood of Christ at the moment of consecration during the Mass. Today the Corporal of Bolsena is preserved in a rich reliquary at Orvieto in the cathedral. The reddish spots on the cloth, upon close observation, show the profile of a face similar to those that traditionally represent Jesus Christ. It is said that the miraculous bleeding of the host occurred in the hands of an officiating priest who had doubts about transubstantiation, Peter of Prague. The "Miracle of Bolsena" is regarded by the Roman Catholic Church as a private revelation, meaning that Catholics are under no obligation to believe it although they may do so freely.
Eucharistic adoration is a Eucharistic devotional practice primarily in Western Catholicism, but also to a lesser extent in certain Lutheran and Anglican traditions, in which the Blessed Sacrament is adored by the faithful. This practice may occur either when the Eucharist is exposed, or when it is not publicly viewable because it is reserved in a place such as a church tabernacle.
"Tantum ergo" is the incipit of the last two verses of Pange lingua, a Medieval Latin hymn generally attributed to St Thomas Aquinas c. 1264, but based upon various earlier fragments. The "Genitori genitoque" and "Procedenti ab utroque" portions are adapted from Adam of Saint Victor's sequence for Pentecost. The hymn's Latin incipit literally translates to "Therefore so great".
"O Salutaris Hostia" is a section of one of the Eucharistic hymns written by Thomas Aquinas for the Feast of Corpus Christi. He wrote it for the Hour of Lauds in the Divine Office. It is actually the last two stanzas of the hymn Verbum supernum prodiens, and is used for the Adoration of the Blessed Sacrament. The other two hymns written by Aquinas for the Feast contain the famous sections Panis angelicus and Tantum ergo.
"Verbum supernum prodiens" is a Catholic hymn in long metre by St Thomas Aquinas (1225–1274). It was written for the Hour of Lauds in the Divine Office of Corpus Christi. It is about the institution of the Eucharist by Christ at the Last Supper, and His Passion and death.
A sequence is a chant or hymn sung or recited during the liturgical celebration of the Eucharist for many Christian denominations, before the proclamation of the Gospel. By the time of the Council of Trent (1543–1563) there were sequences for many feasts in the Church's year.
"Victimae paschali laudes" is a sequence prescribed for the Catholic Mass and some liturgical Protestant Eucharistic services on Easter Sunday. It is usually attributed to the 11th-century Wipo of Burgundy, chaplain to Holy Roman Emperor Conrad II, but has also been attributed to Notker Balbulus, Robert II of France, and Adam of St. Victor.
James Ambrose Dominic Aylward OP was an English Catholic theologian and poet.
"Veni Sancte Spiritus", sometimes called the Golden Sequence, is a sequence prescribed in the Roman Liturgy for the Masses of Pentecost and/or its octave, exclusive of the following Sunday. It is usually attributed to either the thirteenth-century Pope Innocent III or to the Archbishop of Canterbury, Cardinal Stephen Langton, although it has been attributed to others as well.
Panis angelicus is the penultimate stanza of the hymn "Sacris solemniis" written by Saint Thomas Aquinas for the feast of Corpus Christi as part of a complete liturgy of the feast, including prayers for the Mass and the Liturgy of the Hours.
The Missa Pange lingua is a musical setting of the Ordinary of the Mass by Franco-Flemish composer Josquin des Prez, probably dating from around 1515, near the end of his life. Most likely his last mass, it is an extended fantasia on the Pange Lingua hymn, and is one of Josquin's most famous mass settings.
"Adoro te devote" is a prayer written by Thomas Aquinas. Unlike hymns which were composed and set to music for the Solemnity of Corpus Christi, instituted in 1264 by Pope Urban IV for the entire Latin Church of the Catholic Church, it was not written for a liturgical function and appears in no liturgical texts of the period; some scholars believe that it was written by the friar for private use at Mass. The text has since been incorporated into public worship as a hymn.
Pange lingua may refer to either of two Mediaeval Latin hymns:
"Pange lingua gloriosi proelium certaminis" is a 6th-century AD Latin hymn generally credited to the Christian poet St. Venantius Fortunatus, Bishop of Poitiers, celebrating the Passion of Christ. In the Catholic Church, the first five stanzas are used at Matins during Passiontide in the Divine Office, with the remaining stanzas sung at Lauds. Both parts are chanted during the Adoration of the Cross on Good Friday.
"Sacris solemniis" is a hymn written by St. Thomas Aquinas (1225–1274) for the feast of Corpus Christi. The strophe of Sacris solemniis that begins with the words "Panis angelicus" has often been set to music separately from the rest of the hymn. It appears about 1768 in the iberian musical form Vilancete/Villancico at Francesc Morera's "Si el grano divino". Most famously, in 1872 César Franck set this strophe for voice (tenor), harp, cello, and organ, and incorporated it into his Messe à trois voix Opus 12. The hymn expresses the doctrine that the bread and wine are changed into the Body and Blood of Christ. In the Roman Catholic tradition the concept of transubstantiation is presented as an explanation of how this change happens.
Cantate! (Sing!) is a German Catholic hymnal first published in 1847, and continued in seven editions until 1879. It was a collection of 444 old and new songs, edited by the educator and hymnwriter Heinrich Bone, and the first Catholic hymnal in German that was used in multiple dioceses. Several of the songs are still part of the common Catholic hymnal in the Germanosphere, Gotteslob.
"Deinem Heiland, deinem Lehrer" is a Catholic hymn. The German text was written by Franz Xaver Riedel in 1773, a paraphrase of the Latin Lauda Sion. The 1781 melody has been attributed to Michael Haydn. The song has appeared in regional sections of the German hymnal Gotteslob, and is commonly used as a hymn sung during processions on the Feast of Corpus Christi.
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