LAUDA Sion Salvatorem, lauda ducem et pastorem, in hymnis et canticis. Quantum potes, tantum aude: quia maior omni laude, nec laudare sufficis. ZION, to Thy. The Mass propers of Corpus Christi feature the beautiful Sequence, Lauda Sion Salvatorem just after the Gradual and Alleluia chants. This Eucharistic hymn of. Lauda Sion Salvatorem (Tomás Luis de Victoria) Original text and translations may be found at Lauda Sion Salvatorem. Victoria sets vv. 1, 3a.
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This Eucharistic hymn of praise is a befitting doctrinal tribute to the great mystery of the Sacrament of Sacraments instituted during Our Lord’s Last Supper. We offer some explanation on this sequence derived from The Catholic Encyclopedia ‘s sin on the topic, as well as some musical suggestions.
Bone Pastor, panis vere, Jesu, nostri miserere, Tu nos pasce, nos tuere, Tu nos bona fac videre, In terra viventium. Tu, qui cuncta scis et vales, Qui salvztorem pascis hic mortales, Tuos saovatorem commensales, Cohaeredes et sodales, Fac sanctorum civium.
Thou who knowest all things and canst do all things, who here feedest us mortals, make us there be Thy guests, the co-heirs, and companions of the heavenly citizens. The opening words used as a title of the sequence composed by St. Thomas Aquinas, about the yearfor the Mass of Corpus Christi. That the sequence was written for the Mass is evidenced by the sixth stanza:. The authorship of the sequence was once attributed to St.
Bonaventure; and Gerbert, in his De cantu et musica sacradeclaring it redolent of the style and rhythmic sweetness characteristic of the verse of this saint, moots the question whether the composition of the Mass of the feast should not be ascribed to him, and of the Office to St.
The fact that another Office had been composed for the local feast established by a synodal decree of the Bishop of Liege in also led some writers to contest the ascription to St. His authorship has been proved, however, beyond question, thanks to Martine De antiq. There is also a clear declaration referred to by Cardinal Thomasius of the authorship of St.
Thomas, in a Constitution issued by Sixtus IVand to be found in the third tome of the Bullarium novissimum Fratrum Praedicatorum.
In content the great sequence, which is partly epic, but mostly didactic and lyric in character, summons all to endless praise of the Blessed Sacrament of the Altar lines ; assigns the reason for the commemoration of its institution lines ; gives in detail the Catholic doctrine of the Sacrament lines Throughout the long poem the rhythmic flow is easy and natural, and, strange to say, especially so in the most didactic of the stanzas, despite a scrupulous theological accuracy in both thought and phrase.
The saint ” writes with the full panoply under his singing-robes “; but always the melody is perfect, the condensation of phrase is of crystalline clearness, the unction is abundant and, in the closing stanzas, of compelling sweetness.
A more detailed description of the content of the Lauda Sion is not necessary here, since both Latin text and English version are given in the Baltimore Manual of Prayersp.
The plainsong melody of the Lauda Sion includes the 7th and 8th modes. Its purest form is found in the recently issued Vatican salvatorrem of the Roman Gradual. Its authorship is not known; and, accordingly, the surmise of W. Rockstro that the text-authors of the five sequences still retained in the Roman Missal probably wrote the melodies also and therefore that St.
Thomas as a Musician”to the same effect, are incorrect. Shall we suppose that Adam of St. Victor composed the melody? The supposition, which would of course date the melody in the 12th century, is not an improbable one. Possibly it is of older slavatorem but the peculiar changes of dalvatorem suggest that the ssion was composed either by Adam or by some fellow-monk of St. Victor’s Abbey; and the most notable rhythmic change is, as has been remarked above, the inclusion of the intractable liturgical text: Since the melody dates back at least to the 12th century, salvahorem is clear that the “local tradition” ascribing its composition to Salvarorem Urban IV d.
Thomas with the composition of the Office, is not well-based:. Contemporary writers of Urban IV speak of the beauty and harmony of his voice and of his taste for music and the Gregorian chant; and, according to a local tradition, the music of the Salvatirem of the Blessed Sacrament—a composition as grave, warm, penetrating, splendid as the celestial harmonies—was the work of Urban IV Cruls, The Blessed Sacrament ; tr.
In addition to the exquisite plainsong melody mention should be made of Palestrina’s settings of the Lauda Siontwo for eight voices the better known of which follows somewhat closely the plainsong melodyand one for four voices; and also of the noble setting of Mendelssohn. The Lauda Sion is one of the five sequences out of the thousand salvatoren have come down to us from the Kauda Ages still retained in the Roman Missal. Each of the five has its own special beauty; but the Lauda Sion is peculiar in its combination of rhythmic flow, dogmatic precision, phraseal condensation.
It has been translated, either in whole soon in part, upwards of 20 times into English verse; and slon selection from it, the ” Ecce panis angelorum “, has received some ten additional versions. Non-Catholic versions modify the meaning where it is too aggressively dogmatic and precise.
Benedict, however, in his Hymn of Hildebertetc. On the other hand, as the editor of Duffield’s Latin Hymns very sensibly remarks, certain stanzas express ” the doctrine of transubstantiation so distinctly, that one must have gone as far as Dr. Pusey, who avowed that he held ‘all Roman doctrine’, before using these words in a non-natural sense. The admiration tacitly bestowed on the sequence by its frequent translation, either laudx or in part, by non-Catholic pens, found its best expression in the eloquent Latin eulogy of Daniel Thesaurus HymnologicusII, p.
The Angelic Doctor took a single theme for his singing, one filled with excellence and divinity and, indeed, angelic, that is, one celebrated and adored by the very angels.
Thomas was the greatest singer of the venerable Sacrament. Neither is it to be believed that he did this without the inbreathing of God quem non sine numinis afflatu cecinisse credasnor shall we be surprised that, having so wondrously, not to say uniquely, absolved this one spiritual and wholly heavenly theme, he should thenceforward sing no more.
One only offspring was his—but it was a lion Peperit semel, sed leonem. In addition to the chanted version of the Sequence of Corpus Christi written by St. Thomas Aquinas, several other sino have been composed, some incorporating selected stanzas sets of verses from the entire piece, while others focusing on just the first stanza. Corpus Christi Sequence June 04, Related articles Burning love for Blessed Sacrament: Eucharistic poem Eucharistic hospitality: Lauda, Sion, Salvatorem, Lauda ducem et pastorem In hymnis et canticis.
Quantum poses, tantum aude: Quia major omni laude Nec laudare sufficis. As much as thou canst, so much darest thou, for He is above all praise, nor art thou able to praise Him enough. Laudis thema specialis, Panis vivus et vitalis Hodie proponitur; Quem in sacrae mensa coenae Turbae lauea duodenae Datum non ambigitur.
Lauda Sion Salvatorem
Today there is given us a special theme of praise, the Bread both living and life-giving, which, it is not to be doubted, was given to the assembly of the brethren, twelve sipn number, at the table of the holy Supper.
Sit laus plena, sit sonora, Sit iucunda, sit decora Mentis iubilatio. Dies enim solemnis agitur, In qua mensae prima recolitur Huius institutio. Let our praise be full and sounding; let the jubilations of salvatoren soul be joyous and becoming; for that solemn day is now being celebrated, on which is commemorated the first institution of this table.
What does lauda sion mean?
In hac mensa novi Regis Novum Pascha novae legis Phase vetus terminat. Vetustatem novitas, Umbram fugat veritas, Noctem lux eliminat.
The new supplants the old, truth puts to flight salvattorem shadow, day banishes night. Quod in coena Christus gessit, Faciendum hoc expressit In sui memoriam Docti sacris institutis, Panem, vinum in salutis Consecramus hostiam.
What Christ did at that Supper, the same He commanded to dion done in remembrance of Him. Taught by His sacred precepts, we consecrate bread and wine into the Victim of salvation. Dogma datur Christianis, Quod in carnem transit panis Et vinum in sanguinem. Quod aslvatorem capis, quod non vides, Animosa firmat fides Praeter rerum ordinem.
This is the dogma given to Christians, salvayorem bread is changed into Flesh and wine into Blood. What thou dost not understand, what thou dost not see, a lively faith confirms in a supernatural manner. Sub diversis speciebus, Signis tantum, et non rebus, Latent res eximiae: Caro cibus, sanguis potus; Manet tamen Christus totus Sub utraque specie.
Under different species in externals signs only, and not in reality, wondrous substances lie hidden. Flesh is food, Blood is drink: A sumente non concisus, Non confractus, non divisus Integer accipitur. Sumit unus, sumunt mille; Quantum isti, tantum ille: By the recipient the whole is received; He is neither cut, broken, nor divided.
One receives Him; a thousand receive Him: Sumunt boni, sumunt mali: Sorte salvatorrm inaequali, Vitae vel interitus.
Mors est malis, vita bonis: Vide, paris sumptionis Quam sit dispar exitus. The good receive Him, the bad receive Him, but with what unequal consequences of life or death. It is death to the unworthy, life to the worthy: Fracto demum Sacramento, Ne vacilles, sed memento, Tantam esse sub fragmento, Quantum toto tegitur.
Nulla rei fit scissura, Signi tantum fit fractura, Qua nec status nec statura Signati minuitur. When the Sacrament is broken, doubt not, but remember, that there is just as much hidden in a fragment, as there is in the whole. There is no division of the substance, only a breaking of the species takes place, by which neither the state nor stature of the substance signified is diminished.
Ecce panis Angelorum, Factus cibus viatorum, Vere panis filiorum, Non mittendus canibus. Lo, the Bread of Angels is made the food of earthly pilgrims: It was prefigured in types, —when Isaac was immolated, when the Paschal Lamb was sacrificed, when Manna was given to the fathers.
Translation derived from Translations and Annotations of Choral Repertoirevol.