O filii et filiae is a Christian hymn celebrating Easter. It is attributed to Jean Tisserand (d. 1497), a Franciscan friar.
O filii et filiae is a Christian hymn celebrating Easter. It is attributed to Jean Tisserand (d. 1497), a Franciscan friar.
As commonly found in hymnals, it comprises up to twelve stanzas; each consisting of three verses followed by the exclamation "Alleluia":
1. O filii et filiae
Rex caelestis, Rex gloriae
Morte surrexit hodie.
Alleluia.
It originally comprised only nine stanzas (those commencing with "Discipulis adstantibus", "Postquam audivit Didymus", "Beati qui non viderunt" being early additions to the hymn). "L'aleluya du jour de Pasques" is a trope on the versicle and response (closing Lauds and Vespers) which it paraphrases in the last two stanzas:
11. In hoc festo sanctissimo
Sit laus et jubilatio:
Benedicamus Domino.
Alleluia.
12. De quibus nos humillimas
Devotas atque debitas
Deo dicamus gratias.
Alleluia.
There are several translations into English verse by non-Catholics, notably "O Sons and Daughters" by John Mason Neale. This translation is sometimes reworked as "Ye Sons and Daughters of the King". Catholic translations comprise one by an anonymous author in the "Evening Office", 1748 ("Young men and maids, rejoice and sing"), Father Caswall's "Ye sons and daughters of the Lord" and Charles Kent's "O maids and striplings, hear love's story", all three being given in Shipley, Annus Sanctus. The Latin texts vary both in the arrangement and the wording of the stanzas. The following is the translation of the above Latin verses by Neale as they appear in the New English Hymnal, where some stanzas have been omitted: [1]
1. Ye sons and daughters of the King,
Whom heavenly hosts in glory sing,
To-day the grave hath lost its sting.
Alleluya!
9. On this most holy day of days,
To God your hearts and voices raise
In laud, and jubilee, and praise.
Alleluya!
10. And we with Holy Church unite,
As evermore is just and right,
In glory to the King of Light.
Alleluya!
The melody begins with a three-fold Alleluia, sung as a refrain, beginning and ending on the tonic. The first and second lines of each stanza share the same melody, and the third line takes its melody from the refrain. [2]
The rhythm of the hymn is that of number and not of accent or of classical quantity. However, the melody to which it is sung can scarcely be divorced from the lilt of triple time. As a result, there is sometimes the appearance of a conflict between the accent of the Latin words and the real, if unintentional, stress of the melody. A number of hymnals give the melody in plain-song notation, and (theoretically, at least) this would permit the accented syllables of the Latin text to receive an appropriate stress of the voice. Commonly, however, the hymnals adopt the modern triple time. [3]
The melody has been used as the inspiration for numerous organ pieces, including settings by French baroque composers Marc-Antoine Charpentier (H.312 and H.356), Pierre Dandrieu, [4] and Jean-Francois Dandrieu, [5] as well as variations by Alexandre Guilmant.
 | This section possibly contains original research .(April 2020) |
The hymn was very popular in France, whence it has spread to other countries. The 19th-century volume "The Liturgical Year" entitles it "The Joyful Canticle" and gives Latin text with English prose translation, [6] with a triple Alleluia preceding and following the hymn. In certain hymnals, however, this triple Alleluia is sung also between the stanzas; [7] and in others, [8] greater particularity is indicated in the distribution of the stanzas and of the Alleluias, which has a great effect, in the words of John Mason Neale, "It is scarcely possible for any one, not acquainted with the melody, to imagine the jubilant effect of the triumphant Alleluia attached to apparently less important circumstances of the Resurrection. It seems to speak of the majesty of that event, the smallest portions of which are worthy to be so chronicled." [9] The conflict of stress and word-accent led Neale to speak of the "rude simplicity" of the poem and to ascribe the hymn to the twelfth century in his volume (although the note prefixed to his own translation assigns the hymn to the thirteenth century). The French priest Jacques Paul Migne also declares it to be very ancient. [10] It is only recently that its true authorship has been discovered, with the Dictionary of Hymnology (2nd ed., 1907) tracing it back only to the year 1659, with earlier sources finding it in a Roman Processional of the sixteenth century. [11]
The hymn was assigned in the various French Paroissiens to the Benediction of the Blessed Sacrament, on Easter Sunday.
It was paraphrased in German in 1885 as "Ihr Christen, singet hocherfreut".
"For All the Saints" was written as a processional hymn by William Walsham How, who was ultimately the Anglican Bishop of Wakefield. The hymn was first printed in Hymns for Saints' Days, and Other Hymns, by Earl Nelson, 1864.
Vexilla regis prodeunt is a Latin hymn in long metre by the Christian poet and saint Venantius Fortunatus, Bishop of Poitiers. It takes its title from its incipit.
"Christ the Lord Is Risen Today" is a Christian hymn associated with Easter. Most of the stanzas were written by Charles Wesley, and the hymn appeared under the title "Hymn for Easter Day" in Hymns and Sacred Poems by Charles and John Wesley in 1739. The hymn eventually became well known for the "Alleluia" sung as a melisma after each line, which was added by an unknown author, probably to fit the commonly used hymn tune, "Easter Hymn". It remains a traditional processional hymn on Easter Sunday.
"Jesus Christ Is Risen Today" is a Christian hymn. It was initially written in the 14th century as a Bohemian Latin hymn titled "Surrexit Christus hodie". It is an Easter hymn referring to the Resurrection of Jesus and based on Matthew 28:6, Acts 2:32, 1 Peter 3:18 and Revelation 1:17-18.
"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.
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"O come, O come, Emmanuel" is a Christian hymn for Advent, which is also often published in books of Christmas carols. The text was originally written in Latin. It is a metrical paraphrase of the O Antiphons, a series of plainchant antiphons attached to the Magnificat at Vespers over the final days before Christmas. The hymn has its origins over 1,200 years ago in monastic life in the 8th or 9th century. Seven days before Christmas Eve monasteries would sing the “O antiphons” in anticipation of Christmas Eve when the eighth antiphon, “O Virgo virginum” would be sung before and after Mary's canticle, the Magnificat. The Latin metrical form of the hymn was composed as early as the 12th century.
"Ye Watchers and Ye Holy Ones" is a popular Christian hymn with text by Athelstan Riley, first published in the English Hymnal (1906). It is sung to the German tune Lasst uns erfreuen (1623). Its uplifting melody and repeated "Alleluias" make this a favourite Anglo-Catholic hymn during the Easter season, the Feast of All Saints, and other times of great rejoicing.
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Nikolaus Herman was a German Lutheran cantor and teacher, creating numerous Protestant hymns. Some of them are contained in hymnals in several languages.
"All Glory, Laud and Honour" is an English translation by the Anglican clergyman John Mason Neale of the Latin hymn "Gloria, laus et honor", which was written by Theodulf of Orléans in 820. It is a Palm Sunday hymn, based on Matthew 21:1–11 and the occasion of Christ's triumphal entry into Jerusalem.
"Gelobt sei Gott im höchsten Thron" is a hymn for Easter in 20 stanzas in German by Michael Weiße, widely known with a later melody by Melchior Vulpius. Shortened, it is part of current Protestant and Catholic German hymnals.
"Lasst uns erfreuen herzlich sehr" is a hymn tune that originated from Germany in 1623, and which found widespread popularity after The English Hymnal published a 1906 version in strong triple meter with new lyrics. The triumphant melody and repeated "Alleluia" phrases have supported the tune's widespread usage during the Easter season and other festive occasions, especially with the English texts "Ye Watchers and Ye Holy Ones" and "All Creatures of Our God and King".
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"Christ fuhr gen Himmel" is a German Ascension hymn. The church song is based the medieval melody of the Easter hymn "Christ ist erstanden". It was an ecumenical song from the beginning, with the first stanza published in 1480, then included in a Lutheran hymnal in 1545, and expanded by the Catholic Johannes Leisentritt in 1567. It appears in modern German Catholic and Protestant hymnals, and has inspired musical settings by composers from the 16th to the 21st century.
"Das Grab ist leer, der Held erwacht" is a Catholic hymn for Easter, first printed in 1777 in the hymnal Landshuter Gesangbuch published by Franz Seraph von Kohlbrenner. Keeping only the first of five stanzas, with additional two stanzas, it appeared in hymnals of the 19th century, and later in different versions in several regional sections of the Catholic hymnal Gotteslob. It is a frequently sung hymn in Easter services.
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"Ihr Christen, singet hocherfreut" is a Christian Easter hymn. The German text was adapted by Christoph Moufang in 1865 from the 15th-century Latin hymn "O filii et filiae". It is sung to the same melody. Beginning and ending with a three-fold Halleluja, it is also known as "Halleluja – Ihr Christen, singet hocherfreut". The Latin "O filii" was translated into English by John Mason Neale as "Ye Sons and Daughters of the King" and appears in many English language hymnals.
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