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<\/a><\/p>\nCorpus Christi\u00a0<\/span><\/p>\n Mount Calvary Church<\/span><\/p>\n of the Roman Catholic\u00a0Personal Ordinariate of the Chair of Saint Peter<\/p>\n Baltimore, Maryland<\/p>\n Prelude: Le banquet\u00a0c\u00e9leste, Olivier Messiaen<\/p>\n Hymns<\/strong><\/p>\n Deck thyself, my soul, with gladness<\/em>.<\/p>\n O food to pilgrims given<\/em><\/p>\n Father, we thank thee who hast planted<\/em><\/p>\n Anthems<\/strong><\/p>\n Caro mea vere est cibus, by Francisco Guerrero<\/p>\n O sacrum convivium, by\u00a0Jan Pieterszoon Sweelinck<\/p>\n Postlude: Prelude and Fugue in A Major, BWV 536 – J.S. Bach<\/p>\n Common<\/strong><\/p>\n \u00a0Communion Service (Collegium Regale) by Harold Darke and Creed from the Missa de Angelis<\/p>\n ____________________<\/p>\n Hymns<\/strong><\/span><\/p>\n Deck thyself, my soul, with gladness<\/em><\/strong>. The original German text, Schm\u00fccke dich, o liebe <\/em>Seele, was written by the German politician and poet Johann Franck (1618\u20141677) in the aftermath of the Thirty Years\u2019 War. It expresses an intimate relationship between the individual believer and his Savior, Jesus Christ. Jesus, ascended into heaven, is still present as our food in this \u201cwondrous banquet.\u201d He is the fount, from whom our being flows as we receive Him and are filled with Him. He feeds us and transforms us into His likeness so that we become His joy and boast and glory before the heavenly court.<\/p>\n Catherine Winkworth<\/strong><\/em><\/p>\n in her Lyra Germanica <\/em>(1854).<\/em><\/p>\n Deck thyself, my soul, with gladness, Here is the 1674 text.<\/p>\n 1. Schm\u00fccke dich, o liebe Seele! 2. Eile, wie Verlobten pflegen, 3. Zwar in Kauffung theurer Wahren 4. Ach! wie hungert mein Gem\u00fcthe, 5. Beydes Lachen und auch Zittern 6. Nein! Vernunfft die mu\u00df hier weichen, 7. Jesu, meine Lebens-Sonne! 8. Herr, es hat dein treues Lieben 9. Jesu wahres Brodt des Lebens! The erotic imagery in the German was eliminated by Catherine Winkworth.<\/p>\n The original 1674 German text was written by<\/p>\n <\/p>\n Johann Franck\u00a0<\/strong><\/em><\/p>\n Johann Franck (1618-1677) a was German poet, lawyer and public official. After his father\u2019s death in 1620, Franck\u2019s uncle by marriage, the town judge, Adam Tielckau, adopted him and sent him to schools in Guben, Cottbus, Stettin, and Thorn. On June 28, 1638, he enrolled at the University of K\u00f6nigsberg to study jurisprudence. This was the only German university left undisturbed by the Thirty Years\u2019 War. Here his religious spirit, his love of nature, and his friendship with such men as the his poetic mentor,\u00a0Simon Dach and Heinrich Held, preserved him from sharing in the excesses of his fellow students.<\/p>\n Johann Franck returned to Guben at Easter 1640, at his mother\u2019s urgent request; she wished to have him near her in those times of war when Guben frequently suffered from the presence of both Swedish and Saxon troops. After his return from Prague, in May 1645, Franck embarked on a distinguished civic career as attorney, city councillor (1648) and Burgermeister (Mayor) (1661), and in 1671 (or 1670) was appointed as county elder of Guben in the margravate (Landtag \u2013 Diet)) of Lower Lusatia.<\/p>\n Johann Franck wrote both secular and religious poetry and published his first work,\u00a0Hundert\u00f6nige Vaterunsersharfe<\/em>, at Guben in 1646. Almost his entire output is brought together in the two-volume\u00a0Teutsche Gedichte<\/em>. The first part,\u00a0Geistliches Sion<\/em>\u00a0(Guben, 1672), contains 110 religious songs, provided with some 80 melodies.\u00a0Bach composed 14 settings of seven of his texts,\u00a0the most famous being the motet\u00a0Jesu, meine Freude BWV 227.<\/em><\/p>\n Johann Cr\u00fcger<\/strong><\/em><\/p>\n The chorale melody associated with this text was composed by the German Lutheran theologian and musician, Johann Cr\u00fcger<\/strong> (1598-1662).\u00a0 After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olm\u00fctz, and the Poets\u2019 school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas\u2019s Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Cr\u00fcger wrote no hymns, although in some American hymnals he appears as \u201cJohann Kr\u00fcger, 1610,\u201d as the author of the supposed original of C. Wesley\u2019s \u201cHearts of stone relent, relent\u201d. He was one of the most distinguished musicians of his time. Of his hymn tunes, some 20 are still in use, the best known probably being that to \u201cNun danket alle Gott\u201d, which is set to No. 379 in\u00a0Hymns Ancient & Modern<\/em>, ed.<\/p>\n Here is the Schola Cantorum<\/a> of St. Peters-in-the-Loop singing the hymn.<\/p>\n ____________________<\/p>\n O food to pilgrims given<\/em><\/strong> is a translation of O esca viatorum<\/em>, an anonymous Latin hymn first published in 1647. In the first verse, we express the desire to unite with Christ by means of His body, the manna from heaven; in the second, by means of His blood, the fountain of living water that gives us eternal life. In the third verse, we desire the vision of Christ’s face unveiled, whose hidden presence we adore in the eucharistic species.<\/p>\n Here is the Liturgical Choir at the University of Notre Dame singing O esca viatorum<\/a>. Here is a small choir <\/a>at the National Shrine of the Immaculate Conception.<\/p>\n O food to pilgrims given, O stream of love past telling, O Jesus, by Thee bidden, 2. O lympha, fons amoris, 3. O Jesu, Tuum vultum, (Digression on feminist translations. Usually, attempts to eliminate the hated words man<\/em>, men<\/em>, he<\/em>, him<\/em>, his<\/em> etc. from\u00a0Scripture and hymns\u00a0\u00a0leads to bad and sometimes absurd English. The older translation of O esca viatorum<\/em> in the 1940 Hymnal was O food of men wayfaring<\/em>, an exact\u00a0translation of viatorum<\/em>: via<\/em> -way, masculine plural –orum<\/em>. It fits the meter, but is not very good English. From feminist motives, it was changed to to pilgrims given, but I must confess this is a rare, if not unique, example of an improvement. A wayfarer may be a wander (I am a wayfaring stranger), but a pilgrim is on a way, The Way, El Camino, and has a goal.)<\/p>\n The melody is O Welt, ich mu\u03b2 dich lassen<\/em>, itself a contrafactum of Innsbruck, ich mu\u03b2 dich lassen<\/em>, by<\/p>\n Heinrich Isaac<\/b><\/em> (c. 1450 \u2013 1517)<\/p>\n He was a Nederlandish composer of south Netherlandish origin. He wrote masses, motets, songs (in French, German and Italian), and instrumental music. A significant contemporary of \u00a0Josquin des Prez, his\u00a0influence was especially pronounced in Germany, due to the connection he maintained with the Hapsburg court. He was the first significant master of the Franco-Flemish polyphonic style who both lived in German-speaking areas, and whose music was widely distributed there. It was through him that the polyphonic style of the Netherlands became widely accepted in Germany, making possible the further development of contrapuntal music there. His best known composition is Innbruck, ich muss dich lassen.<\/em><\/p>\n Here is Flos Campi s<\/a>inging\u00a0O Welt, ich mu\u03b2 dich lassen<\/em>, the Lutheran contarfactum; here is (are?) the Vocafonia<\/em><\/a> ; here is a male choir from Baltimore’s\u00a0St. Paul’s School<\/a>, Brooklandville, singing in Old St. Paul’s on Charles St; here are the Wiltener\u00a0S\u00e4ngerknaben<\/a>.<\/p>\n A Digression on Contrafacta<\/span><\/p>\n The absence of contrast between \u2018secular\u2019 and \u2018sacred\u2019 styles of music in the Middle Ages] can be shown simply by the observation that a secular song, if given a set of sacred words, could serve as sacred music, and vice versa. Only recently has it been recognized how frequently such interchange took place, and the more we learn about medieval music, the more important it becomes. The practice of borrowing a song from one sphere and making it suitable for use in the other by the substitution of words is known as \u201cparody\u201d or contrafactum.\u2019<\/p>\n The contrafactum (plural contrafacta) may operate in either direction: to provide pious words to fit a secular song, or profane words to fit a religious song. It may involve \u2018parody\u2019 in the literary sense, offering purposeful variations on the words of the original song, but sometimes there may be only a more general contrast in content between the two songs, or even no obvious relationship at all between them. Although in some cases it is possible to tell which came first, the religious or the secular version, in others it is less clear in which direction the process operated.<\/p>\n Examples of this can be found particularly in Goliardic verse, which sometimes parodies the forms of hymns and the church services; for instance, the first line of the sixth-century Latin hymn for Prime, Iam lucis orto sidere, which celebrates control of both the emotions and the appetites (potus cibique parcitas, \u2018restraint in food and drink\u2019), is borrowed to introduce a twelfth-century drinking song:<\/p>\n Iam lucis orto sidere<\/a> This kind of contrafactum becomes commoner in the later Middle Ages; it is particularly associated, from the early thirteenth century onwards, with the work of the friars, who often supplied pious words to be sung to popular secular tunes (a device later to be taken over, for similar reasons, by the Salvation Army, on the principle \u2018Why should the Devil have all the best tunes?\u2019). St Francis described his followers as joculatores Dei, \u2018God\u2019s minstrels\u2019. An example of this can be found in the Red Book of Ossory<\/em>(Bishop\u2019s Palace, Kilkenny), which includes 60 Latin lyrics in two hands of the late C14, accompanied by a note:<\/p>\n Attende, lector, qu[o]d Episcopus Ossoriensis fecit istas cantilenas pro vicariis Ecclesie Cathedralis sacerdotibus et clericis suis ad cantandum in magnis festis et solaciis, ne guttura eorum et ora Deo sanctificata polluantur cantilenis teatralibus, turpibus et secularibus, et cum sint cantatores prouideant sibi de notis conuenientibus secundum quod dictamina requirunt. Twenty five of the Latin lyrics are on the Nativity or related themes, 11 on Easter and the Resurrection, one on the Annunciation, the rest on various devotional topics. Some of them are accompanied by introductory fragments of English or French verse, whose form (though not content) they seem to echo: e.g. the first line of the popular dance-song \u2018Maiden on the moor\u2019 (\u2018A maiden stayed on the moor for a full week and a day . . .\u2019) prefaces a lyric on the Nativity:<\/p>\n Maiden in the mor lay, Good King Wenceslaus<\/em>\u00a0was set to the the spring carol Tempus adest floridum<\/i><\/a>; What Child is This<\/em> to a ballad about a woman of dubious virtue \u2013Greensleeves<\/em>; the Star Spangled Banner<\/em> to a drinking song To Anacreon in Heave<\/em>n<\/a> [try hitting those high notes after 6 glasses of port]. Contemporary composers use it. \u201cCome to Me<\/a>,\u201d also known as \u201cFantine\u2019s Death,\u201d is sung in the first act of Les Miserables<\/em>. \u201cOn My Own,\u201d the contrafactum of \u201cCome to Me<\/a>,\u201d is performed during the second act of the show.\u00a0\u00a0\u201cComme d\u2019habitude<\/a>,”\u00a0music by Claude Fran\u00e7ois and Jacques Revaux, has original French lyrics by Claude Fran\u00e7ois and Gilles Thibaut, \u00a0and was rewritten as \u201cMy Way<\/a>\u201d with English lyrics by Paul Anka.\u00a0\u00a0In Japan, the Scots song \u201cAuld Lang Syne<\/a>\u201d has a new set of words in the song \u201cHotaru no hikari<\/a>\u201d (lit. \u201cThe light of the firefly\u201d), which is used at graduation ceremonies (inscrutable). There are of course many ad hoc parodies when students discover that O my darling Clementine<\/em> has the same meter as Tantum ergo<\/em>.<\/p>\n ____________________<\/p>\n Father, we thank thee who hast planted <\/em><\/strong>is a translation by the Episcopal poet and presbyter Francis Bland Tucker (1896\u20141984; UVA 1914) of a portion of the Didache<\/em> (c. 110 AD) that describes the manner of celebrating the Eucharist: \u201cconcerning the broken bread. We thank thee, our Father, for the life and knowledge which thou hast made known unto us through Jesus thy Son; to thee be the glory forever. As this broken bread was once scattered on the mountains, and after it had been brought together became one, so may thy Church be gathered together from the ends of the earth unto thy kingdom.\u201d Some scholars think these prayers may even predate many of the writings of the New Testament.<\/p>\n Here\u00a0at St. John\u2019s, Detroit<\/a>, before a Tigers game.<\/p>\n Father, we thank Thee who hast planted Watch o’er Thy Church, O Lord, in mercy, Francis Bland Tucker<\/strong> (1885-1984)\u00a0\u00a0was an important figure in hymnody. He was educated at the University of Virginia and the Virginia Theological Seminary. Beginning in 1945, he was Rector of Christ Church in Savannah, Georgia. Tucker served on the two commissions, forty-two years apart, that revised hymnals of the Episcopal Church. He worked on the 1940 Hymnal and the 1982 Hymnal which includes 17 of Tucker\u2019s contributions. Among these are the texts, Oh, Gracious Light<\/em> (Hymns 25-26), Father, We Thank Thee Who Hast Planted<\/em> (Hymns 302-303), and his original text, Our Father, by Whose Name<\/em> (Hymn 587). Only John Mason Neale is credited with more items in the 1982 Hymnal. \u00a0Tucker was also a theological adviser to the commission that produced the 1979 Book of Common Prayer.<\/p>\n A collateral descendant of George Washington, Tucker\u2019s parents were Beverley Dandridge Tucker, Episcopal Bishop of Southern Virginia, and Anna Maria Washington who was one of the last children to be born at Mount Vernon. Francis Bland is the brother of Henry St. George Tucker (1874\u20131959), 19th Presiding Bishop of the Episcopal Church and descendant of St. George Tucker (1752\u20131827), lawyer, legal scholar, state and federal judge for whom the St. George Tucker House in Colonial Williamsburg is named.<\/p>\n __________________<\/p>\n Anthems<\/strong><\/span><\/p>\n Caro mea vere est cibus: et sanguis meus vere est potus. Qui manducat meam carnem et bibit meum sanguinem in me manet, et ego in illo.<\/p>\n My flesh is meat indeed, and my blood is drink indeed. Whoever eats my flesh and drinks my blood abides in me, and I in him.<\/p>\n (Here sung in the Sistine Chapel<\/a>)<\/p>\n by<\/p>\n Francisco Guerrero<\/em><\/strong> (1528-1599)<\/p>\n Guerrero’s early musical education was with his older brother Pedro. At the age of 17 he was appointed maestro de capilla<\/i> (singing master, i.e. music director) at Ja\u00e9n<\/a> Cathedral. A few years later he accepted a position in Seville. During this time he was much in demand as a singer and composer, establishing an exceptional reputation before his thirtieth birthday; in addition he published several collections of his music abroad, an unusual event for a young composer.<\/p>\n After several decades of working and traveling throughout Spain and Portugal, sometimes in the employ of emperor Maximilian II, \u00a0he went to Italy for a year (1581\u20131582) where he published two books of his music. After returning to Spain for several years, he decided to travel to the Holy Land, which he finally was able to do in 1589. On the return trip his ship was twice attacked by pirates, who threatened his life, stole his money, and held him for ransom. He was able to return to Spain; unfortunately he had no money, and endured a series of misfortunes, including some time spent in prison for debt. At last his old employer at Seville Cathedral extricated Guerrero and he resumed working for them. Of all the Spanish Renaissance composers, he lived and worked the most in Spain. \\<\/p>\n _______________<\/p>\n O sacrum convivium, in quo Christus sumitur; recolitur memoria passionis ejus; mens impletur gratia; et futurae gloriae nobis pignus datur.<\/p>\n O sacred banquet, wherein Christ is received; the memorial of his passion is renewed; the soul is filled with grace; and a pledge of future glory is given to us.<\/p>\n (Here sung by the choir of Clare College<\/a>, Cambridge)<\/p>\n \n \u00a0Jan Pieterszoon Sweelinck<\/strong><\/em> (1562-1621)<\/p>\n Sweelinck started work at 15 and worked in the same church (where his grandfather and uncle had been organists) his whole life. On his death his son took over his job.<\/p>\n According to Cornelis Plemp, a pupil and friend of Sweelinck\u2019s, he started his 44-year career as organist of the Oude Kerk in 1577, when he was 15. \u00a0Sweelinck\u2019s first published works date from around 1592\u201394: three volumes of chansons, the last of which is the only remaining volume published in 1594. Sweelinck then set to publishing psalm settings, aiming to set the entire Psalter. These works appeared in four large volumes published in 1604, 1613, 1614 and 1621, teh year of his death. \u00a0His popularity as a composer, performer and teacher increased steadily during his lifetime. Contemporaries nicknamed him Orpheus of Amsterdam and even the city authorities frequently brought important visitors to hear Sweelinck\u2019s improvisations.<\/p>\n<\/a><\/p>\n<\/a><\/p>\n
\nleave the gloomy haunts of sadness;
\ncome into the daylight\u2019s splendour,
\nthere with joy thy praises render
\nunto him whose grace unbounded
\nhath this wondrous banquet founded:
\nhigh o\u2019er all the heavens he reigneth,
\nyet to dwell with thee he deigneth.
\nSun, who all my life dost brighten,
\nlight, who dost my soul enlighten,
\njoy, the sweetest heart e\u2019er knoweth,
\nfount, whence all my being floweth,
\nat thy feet I cry, my Maker,
\nlet me be a fit partaker
\nof this blessed food from heaven,
\nfor our good, thy glory, given.
\nJesus, Bread of Life, I pray thee,
\nlet me gladly here obey thee;
\nnever to my hurt invited,
\nbe thy love with love requited:
\nfrom this banquet let me measure,
\nLord, how vast and deep its treasure;
\nthrough the gifts thou here dost give me,
\nas thy guest in heaven receive me.<\/p><\/blockquote>\n
\nLa\u00df die dunckle S\u00fcnden H\u00f6le!
\nKomm ans helle Licht gegangen;
\nFange herrlich an zu prangen.
\nDenn der Herr voll Heyl und Gnaden,
\nWil dich itzt zu Gaste laden,
\nDer den Himmel kan verwalten,
\nWil itzt Herberg\u2019 in dir halten.<\/p>\n
\nDeinem Br\u00e4utigam entgegen,
\nDer da mit dem Gnaden-Hammer
\nKlopfft an deine Hertzens-Kammer.
\nOeffn\u2019 ihm bald die Geistes-Pforten:
\nRed ihn an mit sch\u00f6nen Worten:
\nKomm, mein Liebster, la\u00df dich k\u00fcssen!
\nLa\u00df mich deiner nicht mehr missen.<\/p>\n
\nPflegt man sonst kein Geld zu sparen:
\nAber du wilt f\u00fcr die Gaben
\nDeiner Huld kein Geld nicht haben:
\nWeil in allen Bergwercks-Gr\u00fcnden
\nKein solch Kleinod ist zu finden,
\nDa\u00df die Blut-gef\u00fcllte Schaalen
\nUnd dis Manna kan bezahlen.<\/p>\n
\nMenschen-Freund, nach deiner G\u00fcte!
\nAch! wie pfleg\u2019 ich offt, mit Thr\u00e4nen,
\nMich nach de \u00a0iner Kost zu sehnen!
\nAch! wie pfleget mich zu d\u00fcrsten,
\nNach dem Tranck des Lebens-F\u00fcrsten!
\nW\u00fcnsche stets da\u00df mein Gebeine
\nSich durch Gott mit Gott vereine.<\/p>\n
\nL\u00e4sset sich in mir itzt wittern:
\nDas Geheinmi\u00df dieser Speise,
\nUnd die unerforschte Weise,
\nMachet da\u00df ich fr\u00fch vermercke,
\nHerr, die Gr\u00f6sse deiner St\u00e4rcke!
\nIst auch wohl ein Mensch zu finden
\nDer dein\u2019 Allmacht solt ergr\u00fcnden?<\/p>\n
\nKan die\u00df Wunder nicht erreichen:
\nDa\u00df di\u00df Brodt nie wird verzehret,
\nOb es gleich viel tausend nehret;
\nUnd da\u00df mit dem Safft der Reben
\nUns wird Christi\u00a0Blut gegeben.
\nO der grossen Heimligkeiten
\nDie nur Gottes Geist kan deuten!<\/p>\n
\nJesu, meine Freud\u2019 und Wonne!
\nJesu, du mein gantz Beginnen,
\nLebens-Quell und Licht der Sinnen!
\nHier fall ich zu deinen F\u00fcssen!
\nLa\u00df mich w\u00fcrdiglich gemessen
\nDieser deiner Himmels-Speise,
\nMir zum Heyl, und dir zum Preise!<\/p>\n
\nDich vom Himmel abgetrieben,
\nDa\u00df du willig hast dein Leben
\nIn den Tod f\u00fcr uns gegeben,
\nUnd darzu gantz unverdrossen,
\nHerr, dein Blut f\u00fcr uns vergossen,
\nDas uns itzt kan kr\u00e4fftig tr\u00e4ncken,
\nDeiner Liebe zu gedencken!<\/p>\n
\nHilff, da\u00df ich doch nicht vergebens,
\nOder mir vielleicht zum Schaden
\nSey zu deinem Tisch geladen!
\nLa\u00df mich durch di\u00df Seelen-Essen
\nDeine Liebe recht ermessen,
\nDa\u00df ich auch, wie itzt auf Erden,
\nMag dein Gast im Himmel.<\/p><\/blockquote>\n<\/a><\/p>\n<\/a><\/p>\n
\nO bread of life from Heaven,
\nO manna from on high!
\nWe hunger, Lord, supply us,
\nNor Thy delights deny us,
\nWhose hearts to Thee draw nigh.<\/p>\n
\nO purest fountain welling
\nFrom out the Savior\u2019s side!
\nWe faint with thirst; revive us,
\nOf Thine abundance give us,
\nAnd all we need provide.<\/p>\n
\nWe here adore Thee,
\nHidden in forms of bread and wine.
\nGrant when the veil is riven,
\nWe may behold, in heaven,
\nThy countenance divine.
\nO esca viatorum,
\nO panis angelorum,
\nO manna coelitum,
\nEsurientes ciba,
\nDulcedine non priva
\nCorda quaerentium,
\nCorda quaerentium.<\/p>\n
\nQui puro Salvatoris
\nE corde profluis
\nTe sitientes pota,
\nHaec sola nostra vota,
\nHis una sufficis,
\nHis una sufficis.<\/p>\n
\nQuem colimus occultum
\nSub panis specie,
\nFac, ut remoto velo
\nPost libera in caelo
\nCernamus facie,
\nCernamus facie.<\/p><\/blockquote>\n<\/a><\/p>\n
\nDeum precamur supplices
\nut in diurnis actibus
\nNos servet a nocentibus . . . Now at the dawning of the day
\nTo God as suppliants we pray
\nThat from our daily round he may
\nAll harmful beings keep away . . .
\nbecomes:
\nIam lucis orto sidere
\nstatim oportet bibere;
\nBibamus nunc egregie
\nEt rebibamus hodie . . . Now at the dawning of the day
\nWe must start drinking straight away;
\nLet\u2019s drink now till the drink\u2019s all gone,
\nAnd have another later on . . .<\/p><\/blockquote>\n
\nBe advised, reader, that the Bishop of Ossory [the Franciscan friar Richard de Ledrede, d. 1360] has made these songs for the vicars of the cathedral church, for the priests, and for the clerks, to be sung on the important holidays and at celebrations in order that their throats and mouths, consecrated to God, may not be polluted by songs which are lewd, secular, and associated with revelry, and, since they are trained singers, let them provide themselves with suitable tunes according to what these sets of words require.<\/p>\n
\nin the mor lay,
\nseuenyst[es] fulle,
\nseuenist[es] fulle.
\nMaiden in the mor lay\u2013
\nin the mor lay\u2013
\nseuenistes fulle,
\n[seuenistes fulle,
\nfulle] ant a day\u2026 Peperit virgo,
\nVirgo regia,
\nMater orphanorum,
\nMater orphanorum,
\nPeperit virgo,
\nVirgo regia,
\nMater orphanorum,
\nmater orphanorum,
\nPlena gracia\u2026 A virgin gave birth,
\nA royal virgin,
\nMother of orphans,
\nMother of orphans,
\nA virgin gave birth,
\nA royal virgin,
\nMother of orphans,
\nMother of orphans,
\nFull of grace\u2026<\/p><\/blockquote>\n
\nThy holy name within our hearts.
\nKnowledge and faith and life immortal
\nJesus, Thy Son, to us imparts.
\nThou, Lord, didst make all for Thy pleasure,
\nDidst give us food for all our days,
\nGiving in Christ the Bread eternal;
\nThine is the pow’r, be Thine the praise.<\/p>\n
\nSave it from evil, guard it still,
\nPerfect it in Thy love, unite it,
\nCleansed and conformed unto Thy will.
\nAs grain, once scattered on the hillsides,
\nWas in this broken bread made one,
\nSo from all lands Thy Church be gather’d
\nInto Thy kingdom by Thy Son.<\/p><\/blockquote>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n