More about Veni Redemptor Gentium ("Come, Savior of the Nations")

This beautiful hymn was appointed for First Vespers of Christmas in the Sarum Breviary (although sung to a different melody), and is today used in the Roman Catholic Liturgy of the Hours at the Office of Readings from December 17 through December 24, which puts it on the same schedule at the Great O Antiphons at Vespers.  (It was not used in the Roman Breviary, however.)

The hymn text is very old:  from the fourth century and attributed to St. Ambrose.  Here's a sung arrangement of the hymn accompanied by soprano saxophone; as you will hear, the chant choir sings two different and distinct melodies for the various verses:




All of this is a good intro to something I've wondered about since first posting on it years ago!  The  first melody is a straightforward Gregorian chant tune; the second is a tune from a 16th-century German Chorale ("Nun komm, der Heiden Heiland" - essentially the same phrase in German translation) written, possibly, by Martin Luther (or possibly by Johann Walter, his collaborator).

The question is:  where did the second melody come from, and how is it related to the first, Gregorian chant tune?  I had for a long time thought that the two tunes were simply two versions of the original Gregorian melody - or else that one was an Ambrosian tune and the other was Gregorian.  But the reality is apparently otherwise.

To start: here is the Gregorian chant score; this is the first melody sung by the choir:

And this is the second melody, as written out by Martin Luther or his editors ("Martin Luther und andere") for the Erfurt Enchiridion, the second Lutheran hymnal published in 1524:

Here's the Bach Cantata website on the Chorale melody (as used by Bach in various of his works):

This melody is first documented as a Roman Catholic Latin hymn based upon Gregorian chant in manuscript form in Einsiedeln (Schwyz) around 1120. The same melody source served as a basis for three important chorale melodies: “Nun komm, der Heiden Heiland”, ‘Verleih uns Frieden gnädiglich” (Luther’s CT based upon the antiphon ‘Da pacem Domine”) and Martin Luther’s CT,“Erhalt uns, Herr, bei deinem Wort”.

>>The Lutheran Reformation in the early 16th century led to the creation of a new repertory of sacred music based on the chorale. Chorales were initially sung by the congregation in unison and unaccompanied. Most were adapted from chant, from German devotional songs (many of which were themselves reworkings of chant) and from secular songs, or were composed using conventional melodic types and formulae. Techniques of adaptation ranged from simple contrafactum to ingenious reworkings, such as Luther's reshaping of the Gregorian hymn Veni Redemptor gentium as the chorale Nun komm, der Heiden Heiland.<<

J. Peter Burkholder in Grove Music Online, ©Oxford University Press 2006, acc. 5/26/06

Burkholder presents examples of the Gregorian chant and “Nun komm, der Heiden Heiland” in close proximity so that the similarities and differences can become apparent:

(I have searched online for the Einsiedeln manuscript, but haven't been successful in finding a scored version of the hymn so far; I am still looking for it, though, and will post it if I find one.  However, this snippet from the Bach Cantata website clearly implies that the chant melody is directly related to the chorale melody.)


Then there is this, from the Encyclopedia of Martin Luther and the Reformation, Volume 2. edited by Mark A. Lamport:

Luther translated the seven stanzas of Ambrose's “Veni, Redemptor, gentium” fairly literally, characteristically adding a doxology, but he changed the meter from basically Long Meter (8888, sometimes with lines of 9) to 7777 (with some elisions).

The same source continues in re: the melody:

The Tune

Luther altered the tune that went with the Latin text. He thought that simply to transfer chant tunes associated with Latin texts to German translations would create a faulty imitation that would not sing well. He wanted a hymn's tune to grow out of the language one was using and to reflect its particular accents and inflections. Text and tune were to form an organic whole. A tune that worked for a Latin text might not work for a German one, which meant that some revisions might have to be made.

Luther left the melodic contour of this tune as it was, but changed other things. First, the five melismas in the chant tune were reduced in the German version to two unobtrusive ones that sing easily. The tune became more syllabic. Second, Luther gave the second phrase a more decisive cadence. Third, the upward leap of a third in the first line was turned into a fourth. These alterations propelled the tune forward with a more proclamatory push and made it both easier to learn and more congregational.

A fourth alteration may seem subtle and not even recognized at first, but it is telling: the first line was repeated as the last. This move reflected the meaning of the text and its structure. The hymn made a turn forward and back at stanzas 4 and 5. After marveling at the wonder of it all and preparing the way for Christ's coming in the first stanzas, stanzas 4 and 5 led from God to humanity and then back to God as a result of the victory Christ wins. Luther's alterations not only moved the tune from meditatively prayerful to more vigorously proclamatory and made the tune's musical exegesis into a bold chorale that joyfully celebrates the grace of God; they also mirrored the meaning of the text by matching its structure.

And finally there's this analysis from The Tradition of Western Music, by Gerald Abraham:

The melody whose adventures I want to follow in some detail belongs to a much later period. The words of the Advent hymn ‘Veni, redemptor gentium' go back to the fourth century but the melody seems to be no older than the early twelfth. All the same, it has come down to us in several minor variant forms: for instance, the word 'ostende' is sung in one version to three repeated notes, in another to three notes ascending scalewise. But it was a much loved melody, particularly in Germany; it is significant that the two oldest manuscripts in which it is found are both German, and four centuries later the German Protestants lost no time in providing it with German words. The Protestant extremist Thomas Müntzer published in 1524 a translation which begins:

O Herr, Erlöser alles Volks,
komm, zeig uns die Geburt deins Sohns,
es wundern sich all Creaturen
dass Christ also ist Mensch worden.

In 1531 it appeared in one of the German song-books of the Bohemian Brethren, Michael Weisse's Ein Nem Gesengbuchlen, with a completely new text. Both these German texts were fitted to the plainsong with only minimal changes in the actual notes, though even the fitting of different vowels and consonants to plainsong produces a certain change of character. Here are (a) the plainsong in probably its earliest surviving form,* (b) the version with Müntzer's words:

Luther went farther than this. In the same year as Müntzer, 1524, he printed in his so-called Achtliederbuch not only the translation which is sung to this day, 'Nun komm der Heiden Heiland', but a metrical modification of the melody which removes it from the sphere of plainsong to that of German song. This version was not meant to be sung by a monastic choir, as the plainsong was, nor by a little sectarian body such as a congregation of Bohemian Brethren. We know fairly well how the early Lutheran hymns were sung: not harmonized or by a trained choir or supported by an organ, but by the whole congregration in unison led by a choir of schoolboys who had had the hymns drilled into them by rote. The boys were sometimes scattered among the adult congregation; sometimes the cantor himself stood in the middle of the church. In these conditions the flexibility of plainsong was impossible; something firm, steady, and square-cut like German secular song of the time was needed. (Why German secular song tended to be square-cut is a matter that will have to be dealt with later.) The first note of a hymn-tune is often written as a long one, presumably to give the congregation a moment to pick up the pitch sounded by the cantor and his boys; the phrase are separated by pauses. But Luther's substitution of firmly stressed, rhyming heptasyllables for the smooth octosyllabic Latin verse necessitated changes in the melody itself.

This last article goes into quite a lot of detail, and IMO is very worth reading in its entirety.


From all this, a couple of things seem very clear:

• This hymn melody is not as old as I had thought.  One source says it's from twelfth-century  Einsiedeln; another says fourteenth century.  (These two researchers could have been looking at two versions of the same chant manuscript, separated by two centuries; this might account for the difference.)
• There were never two different chant melodies, but only one!  Luther (or Walter) reworked a chant, changing the meter so that it would work well with a German translation of the text.  And that is quite interesting, because on first (or tenth!) hearing, the two tunes do not seem very alike, or in fact in any way related.

Interestingly, a contemporary composer, Andrew Smith, has set this hymn in a similar way.  He has used the two different melodies as sung in the video above - and added his own composition as well, using Luther's tune for the verses sung in English.  It's sung here beautifully by the wonderful New York Polyphony.

For the record:  the Sarum Breviary used a different melody altogether.  From this blog's Sarum Christmas Office page.

LLPB offers this mp3 for Veni, Redemptor Gentium, which it calls "The first hymn for the Feast of the Nativity of our Lord." The translation from Oremus is by J.M. Neale:

Come, thou Redeemer of the earth,
and manifest thy virgin birth:
let every age adoring fall;
such birth befits the God of all.

Begotten of no human will,
but of the Spirit, thou art still
the Word of God in flesh arrayed,
the promised fruit to man displayed.

The virgin womb that burden gained
with virgin honor all unstained;
the banners there of virtue glow;
God in his temple dwells below.

Forth from his chamber goeth he,
that royal home of purity,
a giant in twofold substance one,
rejoicing now his course to run.

From God the Father he proceeds,
to God the Father back he speeds;
his course he runs to death and hell,
returning on God's throne to dwell.

O equal to thy Father, thou!
Gird on thy fleshly mantle now;
the weakness of our mortal state
with deathless might invigorate.

Thy cradle here shall glitter bright,
and darkness breathe a newer light,
where endless faith shall shine serene,
and twilight never intervene.

All laud to God the Father be,
all praise, eternal Son, to thee;
all glory, as is ever meet,
to God the Holy Paraclete.

"Vespers for the Feast of the Ascension: Hymnus: Salutis humanae Sator"

Claudio Monteverdi evidently wrote a setting of the service of Vespers for the Feast of the Ascension; this is the hymn from that service. As you can see, it's written in alternatim style, the chant alternating with the composed polyphony.



CPDL offers these Latin words and this English translation for this "Hymn for 2nd Vespers of the Ascension."   (Sarum, BTW, used a different hymn for Ascension Vespers:  Eterne Rex atissime.)

1. Salutis humanae Sator,
Jesu, voluptas cordium,
Orbis redempti Conditor,
Et casta lux amantium:

2. Que victus es clementia,
Ut nostra ferres crimina?
Mortem subires innocens,
A morte nos ut tolleres?

3. Perrumpis infernum chaos;
Vinctis catenas detrahis;
Victor triumpho nobili
Ad dexteram Patris sedes.

4. Te cogat indulgentia,
Ut damna nostra sarcias
Tuique vultus compotes
Dites beato lumine.

5. Tu dux ad astra, et semita,
Sis meta nostris cordibus,
Sis lacrymarum gaudium,
Sis dulce vitae praemium.


1. Hail, Thou who man's Redeemer art,
Jesu, the joy of every heart;
Great Maker of the world's wide frame,
And purest love's delight and flame:

2. What nameless mercy Thee o'ercame,
To bear out load of sin and shame?
For guiltless, Thou Thy life didst give,
That sinful erring man might live.

3. The realms of woe are forced by Thee,
Its captives from their chains set free;
And Thou, amid Thy ransomed train,
At God's right hand dost victor reign.

4. Let mercy sweet with Thee prevail,
To cure the wounds we now bewail;
Oh, bless us with Thy holy sight,
And fill us with eternal light.

5. Our guide, our way to heavenly rest,
Be Thou the aim of every breast;
Be Thou the soother of our tears,
Our sweet reward above the spheres.

Somebody has uploaded a video for every movement of this piece to YouTube; here, for instance, is "Viri Galilaei," the first Psalm antiphon (which begins with the same musical motif used for the Introit of the same name at the Ascension mass):



Here's the entire playlist, which runs the service in order:




You can follow along with the service in Latin and in English at Divinum Officium; enter 5-14-2015 for the date, and click Vesperae.


Here, from ChristusRex.org, are all the Mass Propers for Ascension, sung by the Sao Paulo Benedictines:

In Ascensione Domini
Dominica Introitus: Act. 1, 11; Ps. 46 Viri Galilæi (2m48.4s - 2635 kb) score here
Alleluia: Ps. 46, 6 Ascendit Deus (1m50.2s - 1725 kb) score here
Alleluia: Ps. 67, 18.19 Dominus in Sina (2m33.9s - 2409 kb) score here
Offertorium: Ps. 46, 6 Ascendit Deus (1m33.8s - 1469 kb MONO due to problems with my recording set) score here
Communio:
(anno A)Mt. 28, 18.19 Data est mihi (1m21.9s - 1283 kb) score here
(anno B)Mc. 16, 17.18 Signa (1m05.5s - 1027 kb)
(anno C)  Ps. 67, 33.34 Psallite Domino (59.0s - 925 kb MONO due to problems with my recording set) score here

You can read other posts about the day's propers on Chantblog as well:

• The Introit for the Feast of the Ascension: Viri Galilaei ("O men of Galilee")
• The 1st Alleluia and Offertory for Ascension:  Ascendit Deus ("God has gone up")
• The 2nd Alleluia for Ascension Day: Dominus in Sina ("The Lord is in Sinai")
• The Communion Song(s) for the Feast of the Ascension 
• The Sarum Ascension Office

And don't forget to read Full Homely Divinity's article on Ascension.

The art used on the videos is not, actually, related to the Ascension;  it's a Resurrection image, from Grunewald's Isenheim Altarpiece.  

Here's an Ascension image, though; it's "a decorated initial 'C'" that "contains the Ascension of Christ," from the Drogo Sacramentary, c. 850:

Blessed Ascension!

A Lament for Lent: Parce Domine ("O Lord, spare thy people")

Parce Domine is a "Lenten lament" of a type similar to Attende Domine, about which I've written several times previously.  Both pieces are and have been used in processions and for congregational singing during Lent. I love Attende Domine and prefer it, personally, because of its tunefulness -  but just came across this one and thought I'd post it, too.  Giovanni Vianini sings it this video:



I don't find this piece in the Liber Usualis, but here's a PDF of the chant from the website of The Institute of Christ the King Sovereign Priest.   The text comes from Joel 2:17, and also, I'd say, from the general and widely-used Psalmic motif of "O Lord, will you be angry with us forever?," since that phrase is not found in the passage from Joel.

Spare, O Lord, spare thy people: let not thy wrath be kindled against us forever.

In the video above, Giovanni Vianini is singing the antiphon along with the hymn Flectamus iram vindicem, which CPDL calls "Variant 3":

The hymn Flectamus iram vindicem is attributed to St Ambrose. The Gregorian Parce Domine refrain is also sung with verses from the miserere using the tonus peregrinus."

Parce Domine, populo tuo, ne in aeternum irascaris nobis. Variant 1 Parce Domine populo tuo, et ne des haereditatem tuam in [obprobrium] perditionem. (Joel 2:17. Vulgate) Variant 2 Parce Domine, parce populo tuo quia pius es et misericors. Exaudi nos in aeternum, Domine. Variant 3 (Hymn) 1. Flectamus iram vindicem, Ploremus ante Judicem; Clamemus ore supplici, Dicamus omnes cernui: 2. Nostris malis offendimus Tuam Deus clementiam Effunde nobis desuper Remissor indulgentiam. 3. Dans tempus acceptabile, Da lacrimarum rivulis Lavare cordis victimam, Quam laeta adurat caritas. 4. Audi, benigne Conditor, Nostras preces cum fletibus In hoc sacro jejunio, Fusas quadragenario.

O Lord, spare thy people, and be not angry with us for ever. Variant 1 O Lord, spare thy people and give not thine inheritance to [reproach] perdition.   Variant 2 Spare, O Lord, spare thy people, for Thou art gracious and merciful. Hear us for ever, O Lord. Variant 3 (Hymn) 1. Let us appease His wrath, Beg for mercy from our Judge; Cry to Him in supplication, Let us all prostrate and say: 2. By our sins we have offended against your mercy, O God Pour forth from above O pardoning One, your forgiveness 3. Having given us this acceptable time, grant that in the water of our tears we may purify our heart and that it may become a joyful sacrifice offered out of love. 4. O Merciful Creator, hear our prayers with our weeping in this holy time of forty day fasting.

Here's a page from The St. Gregory Hymnal (published by St. Gregory Guild, Philadelphia, 1920), courtesy of Hymnary.org.  Parce Domine is offered here as an antiphon "usually sung three times before the 50th Psalm [AKA Psalm 51], Miserere mei, Deus":

Several composers have written settings of Parce Domine; here's one from Gounod, sung beautifully by Mezzo-Soprano Andreia Petrea.  This is really quite a great piece, I have to say; unfortunately I've not been able to find the text Gounod uses here - it's not Flectamus iram vindicem, as far as I can tell - and I haven't yet been able to understand the words via the video.  Will be back with an update if either of those two things occurs!




This is an audio/video of a setting of Parce Domine by 15th-Century Low Countries composer Jacob Obrecht; it starts here with the Gregorian melody - which, as far as I can tell, is not actually part of the composed piece.  (Here's a PDF of the composition from CPDL; the text is the one from Variant 2 above.)  The way the chant is sung here at the outset makes me like the antiphon better than I did originally:

Seen and heard today (4/27/14) at Divine Service: O Filii et Filiae (a hymn for Eastertide)

"O filii et filiae" ("Ye sons and daughters of the Lord") is a beautiful Easteride hymn; the second half of the hymn is the story of St. Thomas and the risen Jesus.   For this reason, this hymn is often sung in the parish church on the second Sunday of Easter, when that Gospel story is always read.

Here's a very nice recording of the hymn, sung in Latin by The Daughters of Mary (http://daughtersofmary.net/music.php ):



 Here's TPL on the hymn:

This hymn was written by Jean Tisserand, O.F.M. (d. 1494) and originally had only nine stanzas. Stanzas "Discipulis adstantibus", "Ut intellexit Didymus", "Beati qui non viderunt" are early additions to the hymn. There are several different versions of the hymn. The one below is one of the more common versions.

Alleluia, Alleluia, Alleluia.	Alleluia, Alleluia, Alleluia.
O filii et filiae, Rex caelestis, Rex gloriae morte surrexit hodie. R. Alleluia	Ye sons and daughters of the Lord, the King of glory, King adored, this day Himself from death restored. R. Alleluia
Ex mane prima Sabbati ad ostium monumenti accesserunt discipuli. R. Alleluia	All in the early morning gray went holy women on their way, to see the tomb where Jesus lay. R. Alleluia
Et Maria Magdalene, et Iacobi, et Salome Venerunt corpus ungere R. Alleluia	Of spices pure a precious store in their pure hands these women bore, to anoint the sacred Body o'er. R. Alleluia
In albis sedens angelus praedixit mulieribus: In Galilaea est Dominus. R. Alleluia	The straightaway one in white they see, who saith, "seek the Lord: but He is risen and gone to Galilee." R. Alleluia
Et Ioannes apostolus cucurrit Petro citius, monumento venit prius. R. Alleluia	This told they Peter, told John; who forthwith to the tomb are gone, but Peter is by John outrun. R. Alleluia
Discipulis astantibus, in medio stetit Christus, dicens: Pax vobis omnibus. R. Alleluia	That self-same night, while out of fear the doors where shut, their Lord most dear to His Apostles did appear. R. Alleluia
Ut intellexit Didymus quia surrexerat Iesus, remansit fere dubius. R. Alleluia	But Thomas, when of this he heard, was doubtful of his brethren's word; wherefore again there comes the Lord. R. Alleluia
Vide Thoma, vide latus, vide pedes, vide manus, noli esse incredulus. R. Alleluia	"Thomas, behold my side," saith He; "My hands, My feet, My body see, and doubt not, but believe in Me." R. Alleluia
Quando Thomas vidit Christum, pedes, manus, latus suum, dixit: Tu es Deus meus. R. Alleluia	When Thomas saw that wounded side, the truth no longer he denied; "Thou art my Lord and God!" he cried. R. Alleluia
Beati qui non viderunt et firmiter crediderunt; vitam aeternam habebunt. R. Alleluia	Oh, blest are they who have not seen their Lord and yet believe in Him! eternal life awaitheth them. R. Alleluia
In hoc festo sanctissimo sit laus et iubilatio: benedicamus Domino. R. Alleluia	Now let us praise the Lord most high, and strive His name to magnify on this great day, through earth and sky: R. Alleluia
Ex quibus nos humillimas devotas atque debitas Deo dicamus gratias. R. Alleluia	Whose mercy ever runneth o'er; Whom men and Angel hosts adore; to Him be glory evermore. R. Alleluia

---

Latin from March, Latin Hymns. Translation by Fr. Edward Caswall (1814-1878).

St. David's Compline Choir (Austin, Tx) offers an mp3 of this hymn in English.  And here's a video of it in English, sung by the Christendom College Choir and Schola Gregoriana:



Here's a very pretty version of the hymn sung at St. Clement's in Ottawa, during the Easter Vigil 2010:




This is Marc-Antoine Charpentier's (1643 – 1704) ) gorgeous setting of this hymn, apparently;  I believe the composition is called "Chant joyeux du temps de Pâques" ("Joyous song  for Eastertide") (H.339).   The musicians are "Le Concert Spirituel sous la direction d'Hervé Niquet," and the music comes from the CD 'Charpentier : Motets - Litanies a la Vierge' (Naxos, 2006)."



This piece, says the YouTube page, is for 6 soloists, a 5-voice choir,  strings, and continuo; it comes from the 7th volume of  Charpentier's Meslanges, and is dated to 1685 by  Catherine Cessac.

About the Meslanges:

The collection of manuscripts known today as Marc-Antoine Charpentier’s “Meslanges autographes” is a wonderfully rich and rare corpus of material―virtually all the composer’s music in one manuscript collection, and written almost entirely in the composer’s own hand. 

There is also a note that says the melody for the original hymn O Filii et Filiae comes from a popular 13th Century tune.

Seen and heard today at Divine Service, Lent 4 (3/30/14)

The choir sang this Bobby McFerrin composition - a piece he dedicated to his mother - at the Psalm today:

The Lord is my Shepherd, I have all I need,
She makes me lie down in green meadows,
Beside the still waters, She will lead.

She restores my soul, She rights my wrongs,
She leads me in a path of good things,
And fills my heart with songs.

Even though I walk through a dark and dreary land,
There is nothing that can shake me,
She has said She won't forsake me,
I'm in her hand.

She sets a table before me, in the presence of my foes,
She anoints my head with oil,
And my cup overflows.

Surely, surely goodness and kindness will follow me
All the days of my life,
And I will live in her house,
Forever, forever and ever.

Glory be to our Mother and Daughter,
And to the Holy of Holies,
As it was in the beginning, is now and ever shall be,
World, without end. Amen

After the service I asked the choirmaster if Bobby McFerrin had written the piece this way, or if she had messed around and Anglican Chantified it herself.   She said no, that McFerrin had written it this way, and that he had grown up Episcopalian - which pretty much explains everything.


And we had this great hymn, here sung at the Washington National Cathedral:




This hymn goes very well with the theme of "light" on the day; both the Gospel and Epistle readings are about light.

I especially like the refrain, and the line "The Lamb is the light of the city of God."   That's an interesting mix of metaphors, there!  And we almost never get to sing about "the city of God," do we?

I want to walk as a child of the light;
I want to follow Jesus.
God set the stars to give light to the world;
The star of my life is Jesus.

Refrain:
In him there is no darkness at all;
The night and the day are both alike.
The Lamb is the light of the city of God.
Shine in my heart, Lord Jesus.

I want to see the brightness of God;
I want to look at Jesus.
Clear Sun of Righteousness, shine on my path
And show me the way to the Father. [Refrain]

I’m looking for the coming of Christ;
I want to be with Jesus.
When we have run with patience the race,
We shall know the joy of Jesus. [Refrain]

Later I did listen to the webcast from St.Thomas - which means I can include some of their stuff in this post, too.    (Go listen, yourself, to New York Polyphony sing the mass, the anthem, and the motet.  Yes!)  They had the splendid hymn "O Love, how deep, how broad, how high" (this video, though, comes from St. Bart's on Park Avenue):



What a terrific text!

O love, how deep, how broad, how high,
how passing thought and fantasy,
that God, the Son of God, should take
our mortal form for mortals' sake!

For us baptized, for us he bore
his holy fast and hungered sore;
for us temptations sharp he knew;
for us the tempter overthrew.

For us he prayed; for us he taught;
for us his daily works he wrought:
by words and signs and actions, thus
still seeking not himself, but us.

For us to wicked hands betrayed,
scourged, mocked, in purple robe arrayed,
he bore the shameful cross and death;
for us gave up his dying breath.

For us he rose from death again;
for us he went on high to reign;
for us he sent his Spirit here
to guide, to strengthen, and to cheer.

All glory to our Lord and God
for love so deep, so high, so broad;
the Trinity whom we adore
forever and forevermore.

The hymn tune for "O Love, how deep, how broad, how high" is Deus Tuorum Militum; it's found in the 1753 Grenoble Antiphoner.   I can't seem to find a scan of this anywhere online, or in fact much of anything about it; I would love to know more.   Here's a score of the melody from The Harvard University Hymn-Book.

The interesting thing, to me, is that Deus Tuorum Militum was originally a hymn sung on martyr's feasts; here's the Lutheran Liturgical Prayer Brotherhood's version (mp3), which they call "O God, Thy Soldier's Crown and Guard."

According to The Hymnal 1982 Companion, there are "seventeen different Latin hymn melodies set to the present text."   Sometime I'll put together a post of all of these!

Getting back to "O love, how deep," though:  the Hymnal 1982 Companion does talk a bit about the possible provenance of the hymn tune, and about some of its characteristics:

The melody appears to date from the middle to the late eighteenth century and may be categorized as a French church melody.  The tune's opening outlines a major-key tonic chord, and the remainder of the melody establishes the tonal nature of its construction.  Its distinct triple-metre rhythmic setting also emphasizes the dating of the tune from the common practice era*.  The metre of the text reflects the standard practice of most eighteenth-century French church melodies, which are eithe rset in the Sapphic* design of 11.11.11.5. or in Long Metre in triple time; DEUS TUORUM MILITUM is of the latter type.  The harmonization is after a setting by Basil Harwood as found in H40.

This hymn text is, amazingly to me, "attributed  to Thomas à Kempis"; the translation is definitely by Benjamin Webb.  Some of the images are certainly great:

How passing thought and fantasy,
that God, the Son of God, should take
our mortal form for mortals' sake!

And especially:

For us baptized, for us he bore
his holy fast and hungered sore;
for us temptations sharp he knew;
for us the tempter overthrew.

I'd like to see the original of this; it's great in translation.

Hymnary.org has this about Thomas à Kempis:

Thomas of Kempen, commonly known as Thomas à Kempis, was born at Kempen, about fifteen miles northwest of Düsseldorf, in 1379 or 1380. His family name was Hammerken. His father was a peasant, whilst his mother kept a dame's school for the younger children of Kempen. When about twelve years old he became an inmate of the poor-scholars' house which was connected with a "Brother-House" of the Brethren of the Common Life at Deventer, where he was known as Thomas from Kempen, and hence his well-known name. There he remained for six years, and then, in 1398, he was received into the Brotherhood. A year later he entered the new religious house at Mount St. Agnes, near Zwolle. After due preparation he took the vows in 1407, was priested in 1413, became Subprior in 1425, and died according to some authorities on July 26. and others on Aug. 8, 1471.

Much of his time was occupied in copying Missals, Breviaries, and other devotional and religious works. His original writings included a chronicle of the monastery of St. Agnes, several biographies, tracts and hymns, and, but not without some doubt as to his authorship the immortalImitatio Christi, which has been translated into more languages than any other book, the Bible alone excepted. His collected works have been repeatedly published, the best editions being Nürnberg, 1494, Antwerp in 1607 (Thomae Malleoli à Kempis . . . Opera omnia), and Paris in 1649. An exhaustive work on St. Thomas is Thomas à Kempis and the Brothers of the Common Life, by S. W. Kettlewell, in 2 vols., Lond., 1882. In this work the following of his hymns are translated by the Rev. S. J. Stone:—

i. From his Vita Boni Monachi, ii.:—
1. Vitam Jesu Christi. Imitation of Christ. Be the life of Christ thy Saviour.
2. Apprehende anna. Christian Armour. Take thy weapons, take thy shield.
3. Sustine dolores. Resignation. Bear thy sorrows with Laurentius.

ii. From his Cantica Spiritualia:—
4. 0 dulcissime Jesu. Jesus the most Dear. 0 [Child] Christ Jesu, closest, dearest.
5. 0 Vera summa Trinitas. Holy Trinity. Most true, most High, 0 Trinity.
6. Ad versa mundi tolera. Resignation. Bear the troubles of thy life.
7. 0 qualis quantaque laetitia. Eternal Life. 0 joy the purest, noblest.

Of these translations Mr. Stone has repeated Nos. 5, 6, and 7 in his Hymns, 1886, and No. 4 in a rewritten form as "Jesus, to my heart most precious," in the same. Pastor O. A. Spitzen has recently published from a manuscript circa 1480, ten additional hymns by Thomas, in his “Nalezing op mijn Thomas à Kempis," Utrecht, 1881. Six of these had previously been printed anonymously by Mone. The best known are "Jerusalem gloriosa", and "Nec quisquam oculis vidit". We may add that Thomas's hymnwriting is not regarded as being of the highest standard, and that the modern use of his hymns in any form is very limited.

-- John Julian, Dictionary of Hymnology (1907)

And this is from their entry on Webb:

Webb, Benjamin, M.A., was born in London in 1820, and was educated in St. Paul's School; whence he passed to Trinity College, Cambridge, in 1838, B.A. 1842, M.A. 1845. Ordained by the Bishop [Monk] of Gloucester and Bristol he was Assistant Curate of Kemeston in Gloucestershire, 1843-44; of Christ Church, St. Pancras, 1847-49; and of Brasted, Kent, 1849-51; at which date he was presented to the P. C. of Sheen in Staffordshire, which he held until 1862, when he became Vicar of St. Andrews, Wells Street, London. In 1881 the Bishop [Jackson] of London collated him to the Prebend of Portpool in St. Paul's Cathedral. Mr. Webb was one of the Founders of the Cambridge Camden, afterwards the Ecclesiological Society; and the Editor of the Ecclesiologist from 1842 to 1868, as well as the General Editor of the Society's publications. His first appearance in print was as joint editor of Bishop Montague's Articles of Inquiry in 184; in 1843 he was joined with Mr. J. M. Neale in An Essay on Symbolism, and A Translation of Durandus; in 1847 he put forth his valuable work on Continental Ecclesiology; in 1848 he was joint editor with Dr. Mill of Frank’s Sermons, for the Anglo-Catholic Library, and with the Rev. J. Fuller-Russell of Hierurgia Anglicana. After the decease of his father-in-law (Dr. Mill), he edited Dr. Mill's Catechetical Lectures, 1856; a second edition of Dr. Mill's Christian Advocates Publications on the Mythical Interpretation of the Gospels, 1861; and of Dr. Mill's Sermons on our Lord's Temptation, 1873. He was also one of the editors of the Burntisland reprint of the Sarum Missal. One of his most valuable works is Instructions and Prayers for Candidates for Confirmation, of which the third edition was published in 1882. Mr. Webb was one of the original editors of the Hymnal Noted, and of the sub-Committee of the Ecclesiological Society, appointed to arrange the words and the music of that book; and was also the translator of some of the hymns. In conjunction with the Rev. Canon W. Cooke he was editor of the Hymnary, 1872, for which office his habitual reconstruction and composition of the words of the anthems used at St. Andrew's, Wells Street, as well as his connection with theHymnal Noted, eminently qualified him. His original hymns contributed to the Hymnary, 1871 and 1872, were:--
1. Assessor to thy King. St. Bartholomew. In the Hymnary, 1872.
2. Behold He comes, thy King most holy. Advent. Originally written to be sung in St. Andrew's Church, Wells Street, as an anthem to the music of Schumann'sAdvent-lied, and afterwards published in the Hymnary, 1872.
3. Praise God, the Holy Trinity. Hymn of Faith. Originally written for use in St. Andrew's, Wells Street, and subsequently in the Hymnary, 1872.
4. Praise the Rock of our salvation. Dedication of a Church. Published in the Hymnary, 1872. Mr. Webb's authorised text is in the Westminster Abbey Hymn Book, 1883.
5. Ye angel hosts above. Universal Praise to God. In the Hymnary, 1872.
He died in London, Nov. 27, 1885. [Rev. William Cooke, M.A.]

-- John Julian, Dictionary of Hymnology (1907)

J.M. Neale: The Hymnal Noted: Parts I & II

Here's a nice find at Google Books.     It's J.M. Neale's 1851 book of hymns from the Salisbury hymnal.  Included are chant scores and English translations - presumably Neale's own, which are always terrific - for all the hymns.

This is all there is by way of introduction to the book:

N.B.—In connection with the Hymnal Noted, are published :—

1. The ACCOMPANYING HARMONIES; for the use of Organists and Choirs.

2. The WORDS OF THE HYMNAL NOTED. 

The first part of the Hymnal Noted is complete in itself, and embraces the whole course of the Church's year.

The second part contains additional Hymns, for the sake of greater fulness and variety.

These two parts are combined in the complete edition, in the proper sequence for the whole course of the Church's year.

Published under the sanction of the Ecclesiologioal (late Cambridge Camden) Society.

The Evening Hymns on Festivals are put before the Morning Hymns, because, like the Collects, they are said at the Evensong of the day before, as well as on the day itself (except when otherwise marked)

Unfortunately, the links in the Table of Contents don't always go to the right place in the book.   A small inconvenience for the privilege of having access to such a great thing.

Common of Saints: On Feasts of Several Martyrs (or Confessors)

From Hymn melodies for the whole year from the Sarum service-books (and in honor of the Martyrs of Japan, whose feast day is today):

    On Feasts of Several Martyrs (or Confessors):

        1st Ev. & Matt.  Sanctorum meritis  
       
            At 1st Ev.. ........51
            At Matt.. ........52
            At First Ev. & M. ad libitum. ........53
            On Simple Feasts of the lowest class throughout the year (1st Ev. & M.) ...54

            [Matt. (York) Eterna Christi munera, Et (Martyrs only) ......61]

        L. & 2nd Ev.  Rex gloriose martyrum
            At L. (except in Xmas and Paschal-tides) ....25
            At 2nd Ev. (& L. when no 2nd Ev.) ......49
            During Xmas-tide (L. & 2nd Ev.)  ....27
            On Simple Feasts of the lowest class throughout the year (L.) ...6 or 55

Follow along with the Offices for"Feasts of Many Martyrs Throughout the Year" at Breviary Offices, from Lauds to Compline Inclusive (Society of St. Margaret, Boston) (published in 1885). You'll find  all the Psalms, the collect, Chapter, antiphons, etc., for each of the offices of the day at that link, although no music is provided; also check the iFrame look-in at the bottom of this post.

So, at first Evensong (the Vespers on the eve of the feast), sing Sanctorum meritis to melody #51:

LLPB sings this hymn as "The Noble Deeds of Saints" (mp3) to melody #51.   This hymn is called "The Triumph of the Saints" at Cyberhymnal; the words at that link are credited to J.M. Neale.

Yet Hymntime.com says J.M. Neale wrote the following words, too, which are (with a few small variations) what you'll hear on the audio file:

The merits of the saints,
Blessèd for evermore,
Their love that never faints,
The toils they bravely bore—
For these the Church today
Pours forth her joyous lay—
These victors win the noblest bay.

They, whom the world of ill,
While it yet held, abhorred;
Its withering flowers that still
They spurned with one accord—
They knew them short lived all,
And followed at Thy call,
King Jesu, to Thy heavenly hall.

Like sheep their blood they poured,
And without groan or tear,
They bent before the sword,
For that their King most dear:
Their souls, serenely blest,
In patience they possessed,
And looked in hope towards their rest.

What tongue may here declare,
Fancy or thought descry,
The joys Thou dost prepare
For these Thy saints on high!
Empurpled in the flood
Of their victorious blood,
They won the laurel from their God.

To Thee, O Lord most high,
One in three Persons still,
To pardon us we cry,
And to preserve from ill:
Here give Thy servants peace,
Hereafter glad release,
And pleasures that shall never cease.

Not sure what the deal is there; perhaps Neale wrote several variations, or perhaps one of the sources is simply wrong.  Cyberhymnal says that the above text comes from The Hymnal Noted, 1854 - written by Neale, and available at Google Books for free. I will see what I can find out about the multiple hymn text versions, though; now I'm curious.


Sanctorum meritis is to be sung at Mattins to melody #52: 

I haven't found a recording of this tune anywhere so far.

Or, ad libitum, sing Sanctum Meritis at 1st Evensong and Matins to melody #53 instead:

No audio file for this one, either.

Finally, "on Simple Feasts of the lowest class throughout the year," use melody #54 to sing this hymn at at 1st Evensong and Matins:

That is this hymn tune, more or less, sung here by Giovanni Vianini:



The chant score definitely has the general shape of the tune, but there are some differences between the two versions.

I did find another melody used for this hymn; only the first couple of verses here, though.  Perhaps this is the melody used in the Roman  Breviary?




This, from CPDL, is the Latin text of Sanctorum Meritis.  That entry's referring to another sacred song of unknown origin (for "SSTT" voices), probably based on the Gregorian chant and its text:

Sanctorum meritis inclita gaudia
pangamus socii gestaque fortia
nam gliscit animus promere cantibus
victorum genus optimum.

Hi sunt quo retines mundis inhorruit
Ipsum nam sterile flore per aridum
Sprevere penitus teque secuti sunt,
Rex, Christe, bone cælitum.

Hi pro te furias sævaque sustinent;
non murmur resonat, non querimonia,
sed corde tacito mens bene conscia
conservat patientiam.

Quæ vox, quæ poterit lingua retexere
Quæ tu martyribus munera præparas?
Rubri nam fluido sanguine laureis
Ditantur bene fulgidis.

Te, Trina Deitas unaque, poscimus,
ut culpas abluas, noxia quoque gloriam
per cuncta tibi sæcula.
Amen!

A note at the CPDL page says that this is "A Martyrs' hymn transcribed from the Trent manuscript tr89."  Various sources give the author as "unknown" - or else Rabanus Maurus, the 8th-Century monk and archbishop of Mainz.

Hymnary.org says this:

Sanctorum meritis inclita gaudia. [Common of Martyrs.] This hymn is frequently referred to by Hinemar in his "De una et non trina Deitate," 857; but he distinctly says he could not discover its author. It is found in four manuscripts of the 11th century in the British Museum; and in the Latin Hymns of the Anglo Saxon Church, 1851, is printed from an 11th century manuscript at Durham. Also in a manuscript of the 10th century at Bern, No. 455; in a manuscript of the 11th century at Corpus Christi College, Cambridge (No. 391, p. 272); in the St. Gall manuscript 413 and 414, of the 11th century. It is in the Roman, Sarum, York, Aberdeen, Paris of 1643, and other Breviaries—-the Sarum use being at 1st Vespers and at Matins in the common of many martyrs… [Rev. James Mearns, M.A.]

Here's the Catholic Encyclopedia of 1913 on Sanctorum Meritis:

The hymn at First and Second Vespers in the Common of the Martyrs in the Roman Breviary. Its authorship is often attributed to Rabanus Maurus (d. 856), Archbishop of Mainz — e.g. by Blume (cf. HYMNODY, V, 2), who thinks his hymns show originality and "no small poetic power". Dreves also (Analecta hymnica, XL, 204) favours the ascription. The stanza, in classical prosody, comprises three Asclepiadic lines and one Glyconic. In Horace such a stanza indicates a grave and thoughtful frame of mind; but the breviary hymns using the stanza are usually suggestive of triumphant joy — e.g. the "Festivis resonent compita vocibus" (Most Precious Blood), the "Te Joseph celebrent agmina coelitum", and the "Sacris solemniis" in rhythmic imitation. Dom Johner ("A New School of Gregorian Chant", New York, 1906, p. 89) places hymns in this measure among those "in which the verbal accent preponderates and the metrical accent only makes itself noticeable in certain places (particularly in the fourth line and when a line closes with a word accentuated on the penultimate)". He illustrates the rhythmical stress by italics. Applying his scheme to the Asclepiadic lines we should have: Sa-ncto-rum me-ri-tis in-cly-ta gau-di-a. His illustration of the fourth line (Glyconic) is: Vi-cto-rum ge-nus o-pti-mum. The "Grammar of Plainsong" by the Benedictines of Stanbrook (London, 1905, p. 61) remarks that the long verses have the accents on the third, seventh, and tenth syllables; and the short verse, on the third and sixth syllables; and illustrates this scheme by the last two lines of the stanza (the acute accent marking the rhythmical stress):

Gliscens fért animus prómere cántibus
Victorúm genus óptimum.

In the following illustration (Holly, "Elementary Grammar of Gregorian Chant", New York, 1904, p. 44) the acute accent indicates the tonic accent of the word; the grave accent, the place where the rhythmical or metrical accent falls; the circumflex, the concurrence on a syllable of both metrical and tonic accents:

Sanctôrum mêritìs ínclyta gâudiâ
Pangâmus sôciì, gestâque fôrtiâ;
Glíscens fert ânimus prómere cântibus
Victôrum gênus ôptimùm.

Obviously, the metre is refractory for singing or public recitation. Dreves (loc. cit., pp. 180-1) notes that several references are made to the hymn by Hincmar of Reims, one of the most interesting being his objection to the theology of the last stanza ("Te trina Deitas", subsequently changed into the present form: "Te summa O Deitas"). Hincmar admits that he knew not the author of the hymn which "some people end with the chant or rather blasphemy [a quibusdam cantatur vel potius blasphematur] 'Te trina deitas'." The phrase objected to was nevertheless sung in the doxology of the hymn down to the revision of Urban VIII, and the Church still sings it in the doxology of the "Sacris solemniis" of the Angelic Doctor. The Paris Breviary kept the metre but entirely recast the hymn, writing the first stanza thus:

Christi martyribus debita nos decet,
Virtutis memores, promere cantica;
Quos nec blanditiis, nec potuit minis
Fallax vincere sæculum.

To the list of translators given by Julian ("Dict. of Hymnol.", 2nd ed., London, 1907, pp. 993, 1698) should be added Bagshawe ("Breviary Hymns and Missal Sequences", London, 1900, p. 164: "Let us sing, dear companions, the joys of the saints"). The (Baltimore) "Manual of Prayers" gives the translation of the Anglican hymnologist, Dr. Neale. There are twelve translations in English. The text is found in many manuscripts of the tenth century (cf. Dreves, "Analecta hymnica", L, 204-5); Hincmar, "De una et non trina Deitate" in P.L., CXXV, 478, 498, 500). For Latin text (omitting second and third stanzas) and English translation, plainsong, and modern musical setting, see "Hymns Ancient and Modern, Historical Edition" (London, 1909, pp. 289-90), which notes that Dreves assigns the hymn to Rabanus Maurus in his "Hymnologische Studien zu Venantius Fortunatus und Rabanus Maurus" (Munich, 1908, p. 135), "in spite of the fact that Raban wrote to Hincmar disapproving of the phrase 'Te trina Deitas'." The approved plainsong will appear in the forthcoming Vatican Antiphonary. Pothier ("Mélodies Grégoriennes" Tournai, 1880) illustrates the Asclepiadic metre by the "Sanctorum meritis", places the accents on the third, seventh, and tenth syllables of the Asclepiads and on the third and sixth of the Glyconic, and remarks that "in singing the Asclepiad and the Glyconic, the first three syllables should be gone over slowly, and the accents should be well marked, especially the last" (p.199). Egerton ("A Handbook of Church Music", New York, 1909, p. 180) places the principal accent on the tenth syllable, and secondary accents on the third and seventh, with a "mora vocis" after the sixth. Delaporte (Les Hymnes du bréviaire romain" in the "Rassegna Gregoriana", Nov.-Dec., 1907, col. 501) remarks that, when the edition of 1602 of the Roman Breviary was in preparation, Cardinal Gesualdo in 1588 wrote to various nuncios to get suggestions for emendations. The nuncio at Paris consulted "alcuni principali della Sorbona", with some curious results, one of which was the criticism demanding a change in the doxology of the "Sacris solemniis" from "Te trina Deitas" to "Te summa Deitas", for the reason that "it is impious to call the Deity, or the essence of God, threefold". As noted above, the Church still sings "Te Deitas" in the "Sacris solemniis" of the "Angel of the Schools", although it has changed the phrase in the doxology of the "Sanctorum meritis".

If, though, we were singing 1st Evensong or Matins at York on feasts of Martyrs, we'd go with Aeterna Christi Munera - in English, "The Eternal Gifts of Christ the King" (mp3).  That's LLPB's recording; here's the chant score of that melody:

Here's a set of words from Oremus, translation J.M. Neale; this translation, though, does not match up with the words used on the audio file:

The eternal gifts of Christ the King,
the apostles' glory, let us sing,
and all, with hearts of gladness, raise
due hymns of thankful love and praise.

For they the Church's princes are,
triumphant leaders in the war,
in heavenly courts a warrior band,
true lights to lighten every land.

Theirs is the steadfast faith of saints,
and hope that never yields nor faints;
and love of Christ in perfect glow
that lays the prince of this world low.

In them the Father's glory shone,
in them the will of God the Son,
in them exults the Holy Ghost,
through them rejoice the heavenly host.

To thee, Redeemer, now we cry,
that thou wouldst join to them on high
thy servants, who this grace implore,
for ever and for evermore.

There doesn't seem to be much online about Aeterna Christi munera - which is actually interesting; it may mean this is a local, Sarum hymn.  I'll keep searching for information, though, and will return to post what I find.


The other hymn on the day is Rex gloriose martyrum; we'd sing it at both Lauds (Morning Prayer) and 2nd Evensong (the Vespers of the feast day itself), to several different melodies, depending on time of year.

At 2nd Evensong (and at Lauds when there's no 2nd Evensong), we'd use  melody #49:

LLPB sings this 6th Century hymn as "O Glorious King of Martyr Hosts (MP3)," and uses melody #49, as given.   Here are the English words, from Oremus:

O glorious King of martyr hosts,
thou crown that each confessor boasts,
who leadest to celestial day
the saints who cast earth's joys away.

Thine ear in mercy, Savior, lend,
while unto thee our prayers ascend;
and as we count their triumphs won,
forgive the sins that we have done.

Martyrs in thee their triumphs gain,
confessors grace from thee obtain;
we sinners humbly seek to thee,
from sins offense to set us free.

All laud to God the Father be,
all praise, eternal Son, to thee;
all glory, as is ever meet,
to God the holy Paraclete.

At Lauds, except during Christmastide and Paschaltide, we'd sing Rex gloriose martyrum to melody #25:

Strangely (given that we're NOT singing this hymn at Christmastide), it's sung to the same tune as Veni, Redemptor Gentium, - "The first hymn for the Feast of the Nativity of our Lord"!  Here's LLPB's version of that one (mp3), just so you can have the tune.

During Christmastide, we sing Rex gloriose martyrum at Lauds and 2nd Vespers using melody #27; here's the chant score:

 
This is the same tune as the one used for A solis ortus cardine, the Lauds & 2nd Vespers hymn from the Christmas Office;  here's an mp3 of that hymn this hymn, so you can hear the melody.  Obviously use the words for Rex gloriose martyrum instead of what's on the recording.

Finally, at Lauds "On Simple Feasts of the lowest class throughout the year," melodies 6 or 55 are the choices:

I have no sound files for either of these tunes - but melody #55 was used at Christmastide at York, for all the Little Hours, to sing the hymns carved out of Agnoscat omne saeculum, the long Fortunatus poem.   Melody #6 seems only to be used for the office hymns at Terce and None, sung to this melody "On the Vigil of Epiphany & on all Sundays &  Simple Feasts throughout the year."

Again I find it interesting that the melodies used at the Christmas office show up so often on other occasions; I wonder if this is that famous Anglican emphasis on the Incarnation?


This may be the Latin text for Rex gloriose martyrum; it comes from a CPDL page about a Victoria motet of the same name:

Rex gloriose Martyrum
corona confitentium,
qui respuentes terrea
perducis ad coelestia.

Tu vincis in martyribus
parcisque Confessoribus:
Tu vince nostra crimina,
largitor indulgentiae.

Aurem benignam protinus
appone nostris vocibus
trophea sacra pangimus
ignosce quod deliquimus.

Gloria tibi Domine
qui surrexisti a mortuis
cum Patre et Sancto Spiritu
in sempiterna saecula.
Amen. 

Hymnary.org offers these manuscript notes:

Rex gloriose martyrum. [Common of Martyrs.] Probably of the 6th century. Included in the Bern manuscript 455 of the 10th century; in a manuscript of the 11th century, at Corpus Christi College, Cambridge (391, p. 273); and in four manuscripts of the 11th century, in the British Museum (Vesp. D. xii. f. 106; Jul. A. vi. f. 64 b; Harl. 2961 f. 248; Add. 30851 f. 152 b); and in the Latin Hymns of the Anglo-Saxon Church, 1851, is printed from an 11th century manuscript at Durham (B. iii. 32 f. 38 h). Also in an 11th century manuscript at St. Gall, No. 414; and in the Roman, Sarum, York, Aberdeen, and other Breviaries. The printed text is also in Mone, No. 732 ; Daniel, i., No. 237, and iv. p. 139; Cardinal Newman's Hymni Ecclesiae, 1838 and 1865; G. M. Dreves's Hymnarius Moissiacensis, 1888, from a 10th century manuscript, &c. [Rev. James Mearns, M.A.]

And the 1913 Catholic Encyclopedia says that:

The hymn is of uncertain date and unknown authorship, Mone (Lateinische Hymnen des Mittelalters, III, 143, no. 732) ascribing it to the sixth century and Daniel (Thesaurus Hymnologicus, IV, 139) to the ninth or tenth century. The Roman Breviary text is a revision, in the interest of Classical prosody, of an older form (given by Daniel, I, 248). The corrections are: terrea instead of terrena in the line "Qui respuentes terrena"; parcisque for parcendo in the line "Parcendo confessoribus"; inter Martyres for in Martyribus in the line "Tu vincis in Martyribus"; "Largitor indulgentiæ" for the line "Donando indulgentiam". A non-prosodic correction is intende for appone in the line "Appone nostris vocibus". Daniel (IV, 139) gives the Roman Breviary text, but mistakenly includes the uncorrected line "Parcendo confessoribus". lie places after the hymn an elaboration of it in thirty-two lines, found written on leaves added to a Nuremberg book and intended to accommodate the hymn to Protestant doctrine. This elaborated form uses only lines 1, 2, 4, 5, 6, 8, 9 of the original. Two of the added strophes may be quoted here to illustrate the possible reason (but also a curious misconception of Catholic doctrine in the apparent assumption of the lines) for the modification of the original hymn:

Velut infirma vascula Ictus inter lapideos Videntur sancti martyres, Sed fide durant fortiter. Non fidunt suis meritis, Sed sola tua gratia Agnoscunt se persistere In tantis cruciatibus.

Here's the peek-in to the SSM Breviary for Feasts of Several Martyrs:

The Saturday Office hymns, "from the Оctave of the Epiphany until the 1st Sunday in Lent"

From Hymn melodies for the whole year from the Sarum Service books, for Saturdays in Epiphanytide the hymns are as follows:

From the Оctave of the Epiphany until the 1st Sunday in Lent - On Saturdays:

Mattins: Summe Deus clemencie ... ... ... 15
Lauds: Aurora iam spargit polum ... ... ... 17
Evensong: Deus, Creator omnium ... ... ... 21

There are in total 21 hymns for this season:  3 different hymns per day, for each day of the week.  Each day's hymns for this period, including texts and audio files, are available at the following links:

• Sunday
• Monday
• Tuesday
• Wednesday
• Thursday
• Friday
• Saturday

 
The Saturday hymn for Mattins during this period is Summe Deus clemencie; Hymn melodies prescribes it to be sung to melody #15:

I couldn't find a recording of this one anywhere - but it's the same familiar tune we've seen for Mattins hymns all week now (as, for example, on this Liber Hymnarius recording (mp3) of the Mattins hymn for Thursday,  Nox atra rerum contegit. 
 

The Hymner has a set of English words for Summe Deus clemencie, but I haven't found them anywhere in Latin so far; still looking.  (Interestingly, The Hymner does prescribe different doxologies for dates before and after Candlemas for the hymns during Epiphanytide; this is an example of that system.)

O God of mercy passing thought,
Who hast the world contriv'd and wrought:
In Power, Essential Unity,
In Person, Blessed Trinity.

Do thou in love accept these lays
Of mingled penitence and praise:
That we, with hearts without alloy,
Thyself may perfectly enjoy.

Our reins and hearts in pity heal,
And with thy chastening fires anneal:
Gird thou our loins, each passion quell,
And every harmful lust expel.

That we, who now the hours of night
With songs united put to flight,
What gifts the blessed land can give,
May all abundantly receive.

Doxology until Candlemas:

All honour, laud, and glory be,
O Jesu, Virgin-born, to thee:
All glory, as is ever meet,
To Father and to Paraclete. Amen.

After Candlemas:

O Father, that we ask be done,
Through Jesus Christ, thine only Son:
Who, with the holy Ghost and thee,
Shall live and reign eternally. Amen. 

At Saturday Lauds during this period, the prescribed hymn is  Aurora iam spargit polum, sung, according to Hymn melodies,  to melody #17:

LLPB offers this mp3 (in English) of Aurora iam spargit polum; they call it "The Dawn Is Sprinkling in the East."   They are using a different hymn tune than the one prescribed by Hymn Melodies, though - and I have no chant score of it.   If you wanted to use the prescribed melody, just use the chant score above; it's sung to the same tune as the Lauds hymns have been all week (for example, on this mp3 of Nox et tenebre et nubila, ("Ye Clouds and Darkness"), the Wednesday Lauds hymn, sung to melody #17 ).


Here's TPL on this hymn:

Attributed to St. Ambrose (350-397). This hymn is traditionally sung at Saturday Lauds and is used in the Liturgia Horarum at Lauds for Saturdays of the first and third weeks of the Psalter during Ordinary Time. Likewise the hymn is also found in the Roman Breviary for Saturday Lauds.

Here are the words in Latin and English; the translation is by Fr. Edward Caswall (1814-1878). :

AURORA iam spargit polum: terris dies illabitur: lucis resultat spiculum: discedat omne lubricum.	THE DAWN is sprinkling in the east its golden shower, as day flows in; fast mount the pointed shafts of light: farewell to darkness and to sin!
Iam vana noctis decidant, mentis reatus subruat,1 quicquid tenebris horridum nox attulit culpae, cadat.	Away, ye midnight phantoms all! Away, despondence and despair! Whatever guilt the night has brought now let it vanish into air.
Ut mane illud ultimum quod praestolamur cernui, in lucem nobis effluat, dum hoc canore concrepat.2	So, Lord, when that last morning breaks, looking to which we sigh and pray, O may it to Thy minstrels prove the dawning of a better day.
Deo Patri sit gloria, eiusque soli Filio, cum Spiritu Paraclito, in sempiterna saecula.3 Amen.	To God the Father glory be, and to His sole-begotten Son; Glory, O Holy Ghost, to Thee, while everlasting ages run. Amen.

At Saturday Vespers, the hymn prescribed by Hymn melodies during this period is Deus, Creator omnium, sung to melody #21:

The Liber Hymnarius Wiki has a recording of this hymn sung to melody #21; click the download arrow to listen to it sung in Latin:

Deus, creator omnium (Ambrosius)
Meter: 8.8.8.8
 H.IV, p. 181

This is another tune - an Ambrosian one, apparently, and one I've never heard before - used for this hymn (sung here by Giovanni Viannini):




Here's yet another tune for this hymn, recorded at Vespers in the Charterhouse of Serra San Bruno (which I believe to be this monastery):



They are actually using melody #20 in that last video, which is the standard Vespers hymn melody for days other than Saturday:

So, feel free to sing along with the brothers instead, if you like.


TPL says this about Deus, Creator omnium:

Composed by St. Ambrose ( 340-397). Deus Creator Omnium is an ancient hymn for Saturday Vespers. Virtually all of the ancient Breviaries contain the hymn. Curiously, however, it is not found in the Roman Breviary. The hymn, less verses 6 and 7, is used for Saturday Vespers (Vespers I) in the Liturgia Horarum during Ordinary Time.

Here are the words in Latin and English; the translation is by  F.A. Wright, Fathers of the Church:

DEUS creator omnium polique rector, vestiens diem decoro lumine, noctem soporis gratia.	GOD that all things didst create and the heavens doth regulate, Who doth clothe the day with light, and with gracious sleep the night....
Artus solutos ut quies reddat laboris usui mentesque fessas allevet luctusque solvat anxios.	-
Grates peracto iam die et noctis exortu preces, voti reos ut adiuves, hymnum canentes solvimus.	Day sinks; we thank Thee for thy gift, night comes; to Thee again we lift our prayers and vows and hymns, that we against all ills defended be....
Te cordis ima concinant, te vox canora concrepet, te diligat castus amor, te mens adoret sobria.	-
Ut cum profunda clauserit diem caligo noctium, fides tenebras nesciat et nox fide reluceat.	That so, when shadows round us creep and all is hid in darkness deep, faith may not feel the gloom; and night borrow from faith's clear gleam new light....
Dormire mentem ne sinas, dormire culpa noverit; castos fides refrigerans somni vaporem temperet.	From snares of sense, Lord, keep us free and let our hearts dream but of thee. Let not the envious foe draw near to vex our quiet rest with fear.
Exuta sensu lubrico te cordis alta somnient, ne hostis invidi dolo pavor quietos suscitet.	-
Christum rogamus et Patrem, Christi Patrisque Spiritum; unum potens per omnia, fove precantes, Trinitas. Amen.	Hail we the Father and the Son and Son's and Father's Spirit, one blest Trinity who all obey; guard Thou the souls that to Thee pray. Amen.

LLPB actually uses a different hymn entirely for Saturday Vespers; here's their mp3 (in English) of O Lux Beata Trinitas ("O Trinity of Blessed Light").   That's a beautiful hymn, and I think perfect for Saturday Vespers.    Here are those words - translation J.M. Neale - in case you'd like to substitute; the doxology's a little different on the audio file.

O TRINITY of blessed Light,
O Unity of sovereign might,
as now the fiery sun departs,
shed Thou Thy beams within our hearts.

To Thee our morning song of praise,
to Thee our evening prayer we raise;
Thee may our glory evermore
in lowly reverence adore.

All laud to God the Father be;
all praise, Eternal Son, to Thee;
all glory, as is ever meet,
to God the Holy Paraclete.