Notes from the Loft

"All Hail, Adored Trinity"
♫ This weekend’s opening hymn is “All Hail, Adored Trinity.” Like many hymns that we sing, it is a hybrid. Its words are a 19th-century translation of an anonymous 11th-century Latin text written in England. Its melody was likely composed by a Frenchman and was first printed in a Swiss hymnal in the 16th century. The tune has been paired with hundreds of texts in different languages, especially German and English. The pairing that we sing today has been used by our hymnal publisher for decades. (8/28/22)  

"Alleluia! Alleluia! Let the Holy Anthem Rise"
♫ Alleluia! He is risen! Today’s offertory hymn is “Alleluia! Alleluia! Let the Holy Anthem Rise.” Its text was written by an Englishman, Edward Caswall. He was originally ordained as an Anglican priest, but after his wife’s death, he became Catholic in 1850. He translated many Latin hymn texts into English and wrote other texts on his own—including the one that we sing today. (4/14/24) 

"At That First Eucharist/Lord, Who at Thy First Eucharist"
♫ Why does today’s Communion hymn have two options for verse 1? Except for a few small alterations, (“Lord” instead of “Thou”; “did” instead of “didst”), the first option is the original text as written by William Turton in 1881. It frequently appears in Anglican and Episcopalian hymnals, usually with a different tune. The second option—the one that we are singing this weekend—has been the more common text in Catholic hymnals for about the last 50 years. Our hymnal publisher has decided to include both options. (8/27/17)

"At the Lamb's High Feast"
♫ Alleluia! He is risen! Today’s Communion hymn is “At the Lamb’s High Feast.” The text was originally written in Latin in the fourth century. We don’t know what melody would have been used then, but we do know that Christians have sung its joyful words for more than 1600 years! Our hymnal uses an English translation by Robert Campbell, a 19th-century lawyer from Scotland, and a tune composed by German musician Jakob Hintze—which was later adapted by the famous J.S. Bach. (4/23/23)

"Come Now, Almighty King"
♫ We usually know who wrote the hymn texts that we sing, but “Come Now, Almighty King” (today’s opening hymn) is an exception. In 1757, it was printed on a small pamphlet inserted into a British hymnal, but no author was mentioned. In the centuries since then, it has been published in hundreds of hymnals. Some of them have speculated that it was written by Charles Wesley, but most often, it is simply listed as “Anon.” or “Anonymous.” It is usually paired with the ITALIAN HYMN melody by Felice de Giardini. In this week to come, may God indeed bless us, fill us with righteousness, rule in every heart, and never from us depart. (9/24/23)

"Crown Him with Many Crowns"
♫ Today’s first reading from Jeremiah speaks of the king who “shall reign and govern wisely and “do what is just and right in the land.” Our closing hymn, “Crown Him with Many Crowns,” reminds us that Christ is indeed that king. Its text was written by Matthew Bridges, an Englishman who converted to Catholicism in his late 40’s. The hymn dates from the mid-1800’s, but since then, verses have been edited, rewritten, added, and removed. Despite the many dozens of variations, it remains popular throughout the English-speaking Christian world. May we indeed hail Jesus as our risen king—both this coming week and for all eternity. (7/21/24)

"Eternal Father, Strong to Save"
♫ On this Trinity Sunday and Memorial Day weekend, our closing hymn is the Trinitarian “Eternal Father, Strong to Save.” The original text was written in 1860 by Englishman William Whiting after he survived a storm while at sea. It echoes Psalm 107:23-32, which describes God’s control over the sea. It was adopted by the British Royal Navy and the United States Navy, and throughout the years, other military branches have adapted the text for their own use. The setting in our hymnal is slightly altered from a text published in The Hymnal 1940. The first three verses are each addressed to a person of the Trinity—Father, Son, and Holy Spirit—and they pray for those in peril on sea, land, and air. (5/26/24)     

"Faith of Our Fathers"
♫ Today’s offertory hymn is “Faith of Our Fathers.” Fr. Frederick Faber wrote the text in 1849 as a tribute to the Catholic martyrs at the time of Henry VIII. (Sample verse: “Faith of our Fathers! Mary's prayers / Shall win our country back to thee: / And through the truth that comes from God / England shall then indeed be free.”) The hymn quickly became popular—in altered forms. Protestant hymnals cut the phrase “Mary’s prayers.” Most hymnals removed references to Ireland and England, and some verses were entirely omitted. Spinoff versions also appeared, such as Arthur B. Patten’s “Faith of Our Mothers.” (Sample verse: “Faith of our mothers, living still, / In cradle song and bedtime prayer; / In nursery lore and fireside love, / Thy presence still pervades the air.”) Like most U.S. hymnals, ours pairs an edited version of Fr. Faber’s text with a melody entitled ST. CATHERINE. As we sing it, may we affirm our promise to be true to our faith in God, come what may. (7/23/23)

"Gift of Finest Wheat"
♫ The text of today’s Communion hymn was written by an Ohioan. Omer Westendorf, a composer and parish musician from Cincinnati, wrote it for the 1976 International Eucharistic Congress in Philadelphia. The text was paired with a melody by composer Robert Kreutz. Its formal hymn tune name, BICENTENNIAL, honors the song’s connection to Philadelphia and the 200th anniversary of the Declaration of Independence. “Gift of Finest Wheat” was copyrighted in 1977 and quickly became a standard in Catholic hymnals.
   The International Eucharistic Congress is an event that began in 1881 to celebrate the Real Presence of Jesus in the Eucharist. Originally held in French cities, it has evolved into a global gathering that features catechetical presentations, Masses, Adoration, and Eucharistic Processions. The next IEC will be held in Budapest, Hungary in 2020. (8/18/19)

“Holy, Holy, Holy”
♫ Today’s opening hymn has been a Trinity Sunday standard since the 1800’s. The text was written by Reginald Haber, Anglican bishop of Calcutta, India. Several decades later, John Dykes composed the tune. The tune name, NICAEA, pays homage to the Council of Nicaea, a 325 A.D. gathering of Church leaders that affirmed Catholic teaching about the Trinity. (5/31/15)

"How Can I Keep from Singing"
♫ Today’s closing hymn is “How Can I Keep from Singing.” Since its publication in 1869, the words and music have most frequently been attributed to Baptist minister Robert Lowry. He likely composed the music, but the origins of the text are murky. Throughout the years, it has become a standard in Christian hymnals of many denominations. It has also been performed by a range of popular singers, from the folk adaptation of Pete Seeger to the Celtic stylings of Enya. May we cling to Christ throughout the coming week so that—as the refrain reminds us—no storm will shake our inmost calm. (6/13/21)         
 
"I Am the Bread of Life"
♫ Today’s Communion song is “I Am the Bread of Life.” Verses 4-5 come directly from today’s Gospel, and the end of verse 4 paraphrases today’s Communion antiphon. The song was composed in the mid-1960’s by Sr. Suzanne Toolan, RSM, who drafted it during a free period while she was teaching high school. It has five copyright years because it has undergone many modifications: verses were removed; the words he and him were changed to you; the key was lowered to make the high notes a bit more reachable. Even so, the song still has a wide tessitura (low-to-high range)—exactly the same as The Star-Spangled Banner—and the rhythm of every verse is different. Despite these changes and challenges, it has become a standard through the Christian world in English and various translations. As we approach Holy Week, may it remind us of Christ’s promise to raise us up on the last day. (3/26/23)

"I Heard the Voice of Jesus"
♫ Today’s Communion hymn is “I Heard the Voice of Jesus.” Its text is by Horatio Bonar, a 19th-century pastor of the Free Church of Scotland. Of Bonar’s 500+ hymn texts, “I Heard the Voice of Jesus” is the most popular; according to the authoritative hymnary.org, it has been published in more than 1200 hymnals. At the 10:45 a.m. Mass, the choir also sings a 2012 arrangement by Ed Bolduc, the Director of Music at the Church of St. Ann in Marietta, Georgia. (11/19/23)

"I Know That My Redeemer Lives"
♫ Today’s closing hymn is “I Know That My Redeemer Lives.” Its lyrics were written in the 1700’s by Samuel Medley, an English preacher with a fittingly musical surname. Many modern Christian hymnals include just four verses, but originally there were many more. They tell how Jesus lives “my hungry soul to feed…to help in time of need…to comfort me when faint…to hear my soul’s complaint…that he in me may dwell…to heal and make me whole…” and more. Singing this hymn reminds us that—in the words of today’s Responsorial Psalm—“The Lord has done great things for us.” May we always keep those things in mind, and may we indeed be “filled with joy.” (10/24/21)

"I Sing the Mighty Power of God"
♫ Today’s opening hymn is “I Sing the Mighty Power of God.” Its melody (ELLACOMBE) is named for an English village, but it first appeared in a German hymnal. Its text was written by Isaac Watts (1674-1748), an English Congregational minister who wrote many hymn texts, including “From All That Dwell Below the Skies” and “O God, Our Help in Ages Past.” He is also credited with writing the text of “Joy to the World.” (2/4/24) 

"It Is Well with My Soul"
♫ A number of people have inquired about the second Communion song at last Sunday’s Masses. Entitled “It Is Well with My Soul,” it was played instrumentally at 8:15 a.m. and sung by the choir at 10:45 a.m. The text was written by Horatio Spafford. In 1871, his son died of pneumonia, and he suffered financially after the Great Chicago Fire. Two years later, his four daughters drowned in the Atlantic Ocean after a shipwreck. His wife survived, and as Horatio sailed to meet her in Europe, he wrote the text while on board the ship. Shortly thereafter, it was paired with a melody by American hymnwriter and singer Philip Bliss. The song has been adapted frequently throughout the years, both textually and musically. It embodies a deep hope and trust in God, even in the midst of great trials, worries, and pain. (9/24/17)

"Let All Things Now Living"
♫ The closing hymn this weekend is “Let All Things Now Living.” Its original text and melody were from Wales, and it became known as ASH GROVE because one of the first English translations began with the words “The ash grove.” The text that we sing today was written by Katherine K. Davis in 1939 as a hymn of thanksgiving. Originally from Missouri, Ms. Davis composed many sacred and secular songs. The two most famous are “Let All Things Now Living” and the well-known Christmas song “Little Drummer Boy.” (7/14/19)
 
“Lift High the Cross”
♫ Many hymnals—including ours—include edited, shortened versions of hymns. Publishers omit verses for many reasons: theological, musical, and practical. One such heavily edited hymn is today’s closing hymn: “Lift High the Cross.” The original text has eleven stanzas. (9/13/15)

"Lord of All Hopefulness"
♫ This weekend’s opening hymn is “Lord of All Hopefulness.” First published in 1931, its text was written by Englishwoman Jan Struther. Nowadays, she is perhaps best known for this hymn, but while she was alive, she was most famous for Mrs. Miniver, a novel whose movie adaptation won the 1943 “Best Picture” Oscar. “Lord of All Hopefulness” prays that the Lord will be with us throughout the day in everything that we do. May God indeed be with us all in this week to come. (10/23/22) 

"Lord, Whose Love in Humble Service"
♫ Today’s offertory hymn is “Lord, Whose Love in Humble Service.” Its text is by Albert F. Bayly, an English minister who wrote a couple hundred hymn texts in the decades after World War II. Unlike some hymn writers, Bayly did not compose or assign music to the text, so different publishers have paired it with different tunes. Although he was an Englishman, the two most common tunes for this text are American in origin: BEACH SPRING and HOLY MANNA. (Our hymnal uses HOLY MANNA.) In this week to come, may we follow Christ’s example and strive to serve others humbly. (1/29/23)

"Lord, You Give the Great Commission"
♫ Today’s closing hymn is “Lord, You Give the Great Commission.” In today’s second reading, St. Paul tells the Thessalonians that “our gospel did not come to you in word alone, but also in power and in the Holy Spirit and with much conviction.” The mini-refrain at the end of each verse echoes this message. We sing and pray that the gifts of the Spirit will empower us in our own ministry. May we live the Great Commission by bearing the good news of Christ to all, especially those who are in most need of reassurance, comfort, and hope. (10/22/23)

"Love Divine, All Loves Excelling"
♫ Today’s closing hymn is “Love Divine, All Loves Excelling.” First published in 1747, its text was written by Charles Wesley. Wesley was extraordinarily prolific. He created thousands of hymn texts, including “Christ the Lord Is Risen Today” and “Hark, the Herald Angels Sing.” Many of his hymns faded into oblivion, but this one has remained popular and is still sung by many Christian denominations. It has been paired with dozens of different melodies. (8/25/24)

"Mine Eyes Have Seen the Glory"
♫ The melody of today's closing hymn--“Mine Eyes Have Seen the Glory”--is an American tune that had been popular during the 1800’s. Originally known as “Canaan’s Happy Shore” (among other titles), its text was about meeting in the kingdom of heaven. In time, the tune became associated with other texts, including "John Brown's Body." After hearing the song near the beginning of the Civil War, poet Julia Ward Howe wrote the “Mine Eyes Have Seen the Glory” text after pondering it as she lay awake in bed.  
  The version that we have traditionally sung at St. Edward's includes four of Howe’s six verses. Some hymnals place it not in the "Patriotic" section, but in the “Second Coming” section--just as the original “Canaan’s Happy Shore" would have been. On this Fourth of July weekend, may we indeed sing “Glory, glory, hallelujah!” to God, and may we one day sing our song in the kingdom of heaven. (7/4/21)

"O Come, O Come Emmanuel"
♫ Perhaps no hymn is associated with Advent as “O Come, O Come Emmanuel.” The text is a translation of the O Antiphons, which have been prayed by the Church for at least a thousand years. It has been set to various tunes throughout the centuries. The origin of the tune that we sing is murky, but many scholars agree that it originated in fifteenth-century France. (A number of popular Advent melodies are French, including two that we sing today: “O Come, Divine Messiah” and “People, Look East.”)
   “O Come, O Come Emmanuel” has been arranged hundreds upon hundreds of times in a variety of musical styles. On this Gaudete Sunday, we sing a few verses as the entrance hymn because the refrain echoes the first word of today’s prescribed entrance chant: Gaudete, meaning "rejoice.” At the Sunday morning Masses, the Bell Choir also rings a haunting arrangement that was published just this year. Emmanuel is coming! Let us rejoice. (12/17/17)

"O God, Beyond All Praising"
♫ Today’s opening hymn is “O God Beyond All Praising.” Its melody was composed by Englishman Gustav Holst in the early twentieth century. The tune comes from the “Jupiter” section of his orchestral suite, The Planets, and it is commonly referred to by its name, THAXTED, which is the village where Holst lived for many years. It was first performed as a stand-alone hymn in 1921, when it was sung to the poem “I Vow to Thee, My Country.” Since being sung at Princess Diana’s funeral in 1997, it has experienced a renaissance. It has been paired with many texts, but “O God, Beyond All Praising” is the most common text in Catholic hymnals. (9/9/18)

"O God, Our Help in Ages Past"
♫ Today’s opening hymn—“O God, Our Help in Ages Past”—has a rich history. Written in the early 1700’s by Englishman Isaac Watts, it is a paraphrase of Psalm 90. Like many hymns, its original text has been altered by hymnals through the years (e.g. the first word is usually changed from Our to O, some of its original nine verses are often omitted). The stately tune, ST. ANNE, has inspired variations by many distinguished composers, including Handel, Buxtehude, and Bach. As we sing it today, we pray that God will indeed remain our hope for years to come. (2/16/20)

"O Sacrament Most Holy"
♫ Today’s Communion hymn—“O Sacrament Most Holy”—brings together elements from the Church in the United States, Italy, and Germany. First published in 1958, its verses are by Fr. Irvin Udulutsch, a Franciscan Capuchin friar from Wisconsin. The refrain text is translated from the Raccolta, a 19th-century Italian compilation of prayers and various charitable, penitential, and pious acts. The melody is from a hymnal published in the German town of Fulda in 1891. As we sing it, may it inspire a renewed love for Jesus and the Eucharist, especially in the midst of this National Eucharistic Revival year. (9/17/23)    

"On This Day, O Beautiful Mother"
♫ Alleluia! He is risen! As we celebrate the May Crowning this weekend, we sing “On This Day, O Beautiful Mother.” With a melody composed in the 1800’s by Fr. Louis Lambillotte, a Jesuit priest and liturgical music scholar, this song has long been associated with the crowning of the Blessed Virgin Mary. May we continue to rejoice with her during this Easter season. (5/9/21)

"Praise to the Lord"
♫ The first verse of our opening hymn—“Praise to the Lord”—echoes the prescribed entrance antiphon for today’s Mass: the Lord is indeed our salvation. Our hymnal omits the second verse of the hymn, one version of which is as follows: “Praise to the Lord, above all things so mightily reigning / Keeping us safe at his side and so gently sustaining / Have you not seen? All you have needed has been / Met by his gracious ordaining.” May we trust ever more that despite the trials and challenges that we face, the Lord is always mightily reigning and gently sustaining us.  (9/23/18)

"Prayer of St. Francis"
♫ The “Prayer of St. Francis” that we sing today has long been attributed to St. Francis of Assisi, but the text does not actually appear in his writings. Its earliest printed source is a French magazine from 1912—almost 700 years after he died! However, the text is similar to words attributed to Blessed Giles of Assisi, one of the first followers of St. Francis. The well-known version that we sing was translated into English and set to music in the 1960’s by Sebastian Temple, who was a lay Third Order Franciscan. Whatever its true origin, it echoes today’s second reading, in which Paul urges the Ephesians to live “with all humility and gentleness, with patience, bearing with one another through love [...].” May we all be bearers of God’s love in this week to come. (7/28/24)

"Savior of the Nations, Come"
♫ As we begin Advent, the music during the Preparation of the Gifts this weekend is “Savior of the Nations, Come.” The text of this hymn is attributed to St. Ambrose of Milan, which means that Christians have been singing it during Advent for more than 1500 years! It has been translated into various languages, most notably into German by Martin Luther. It reminds us that Jesus was born of a humble virgin, and it urges us to “Marvel now, O heav’n and earth, / That our Lord chose such a birth.” May we indeed marvel at our Lord’s humility and love for us throughout this blessed Advent season. (11/28/21)

"Shall We Gather at the River"
♫ Today’s closing hymn is “Shall We Gather at the River.” Written in 1864 by Robert Lowry, a minister who also wrote “How Can I Keep from Singing” and various other hymns, its dominant image is a heavenly river. This image comes directly from scripture, as it appears in both Psalm 46 and Revelation 22. The text of the hymn joyfully anticipates the time when—we hope and pray—we will gather with all of the saints by that river in the kingdom of heaven. (1/12/20)  

"Shepherd of Souls"
♫ Alleluia! He is risen! Thanks to today’s gospel reading, the Fourth Sunday of Easter has become known as “Good Shepherd Sunday.” Today’s offertory hymn—“Shepherd of Souls”—depicts Jesus as the Good Shepherd while incorporating many scriptural allusions. Verse 1 alludes to the Israelites receiving manna in the wilderness and water from the rock (Exodus 16-17); verse 2 reminds us that we live by the word of God, not bread alone (Deuteronomy 8:3, Matthew 4:4); verses 3 and 4 allude to the many gospel passages in which the apostles broke bread with Jesus (such as Luke 24:30-35) and the table being spread before us (Psalm 23:5). Many of the hymns that we sing incorporate scripture by quoting, paraphrasing, or alluding to specific texts. May the Word of God continue to live in our music and in our hearts! (4/22/18)    
 
“Songs of Thankfulness and Praise”
♫ The opening hymn for today mentions Christ’s “great Epiphany.” The text of this hymn draws on images from last week’s solemnity of the Epiphany (“the star” and “the sages from afar”), this week’s feast of the Baptism of the Lord (“Jordan’s stream”), and the gospel for next Sunday (“Cana, wedding guest” and “changing water into wine”). All of these moments are epiphanies. The baby adored by the Magi, the baptized one in whom the Father is well pleased, and the one who performs miracles are the same person: Jesus, the Son of God. (1/10/16)

"Take and Eat"
♫ Today’s Communion song—“Take and Eat”—is the product of two priests. Fr. James Quinn (1919-2010), a Jesuit from Scotland, wrote the text of the verses. Fr. Michael Joncas (b. 1951), a diocesan priest from Minnesota, composed the music and arranged the text of the refrain. Fr. Quinn generally wrote texts but not music; our hymnal has ten of his texts, but he did not compose the music for any of them. Fr. Joncas does a little bit of everything; our hymnal has 22 pieces for which he wrote the text, composed the music, or both.  (9/3/23)

"Take Up Your Cross"
♫ Connecting to today’s Gospel reading, our opening hymn is “Take Up Your Cross.” First published as a poem in 1833, it was written by nineteen-year-old Charles Everest, who later became an Episcopal priest. It has become a standard throughout the Christian English-speaking world, but the text and melody vary widely from hymnal to hymnal. The text varies because editors have frequently altered some of its more archaic language. The melody varies because it was originally a text-only poem, so editors chose to set it to different melodies. Our hymnal uses a German melody—ERHALT UNS, HERR—which we also sing with two Lenten texts: “Again We Keep This Solemn Fast” and “The Glory of These Forty Days.” (9/12/21)

"The Church's One Foundation"
♫ The text of today’s opening hymn (“The Church’s One Foundation”) was written in the 1800’s by Dr. Samuel Stone, an English clergyman. The text incorporates strong internal rhymes and scripturally-rooted images of the Church on earth and in heaven united by Jesus Christ. 
     In today’s second reading from Ephesians 1, St. Paul reminds us, “In him we have redemption by his blood.” The words of the hymn’s first verse—“With his own blood he bought her and for her life he died”—underscore that message. The word “bought” isn’t intended to call to mind shopping or a mere transaction. Rather, it reflects a deep theological truth: Christ indeed poured out his blood and gave his very life for the forgiveness of our sins. He died that we might live. He loved us so much that he gave everything for us. And so, let us raise our voices in song today and every day. Praised be Jesus Christ, our true foundation, now and forever! (7/11/21)

"The Cry of the Poor"
♫ This week’s Communion song, “The Cry of the Poor,” is a setting of Psalm 34. This psalm has long been associated with the Eucharist because of its well-known ninth verse, “Taste and see that the Lord is good” (or “Taste and see the goodness of the Lord”). The refrain of today’s hymn is taken from verse 7, which reminds us that the Lord hears the cry of the poor. In doing so, God fulfills the promise made to the Israelites in today’s first reading: “If he cries out to me, I will hear him; for I am compassionate” (Ex. 22:26). May we never hesitate to cry out to God in our need. (10/29/17)

"The Glory of These Forty Days"
♫ This week’s offertory hymn is “The Glory of These Forty Days.” It is a hybrid product of two of the most significant sacred musicians of all time. The words are an English translation of a sixth-century text by Pope St. Gregory the Great, who is the “Gregory” of “Gregorian chant.” The melody is a German tune arranged by the famous Johann Sebastian Bach. St. Gregory the Great lived about 1,000 years before Bach, but thanks to the compilers of the 1906 English Hymnal, in which this text/melody combination first appeared, the two musicians are forever linked by this Lenten hymn. (3/20/22)

"The King of Love My Shepherd Is"
♫ Alleluia! He is risen! On this Good Shepherd Sunday, our Communion hymn is “The King of Love My Shepherd Is”—Sir Henry Baker’s 19th-century paraphrase of the beloved Psalm 23. It is one of the most popular hymn texts in the English-speaking Christian world. The authoritative hymnary.org says that it has appeared in no fewer than 656 different hymnals! Catholic hymnals such as ours generally pair it with the Irish tune ST. COLUMBA. As we continue this Easter season, may it be our song of praise to the risen Christ, whose goodness fails us never. (4/30/23)
♫ One of today’s prescribed Communion antiphons is John 10:14: “I am the Good Shepherd, says the Lord; I know my sheep and mine know me.” Our Communion hymn—“The King of Love My Shepherd Is”—echoes that antiphon. Its tune is ST. COLUMBA, a traditional Irish melody. Its text is a paraphrase of Psalm 23 by Sir Henry Baker, an English hymn writer who lived in the mid-1800’s. According to his friend and fellow hymn writer John Ellerton, Baker’s last words before he died were from verse 3, which concludes, “And on his shoulder gently laid / And home, rejoicing, brought me.” Whatever this week may bring, may we all find rest and peace on Christ’s shoulder. (9/19/21)      

"The Servant Song"
♫ Many English-language hymns and songs come from the British Isles and the United States, but this weekend’s offertory hymn is an exception. “The Servant Song” comes from New Zealand, where it was written by Richard Gillard in the late 1970’s. Gillard first wrote the text of verse 3 on a scrap of paper, and he composed the rest of the song months later. In the years since its publication, it has become a standard throughout the English-speaking Christian world. (2/9/20)

"The Summons"
♫ Today’s Gospel tells how Jesus gave his disciples authority to heal others and sent them forth to proclaim the kingdom. Today’s Communion song, “The Summons,” reminds us that we too have been summoned. Written by John Bell and published by the ecumenical Iona Community of Scotland in 1987, “The Summons” is a most unusual text. The first four verses are not statements, but questions. They evoke and allude to how Christ summoned the disciples throughout scripture. The fifth verse is our sung affirmation that we will indeed follow and go where we are called. May we heed Christ’s call to us in this week to come—wherever it may lead. (6/18/23)

"There's a Wideness in God's Mercy"
♫ The prescribed entrance antiphon for today is from Psalm 86. The psalmist pleads with God to “have mercy on me” and affirms that God is “good and forgiving, full of mercy to all who call to you.” Our opening hymn—“There’s a Wideness in God’s Mercy”—directly echoes this antiphon. The hymn’s text was written by Fredrick William Faber (1814-1863), an Anglican priest who converted to Catholicism. He wrote more than 150 hymns intended for Catholic congregational singing. Most of them have fallen out of use, but “There’s a Wideness in God’s Mercy” and “Faith of Our Fathers” have withstood the test of time. In the week to come, may we heed Fr. Faber’s words, and may our lives indeed be “thanksgiving for the goodness of our Lord.” (8/29/21)

“’Tis Good, Lord, to Be Here”
♫ Every year on the Second Sunday of Lent, we hear a Gospel account of the Transfiguration. Our offertory hymn—“‘Tis Good, Lord, to Be Here”—musically reflects on what that moment means for us today. When Peter, James, and John saw the transfigured Christ on the mountain, they had not yet seen him die, rise from the grave, and ascend to heaven. Two thousand years later, we have the benefit of knowing that Christ did all those things. So, when we hear this story and “see” the transfigured Christ, we see “the promise of things to be.” We see “our redemption.” We see “the vision bright,” the ”kingdom come” that awaits all faithful disciples after death. May we rejoice in that glorious vision, and may Jesus indeed “come with us to the plain” of our own lives during this second week of Lent. (3/13/22)
♫ It may seem odd that today’s hymn during the Preparation of the Gifts is included in the Lent section of our hymnal. After all, its text is based on the gospel accounts of the Transfiguration, the feast that we are celebrating today. So why is it in the Lent section? Every year on the Second Sunday of Lent, we hear the story of the Transfiguration as told by Matthew, Mark, or Luke. Consequently, our hymnal’s editors decided to place the hymn in the Lent section. Some other hymnals place it in other sections: (e.g. “Transfiguration” in Worship III, “Jesus Christ” in The Collegeville Hymnal). Many hymns defy easy categorization, and “’Tis Good, Lord, to Be Here” is certainly suitable for various uses. (8/6/17)

"We Are the Light of the World"
♫ One of this weekend’s designated Communion antiphons is from the Beatitudes, so our Communion hymn is “We Are The Light of the World.” Composed by Jean Anthony Greif in 1966, it is—so to speak—a Catholic ‘one-hit wonder.’ Mr. Greif was a Knight of Columbus who spent most of his life in Spokane, Washington, where he was best known as an inventor of various electrical components for organs. In his early career, he provided live organ accompaniment for silent films, and he eventually composed and published sacred music. The vast majority of his music is no longer in publication, but “We Are the Light of the World” remains a mainstay in Catholic hymnals. (7/28/19)  
 
“We Three Kings”
♫ Perhaps no hymn is as associated with Epiphany as “We Three Kings.” The text and melody are by John H. Hopkins, Jr., an Episcopal priest who wrote the carol for a Christmas pageant in New York City. It was first published in 1863, and in the 151 years since, it has become a standard in Christian hymnals across the country. Today, as we bring the gifts of bread and wine to the altar, we sing it and recall the gifts that the Magi brought to Jesus: gold, frankincense, and myrrh. (1/14/15)  
 
“We Walk by Faith”
♫ Today’s offertory hymn is “We Walk by Faith.” Its text is by Henry Alford, a 19th-century Anglican minister best known for his eight-volume commentary on the Greek New Testament. Most of Alford’s hymns never garnered much use. In his 1907 Dictionary of Hymnology, critic John Julian wrote, “As a hymn-writer he added little to his literary reputation. The rhythm of his hymns is musical, but the poetry is neither striking, nor the thought original. They are evangelical in their teaching, but somewhat cold and conventional.” That critique has not stopped “We Walk by Faith” from becoming a standard among English-speaking Christians. Alford’s text has been paired with numerous tunes, including the one we sing today: Marty Haugen’s SHANTI, which has grown in popularity since its publication in 1984. (8/7/22)

"What Wondrous Love Is This"
♫ Today's Communion hymn is "What Wondrous Love Is This." An American folk hymn, it was first published in the early 1800's. It was especially popular in the South, and it frequently appeared in "shape-note" hymnals, which use different shapes to indicate different notes. It would typically have been sung a cappella (without any instruments). Since the 1960's, it has become a standard in American hymnals of many Christian denominations. Its text reminds us of Christ's willingness to "bear the dreadful curse" for us and of our need to sing his praise--both here on earth and in the kingdom of heaven. (10/17/21)    
 
“Whatsoever You Do”
♫ Our communion hymn today originally had eleven verses when it was composed by Fr. Willard Francis Jabusch of Chicago. Since it was first published in the late 1960’s, most publishers have omitted some of the other verses. Our hymnal only includes the five verses that are most explicitly rooted in biblical texts. (7/2/17)

"Ye Sons and Daughters"
♫ Alleluia! He is risen! This weekend’s Communion hymn is “Ye Sons and Daughters,” which originated in France in the 13th or 14th century. It musically recounts the story that we hear in John’s Gospel today: the account of Jesus’s appearance to Thomas and the disciples. Throughout the centuries, its “Alleluia” refrain has become associated with Easter throughout the Catholic world. Christ is indeed risen. Let us rejoice and be glad! (4/11/21)

"Your Words Are Spirit and Life"
♫ Today’s Communion song is “Your Words Are Spirit and Life.” It was composed in 1993 by Bernadette Farrell, a British woman whose music has become popular throughout the English-speaking Christian world. “Your Words Are Spirit and Life” is a paraphrased setting of Psalm 19. It reminds us that the riches found in God’s words are more valuable than anything we can conceive. As we heed the Gospel’s call to serve God, not mammon, let us pray that the Holy Spirit will open our hearts to receive the true Word, Jesus Christ. (9/18/22)

This "Notes from the Loft" page was last updated on 8/26/2024.

♫ The Mystery of Faith that we sing during Lent is “Save us, Savior of the world, for by your Cross and Resurrection, you have set us free.” There are three options for the Mystery of Faith acclamation, the other two being “We proclaim your death, O Lord…” (option A) and “When we eat this bread…” (option B). Any acclamation can be used anytime, but in recent years, we have used “Save us…” (option C) during Lent because it is the only one that explicitly mentions the Cross of Christ. The chant music is by Fr. Samuel Weber, OSB, a Benedictine monk of St. Meinrad Archabbey in Indiana. In addition to teaching at various seminaries throughout the eastern United States, Fr. Samuel has composed an extensive number of chant settings for use during Mass. (3/5/23)

♫ "How firm a foundation, you saints of the Lord / is laid for your faith in his excellent word." So begins today's opening hymn, a reminder that our faith must be rooted in the word of God. The vast majority of the music that we sing at St. Edward's either directly quotes Scripture, closely paraphrases Scripture, or incorporates specific images and language from Scripture. God's excellent word is the foundation not just of our music, but our entire lives. May our ears be opened to hear it, our mouths be opened to sing it, and our hearts be opened to receive it and live it in all that we do. (10/10/21)

♫ Every Mass has designated antiphons: texts intended to be sung or recited at designated moments. Generally, the texts of our Entrance and Communion hymns correspond with these antiphons. Today is no exception. The opening hymn—“Praise, My Soul, the King of Heaven”—includes imagery from Psalm 54, the entrance antiphon that speaks of our praising God’s name and God’s being our help and sustainer. The Communion hymn—“Gift of Finest Wheat”—evokes Psalm 111, the Communion antiphon that reminds us of the Lord’s “memorial of his wonders; he gives food to those who fear him.” Chanting or singing music based on the antiphons ensures that our musical texts are rooted in scripture, and it unites our sung prayer with the Church throughout the world. (7/18/21)

♫ During Lent at St. Edward’s, we have traditionally sung “Praise to you, Lord Jesus Christ, King of endless glory!” before the Gospel. While that acclamation is commonly used throughout the country, it is only one of eight options given in the U.S. Lectionary, the book of readings for Mass. Seven of the eight speak of “glory” and/or “praise.” (The lone exception is “Marvelous and great are your works, O Lord!”) These acclamations remind us that we are indeed to give praise to Jesus—the one whose glory Peter, James, and John behold in today’s Gospel reading. May our lives give praise to Jesus throughout this week to come. (2/28/21)

♫ Throughout the country, the singing/chanting of antiphons has become more common in recent months due to increased restrictions on choral and congregational singing. Many of the entrance antiphons that the cantors have been singing in recent weeks are arrangements by Kathleen Pluth, a writer of hymn texts who has also served as a parish music director in Alexandria, VA. The antiphons that we have been using were published in 2015. Unlike many arrangements of the entrance antiphons, which adapt the original Latin chant melody, her arrangements are intended to be sung to familiar hymn tunes. (9/27/20)

♫ In today’s second reading (Romans 12:1-2), St. Paul urges us to “offer your bodies as a living sacrifice, holy and pleasing to God, your spiritual worship.” Whenever we celebrate Mass, we offer our bodies—and our entire selves—as we worship. The announcement before every weekend Mass here at St. Edward’s reminds us to “quiet our hearts, minds, souls, and voices” so that we can prepare ourselves to offer those very hearts, minds, souls, and voices to God as we pray together. Let us pray for the grace to do the same in this week to come. May our lives truly be a holy and pleasing sacrifice. (8/30/20)

♫ On preludes and postludes: There are very few liturgical rubrics governing prelude and postlude music, so each of our organists has different criteria for selecting these pieces (e.g. the liturgical season, the specifications of our organ, individual playing styles). Overall, our parish repertoire is wide-ranging. It spans more than five centuries of selections from well-known to obscure, from chant arrangements to hymn improvisations, from traditional preludes and fugues to modern postludes. (1/27/19)

♫ This weekend, there are two prescribed options for the Communion antiphon. During Communion, we sing “Blest Are They” because its text incorporates one of the options – the passage from the Beatitudes (Matthew 5:7-8). We sing the second option (Psalm 103:2) as the recessional hymn, “O Bless the Lord, My Soul.” There are no prescribed texts for recessional music at Mass, so when multiple antiphons are provided elsewhere, we try to incorporate them as the closing hymn in this way whenever it is appropriate. Sometimes they are also the basis for preludes, postludes, or other instrumental music. (7/29/18)

♫ Church rubrics do not prescribe a “closing antiphon” for the end of Mass, so when there are multiple options for Communion, we sometimes sing one during Communion and another as the closing hymn. That is the case this weekend: we sing the “Blessed are…” text from Matthew during the Communion hymn and Psalm 103’s “Bless the Lord, O my soul” during the closing hymn. (7/30/17)
 
♫ The “Lord, hear our prayer” that we chant during Lent comes from the Byzantine Catholic tradition. Byzantine Catholics and Roman Catholics are in communion: if we were to go to a Byzantine Catholic church, we could receive the Eucharist. The liturgies are different, though. Musically, the Byzantine liturgy has more short, repeated, chanted responses than our Mass does. One of these responses is the “Lord, hear our prayer,” which has crossed over and become popular among Roman Catholics. (3/12/17)

♫ The Litany of the Saints is traditionally sung at the beginning of Mass on the First Sunday of Lent when catechumens and candidates are present for the Rite of Sending. We celebrate that rite during the 10:45 Mass, so we chant the litany as a prelude before that Mass. The next time that the litany will be sung at St. Edward’s will be prior to the celebration of Baptism and Confirmation during the Easter Vigil. (3/5/17)   
 
♫ ON COMMUNION MUSIC, PART I: Our primary guide for Communion music is the US Bishops' Sing to the Lord (§189-197), which is based on the universal rubrics in the General Instruction on the Roman Missal (§84-89). Both documents emphasize that Communion music is closely tied to the ritual action of receiving Communion. During Communion, a chant, hymn, or psalm is sung by the people with cantor or choir, or else by the choir alone. Music should continue until everybody has received Communion, ideally including the musicians. If necessary, more than one song is permitted. Afterwards, there is to be some time for prayer. During that time, an optional post-Communion psalm, canticle, or hymn may be sung by the entire congregation.
     Following these guidelines, our practice at St. Edward's is to have (1) a communion hymn, psalm, or chant sung by everybody, (2) instrumental music while the choir/cantor receives Communion, and (3) sometimes, an additional piece sung by choir or cantor as the Communion rite finishes. (10/2/16)
 
♫ ON COMMUNION MUSIC, PART II: Sing to the Lord (STTL) says that during Communion, "the singing of the people should be preeminent" (189). At St. Edward's, we begin Communion with a piece from our hymnal that is sung by everybody. Chosen in accordance with STTL guidelines (191, 194), it is a hymn, psalm, or chant that includes that day’s prescribed Communion antiphon, describes Eucharistic themes and actions, or connects to the liturgical season/reading of the day. It usually has a refrain (STTL 192) to help facilitate singing while we process without books -- or if the verses are tricky. We sing the piece in its entirety, but we do not repeat verses. Not repeating verses enables the cantor or choir to leave the loft and receive Communion while instrumental music is played. (10/9/16)
 
♫ ON COMMUNION MUSIC, PART III: After the Communion hymn/chant/psalm, our cantors and choir members descend from the loft in order to receive Communion. So, per STTL 193, there is usually instrumental music at that time. STTL permits playing a published piece or improvising (43), and that choice is left to the discretion of our accompanists. Other instruments may also play, as our Bell Choir does at the 5:00 Mass this weekend. Depending on the Mass, the instrumental music continues until either the conclusion of the Communion rite or until a sung choir or cantor piece begins. (10/23/16)
 
♫ ON COMMUNION MUSIC, PART IV: In STTL, the US Bishops note that the choir may sing a piece during Communion (189, 193). At the 10:45 a.m. Mass, the choir almost always does so after receiving Communion and returning to the loft. Choir pieces are chosen based on liturgical and textual suitability (STTL 191, 194), as well as musical and pastoral considerations (e.g. the makeup of our choir, the breadth of Church music from 9th/10th century chants to 21st century choral pieces). As we do not have choirs at the 5:00 p.m. and 8:15 a.m. Masses, cantors occasionally sing a similar Communion piece. Those selections are usually left to the discretion of the cantor and accompanist.
    While this song sometimes extends until shortly after the priest sits down -- or into the second collection, if there is one -- it begins as soon as the musicians are ready. That way, the Communion music ends "in a timely manner" (STTL 193) and does not "draw undue attention to the choir or other musicians" (STTL 196). (10/30/16)
 
♫ ON COMMUNION MUSIC, PART V: After the Communion vessels are purified, there is an option for a song – a “hymn of praise” – to be sung by the entire congregation. In STTL 196, the US Bishops even note that the congregation can stand to sing it. We have not traditionally sung such a hymn at St. Edward's because, like the majority of Catholic parishes in our country, we sing a closing hymn after the dismissal. STTL 199 suggests that while singing either a hymn of praise or a closing song is acceptable, it is usually preferable not to sing both. (11/6/16)
 
♫ Sometimes I’m asked why we sing every verse of some hymns but not others. The short answer is that the two main factors are liturgical/ritual timing and the hymn text. During the Preparation of the Gifts and Communion, there is almost always time to sing all verses, so we do.
     The opening and closing processions are shorter, so the text of the hymn plays a role. For example, “We Three Kings” should be sung in its entirety to make sense; shortening it could cut out the verses about one, two, or even all three kings. Generally, our opening hymns are written to be sung in their entirety. In contrast, the text of today’s closing hymn is itself edited from the original, with an extra verse added in the middle nearly a century after it was written. Some other hymns have already been shortened by the hymnal: for instance, “Lift High the Cross” originally had eleven verses. In such cases—when the text has been significantly altered, ending “early” does not affect the hymn’s meaning, and the procession has already ended—we usually do not sing all of the verses. (9/25/16)
 
♫ Who selects the instrumental music that is played before, during, and after Mass? Preludes, postludes, and other instrumental selections are almost always left to the discretion of the organist/pianist who is playing. Sing to the Lord, the US Bishops’ 2007 music document, remarks, “The liturgical action may call for improvisation…when a congregational hymn or choral piece concludes before the ritual action is completed” (43). For instance, sometimes there is no extra time after the Preparation hymn at the 5:00 p.m. and 8:15 a.m. Masses, but there is a minute or two at 10:45 a.m. because the collection takes longer. There is also variation in the amount of time after the Communion hymn, especially if there is a second collection. Our musicians use their pastoral judgment to assess the timing, and then they improvise, play prepared pieces, or be silent: whatever is most conducive to prayer. (7/3/16)
 
♫ At some churches I’ve attended, there are psalms sung at the beginning of Mass and during Communion. Why don’t we sing many psalms here? It is true that at those times, we don’t often sing responsorial-style psalms in which everybody sings the refrain and the cantor sings the verses – or psalms sung solely by the cantor or choir. However, we do often sing hymns that are translations or paraphrases of psalms. This week, three of the four hymns fit that category. The opening hymn is a setting of Psalm 100 that echoes the text of today’s opening antiphon, “All peoples, clap your hands. Cry to God with shouts of joy.” For Communion, we sing a setting of Psalm 19, and the closing hymn is a setting of Psalm 133. (6/26/16)
 
♫ Why are the Gloria and Lamb of God we’re singing now different than the other Mass parts? When most composers arrange Mass settings, they include music for numerous parts of the Mass. These parts vary, but almost all Mass settings include a Gloria, Holy, Mystery of Faith (We proclaim, When we eat, Save us), Amen, and Lamb of God. One exception is the Land of Rest Mass, which we are using now. It has music for the middle three parts, but omits the Gloria and Lamb of God. That is why we’re singing a Gloria and Lamb of God from other Mass settings. (6/19/16)
 
♫ How do you decide what to play on the organ and what to play on the piano? Some music is written specifically for organ or piano; the preferred instrument is usually indicated on the music. Other decisions aren’t so straightforward. Some music is written for “keyboard,” meaning that it could work on either organ or piano. In those cases, the decision depends on which instrument will best support the singing of the congregation/cantor/choir, which instrument best suits the style of the piece, and whether or not there are other instruments (e.g. flute, violin, trumpet). For choir-only “keyboard” pieces, the amount of visible directing that is necessary also influences the decision. Here at St. Edward’s, where the piano is in front of the choir and the organ is behind and to the side, it’s often more effective to direct from the piano. (8/9/15)
 
♫ "In Advent the organ and other musical instruments should be used with moderation and should not anticipate the full joy of the Nativity of the Lord." So says section 114 of Sing to the Lord, the 2007 church music guidelines from the United States Bishops. These words echo the General Instruction of the Roman Missal, a document that establishes rubrics for all aspects of Mass and calls for musical “moderation consistent with the season’s character” during Advent (sect. 53). Parishes do this in many ways, such as less instrumental music, milder organ settings, and more singing without instruments. Even as we show moderation, though, our music still reflects a spirit of joyful hope as we await Christ’s coming. (12/7/14) 
 
♫ On today's feast of the Dedication of the Lateran Basilica, we musically recall the dedication of our church buildings here at St. Edward. Ten years ago, at the dedication of our current worship space, the music for Mass included “Faith of Our Fathers,” “The Fragrance of Christ,” and “Ave Verum Corpus.” The first Mass in the previous church building was on March 20, 1955 – the Fourth Sunday of Lent – and the entrance chant for that day was “Laetare Jerusalem.” Whichever Mass you attend this weekend, you will hear or sing at least one of these selections. (11/9/14)
 
♫ You may have noticed in the Breaking Bread hymnal that every Mass has an Entrance Antiphon. Antiphons are short phrases, usually scriptural, that are intended to be sung or recited. Entrance Antiphons are the official proper musical chants that begin any given Mass. Often, our entrance hymn incorporates (or is based on) the antiphon. There are also Communion Antiphons, which are often reflected in our Communion music: the hymn, instrumental selection, or meditation. Connecting our music to the antiphons is one way to join our prayers with the prayers of the universal Church. (9/21/14)

♫ Sometimes hymn tunes—the musical melodies themselves—have names of their own. In our hymnal, they appear either directly under the song number or in the “Music” section of the copyright information. Tune names are conventionally written in all capital letters, and they often have interesting backstories. Three of our tunes this weekend have names. The opening hymn is SLANE, which is named for an Irish village and hill where St. Patrick lit an Easter fire despite objections from a pagan king. The offertory hymn is SHANTI, whose name is likely a reference to a Sanskrit word meaning peace. The closing hymn is NETTLETON, which refers to Asahel Nettleton, a 19th-century theologian to whom the tune is often attributed…even though he may not have actually composed it. (2/12/23)

♫ In our hymnal, this weekend’s second reading (Colossians 1:15-20) is not printed as regularly formatted paragraphs. Instead, it is printed in “sense lines.” Hymnals and missals generally use sense lines to print poetic passages from the Bible, prayers, and communally recited or sung texts, such as the Gloria and the Creed. Many scriptural scholars believe that this passage from Colossians was itself a hymn sung by early Christians. We do not know what the music would have been, but the text itself has continued to inspire many hymns and songs even to our present day. One of them is “The Church’s One Foundation,” which we sing this weekend during the Preparation of the Gifts. (7/10/22)

♫ In our hymnal, Breaking Bread, numbers 1-208 are used for the Order of Mass and seasonal hymns (Advent, Christmas, Lent, etc.), while numbers 301-945 contain other music and Mass settings. Skipping directly from number 208 to 301 appears to be an odd choice, but there is a reason for such a large gap. It is related to how OCP, our hymnal publisher, uses numbers in its other books.
    In OCP’s other seasonal publications, numbers 1-208—and the “missing” 209 to 300—are used differently because their contents are not the same as Breaking Bread. Numbers 301-945, on the other hand, are exactly the same in Breaking Bread and OCP’s other major annual songbook (Music Issue) because both have exactly the same contents. The gap in Breaking Bread may seem random, but it is quite intentional. It allows for both variety and consistency across OCP’s various books, thereby simplifying the editing and publication process.  (9/15/19)

♫ This week’s Responsorial Psalm response (p. 196) uses the word bread twice, and the first time is in brackets: “The Lord gave them [bread], bread from heaven.” The brackets indicate that the Lectionary for Mass, the Church’s official book of readings, does not include that repeated word. The composer chose to repeat it for musical or textual reasons. Occasionally, Mass texts do include repeated words -- “Holy, holy, holy,” for instance – but most of the time, composers repeat words at their discretion. Such repetition has been part of the Church’s musical tradition since nearly a thousand years ago, when composers first started adapting chant melodies. (8/5/18)

♫ Hymnal publishers occasionally alter hymn texts by omitting verses for theological clarity, length, intelligibility, or other reasons. Our hymnal, Breaking Bread, omits one verse of this week’s opening hymn. The omitted stanza is: “Frail as summer's flower we flourish, / Blows the wind and it is gone; / But while mortals rise and perish / God endures unchanging on, / Praise Him, Praise Him, Praise Him, Praise Him, / Praise the High Eternal One!” Presumably it is omitted for space reasons, as the additional verse (slightly altered) appears in Journeysongs, another Catholic hymnal published by the same company. (7/15/18)

♫ The name ‘Owen Alstott’ appears after all of the Responsorial Psalms and Gospel Acclamations in our hymnal. Who is he? Owen Alstott worked for OCP (our hymnal’s publishing house) for many years. At various times, he was the music editor, editor of music publications, and publisher. He composed much music that still appears in our hymnal, including the Responsorial Psalms and Gospel Acclamations. He is married to another composer, Bernadette Farrell, who is perhaps best known for composing “Christ, Be Our Light.” (6/12/16)

♫ In our hymnal, some songs have small words in all capital letters on the line under the title. What are those words? They are the name of the hymn tune. Conventionally written in all caps, the tune name usually has a connection to the original text or to the composer. Not all tunes have names, but this week, all four of our hymns do:
♫ LOBE DEN HERREN: “Praise to the Lord” in German, the hymn’s original language
♫ ST. AGNES: name chosen by the composer in honor of the saint
♫ UNDE ET MEMORES: “Therefore and mindful” in Latin; the original text for this tune began “And now, O Father, mindful of your love”
♫ NUN DANKET: “Now thank” in German, the hymn’s original language
If there is no hymn tune name, our hymnal lists the name of the composer instead. (7/19/15)
 
♫ It seems like there are more Spanish songs in our hymnal than there used to be. Is that true? Yes, it is. In recent decades, changing Catholic demographics have inspired U.S. publishers to include more multilingual music in hymnals, and we see that in Breaking Bread. There are a mix of texts written in English and translated into Spanish (e.g. "I Am the Bread of Life"), written in Spanish and translated into English ("Pescador de Hombres"), and written bilingually ("Come to the Feast/Ven al Banquete"). OCP, which publishes Breaking Bread, also publishes Spanish/English and Vietnamese/English hymnals for bilingual parishes. (6/8/15)

About Our Organ bulletin series
♫ Who built our organ? Casavant Frères of Quebec built it in 1975 for the Williamsburg (VA) Presbyterian Church. Its “name” is Opus 3275, which means it was the 3,275th organ built by Casavant. With help from St. Edward’s parishioners, it was moved to Ohio in 2004 by Peebles-Herzog, Inc. of Columbus, who made some modifications and installed it at St. Edward’s in 2005.
♫ How many keyboards does it have? It has two 56-key keyboards (a.k.a. manuals) played with the hands. It also has a 32-key pedalboard played with the feet.
♫ How many pipes does it have? 1105 total, divided into two chests: 625 in the upper, 480 in the lower. (2/6/22)

What makes our organ unique? 
Pipe organs share many common components, but every instrument has its own feel based on how the organ is built and where it is installed. Two of our organ’s distinctive features are:
♫ Tracker action: When a key is pressed, it moves a thin piece of wood called a tracker. The tracker is connected to a valve that allows air into the pipe, thus making the note sound. Many other organs have electric, electro-pneumatic, or tubular pneumatic action, which uses electricity or tubework instead of trackers. Each kind of action has its advantages, but trackers are highly regarded because, being mechanical, they make the keys particularly sensitive and responsive to the touch of the organist.
♫ Its sounds: Organ pipes can make a wide variety of sounds. Our organ includes bright flutes and distinctive organ tones (“principals” and “mixtures”), but it lacks strings and brass solo instruments. Our organ is relatively small for the size of the church, but its brightness and the church’s acoustics enable the sound to fill the space well. (2/13/22)

Every organ has its own unique challenges. When I came to St. Edward in 2014, it took me a while to become accustomed to these two: 
♫ No pistons: On an organ, each sound (flute, trumpet, etc.) is controlled by a stop—a knob, button, or switch that starts and stops airflow to a particular set of pipes. Most organs have “combination action”: buttons called pistons that enable an organist to pre-assign and save combinations of stops. With pistons, an organist only needs to press one button to change multiple stops simultaneously. How many pistons does our organ have? Zero. So, to change the sound on our organ, the organist has to push or pull every knob individually. In the split second between verses of hymns, there can be a lot of pushing and pulling!
♫ No expression: Like a TV, phone, or any other device with a speaker, digital electronic organs typically have volume controls. Pipe organs do not. Some organs have a number of pipes enclosed in a box with shutters, which the organist can open or close to make the sound louder or softer. Those pipes are known as being under expression. Our organ is not digital, and it has no pipes under expression. That means the only way to control the overall volume on our organ is to change which stops are pulled. (2/20/22)

How an organ sounds depends largely on the organist. Organists have different styles, play at different tempos (speeds), and use different registrations (combinations of stops/sounds). At St. Edward, we are blessed to have three regular organists.  
♫ Mike Sullivan generally plays for two 5:00 p.m. Saturday Masses every month and often substitutes on the rare Sundays when I am unavailable.  
♫ Val Matula plays for First Fridays, occasional Monday Masses, Christmas Eve 5:00 p.m. prelude music, and some Sunday morning pieces. This weekend, he plays a prelude by J.C. Bach, uncle of the famous J.S. Bach. 
♫ I play for just about everything else.  
Since our organ was installed, other regular organists have included Marcia Brannon (our 5:00 p.m. Saturday organist for many years) and my predecessors from Susan Brattain to Bill Miller to Julia Parker. Julia was instrumental in coordinating the acquisition of our organ by Peebles Herzog, Inc., the Columbus company that still maintains and cares for our organ today. (2/27/22)

+ + +

♫ How many different sounds can our organ make? Our organ has two manuals (keyboards) plus pedalboard. The lower manual can be coupled, or joined, to the upper manual. Either or both manuals can be coupled to the pedals. So…the lower manual has seven different sounds made by different ranks of pipes (six ranks plus a vibrating tremulant option). The upper manual has fourteen (seven of its own, plus the seven options that can be coupled from the lower manual). The pedalboard has eighteen (four of its own, plus the fourteen that can be coupled from the manuals). So, that’s 128 possible combinations for the lower manual (2^7), 16,384 for the upper (2^14), and an incredible 262,144 for the pedal (2^18). Any mathematicians in the parish, please correct me if I’m wrong! (7/24/16)
 
♫ Our organ was built in 1975 by Casavant Frères, which is headquartered in Canada. It was built for the Williamsburg Presbyterian Church in Williamsburg, VA, where it remained until my predecessor Julia Parker coordinated the acquisition of the organ in 2004. It was then moved to Granville and installed by Peebles-Herzog Organ Company of Columbus. Susan Brattain coordinated a major revoicing of the organ last summer, which she described in detail in the June 15 and 22, 2014 bulletins. This year is the 40th birthday of the organ, but in organ terms, that isn’t even close to being over the hill. We pray that our organ will continue to serve us well for many years to come. (8/23/15)

♫ As we continue to hear the Bread of Life discourse from the Gospel of John, the Responsorial Psalm will be “Taste and see the goodness of the Lord” for three weekends in a row: today, next Sunday, and the Sunday after that. The cantor’s verses will be slightly different each week, but the refrain will remain the same. May it remind us how we are able to taste and see the goodness of the Lord over and over and over again—every time we receive the very Body and Blood of Christ. May we never take that blessed gift for granted! (8/11/24)

♫ Jesus knew the Psalms. By the time he was born in Bethlehem, Jews had already been praying them for centuries, and they were familiar to him and his followers. The Gospels reveal that he freely quoted and alluded to them. In today’s Gospel, Jesus alludes to Psalm 78—not coincidentally, today’s Responsorial Psalm—when he says, “…as it is written / He gave them bread from heaven to eat” (John 6:31). Even on the cross, he quoted Psalm 22, “My God, my God, why have you abandoned [or forsaken] me?” When we pray the Psalms, we are praying as Jews and Christians have for millennia…and as Jesus himself did. (8/4/24)

♫ Alleluia! He is risen! Today’s Responsorial Psalm is from Psalm 22, just as it was on Palm Sunday. On that day, the response was “My God, my God, why have you abandoned me?” and the verses were from the early part of the psalm. Today’s response is, “I will praise you, Lord, in the assembly of your people,” and the verses are from the later part of the psalm. As it progresses, the psalm text changes from lament and despair to praise and hope in God. This change echoes how we have moved from somberly reflecting on Christ’s Passion to rejoicing in the hope of the Resurrection. He is risen indeed! Alleluia! (4/28/24)    

♫ Alleluia! He is risen! Psalm 118 has long been associated with Easter, and this week is the third time in four Sundays that it has been the Responsorial Psalm. On Easter Sunday, we sang, “This is the day the Lord has made; let us rejoice and be glad”; on Divine Mercy Sunday, we sang, “Give thanks to the Lord for he is good; his love is everlasting”; today, Good Shepherd Sunday, we sing, “The stone rejected by the builders has become the cornerstone.” May this psalm be in our hearts throughout this holy season. (4/21/24)

♫ Throughout the centuries, many Christian hymn texts have—not surprisingly—directly addressed God. Three of this weekend’s hymns fall into that category: “O God, Beyond All Praising” and “O Breathe on Me, O Breath of God” both do, as does “Christ, Be Our Light.” We use the words “you” and “your” to address God as we offer praise and make requests. In other hymn texts, we directly address ourselves. As we sing them, we tell ourselves what we should do to be in a right relationship with God. Our closing hymn—“O Bless the Lord, My Soul”—falls into this latter category. It is a paraphrase of Psalm 103 in which we remind ourselves to proclaim God’s grace, keep God’s mercies in mind, and bless his holy name. As we sing and pray all of these hymns, may they strengthen our relationship with the living God who knows and loves us. (1/28/24)

Like our Sunday Mass readings, the Responsorial Psalms that we sing are on a three-year cycle. Today we sing Psalm 131. It is special for three reasons:
♫ Many psalms are repeated throughout the course of the three-year cycle. Psalm 131 appears only once: this weekend.
♫ Many psalms are long, so the cantor only sings selected verses. Psalm 131 is short, so the cantor sings the entire text: all three verses.
♫ Many of the psalm refrains that we sing are taken from the verses of the psalm—but not this one. Today’s refrain conveys the sense of the psalm, but its text does not actually appear in Psalm 131. (11/5/23)

♫ In today’s first reading, Elijah encounters God in a tiny whispering sound after the wind, earthquake, and fire. So too do we encounter God in the quiet that follows music during Mass. As the U.S. bishops wrote in 2007, “Music arises out of silence and returns to silence. God is revealed both in the beauty of song and in the power of silence” (Sing to the Lord 118). During Mass, music moves us and prepares our hearts so that, like Elijah, we will recognize God and hear his voice after the music ends. Many people experience this most powerfully after Communion, but it can also happen after hymns, the Responsorial Psalm, prelude music, and at other times. May God indeed be with us in “the power of silence.” (8/13/23)

Today’s Responsorial Psalm is Psalm 138. In our three-year cycle of Mass readings, Psalm 138 appears four times, each with a different refrain:
♫ Lord, your love is eternal; do not forsake the work of your hands. 
♫ In the sight of the angels I will sing your praises, Lord. 
♫ Lord, I thank you for your faithfulness and love.
♫ Lord, on the day I called for help, you answered me. (This is today’s refrain.)
These different refrains often connect to the other readings of the day. Today’s refrain echoes how God hears and answers Abraham’s pleading questions in the first reading (Genesis 18:20-32). It also foreshadows the Gospel (Luke 11:1-13), in which Jesus teaches his disciples to call for help using the Lord’s Prayer—and promises that the Father will give the Holy Spirit to those who ask. (7/24/22)

♫ Today’s readings are apocalyptic, with Daniel’s prophecy of a time “unsurpassed in distress” and the Gospel’s reminder that “the sun will be darkened…and the powers of heaven will be shaken.” Rather than echo the readings, the day’s musical antiphons instead tell us how we ought to respond. We should “call upon” the Lord, who “will answer” (Jeremiah 29); we should “place [our] hope in God the Lord” (Psalm 73); we should remember that “Whatever you ask in prayer, believe that you will receive, and it shall be given to you.” (Mark 11). In this week to come, let us turn to God in prayer—especially in the midst of our uncertainty, fear, and worry about the future. (11/14/21)

♫ You may have noticed that in the Responsorial Psalms and readings each week, the word ‘Lord’ appears in three different ways: LORD, Lord, and lord. The capitalization depends on the original word that is being translated. “LORD” is used for YHWH, the Hebrew name of God that has historically not been spoken aloud by the Jewish people out of respect and honor. “Lord” is used for Adonai (a Hebrew name for God that may be spoken aloud) and Kyrios (which is a Greek word used frequently in the New Testament). The uncapitalized “lord” refers to a human ruler who is not God. (9/26/21)

♫ Spirit or spirit? In the translation of John’s Gospel that we read today, Jesus tells his disciples, “It is the spirit that gives life…The words I have spoken to you are Spirit and life.” This is not a typo. In the translation of the New American Bible used for our readings at Mass, the second “Spirit” is upper-case, and the first “spirit” is lower-case. Some Biblical translations capitalize one word or the other; some capitalize both; some capitalize neither. No matter how these words are capitalized, their message is clear: Jesus speaks the words of everlasting life. Whenever we hear, pray, and sing those words, the Holy Spirit renews our own spirits and transforms us. May the words of Christ be on our minds, our hearts, and our tongues in the week to come. (8/22/21)

♫ Psalms have long been the foundation of liturgical music. In the many centuries since their composition, they have been sung by Jewish, Catholic, and other Christian communities gathered in prayer. All three of our hymns today are paraphrases of psalms. “From All That Dwell Below the Skies” and “O Bless the Lord, My Soul” are eighteenth-century settings of Psalm 117 and Psalm 103, and “O God, You Search Me” is an arrangement of Psalm 139 composed in 1992. As Scripture—the Word of God—the psalms speak anew to every generation. May they be on our lips and in our hearts today. (6/27/21)      

♫ The first verse of today’s Responsorial Psalm urges us to “sing joyfully to the Lord” and to “joyfully sing psalms to him.” In his commentary on the psalms, St. Robert Bellarmine (1542-1621) notes that this particular psalm is both an invitation and an exhortation to praise God. We are indeed invited, exhorted, and called to sing praise to God at all times, regardless of how we feel at any given moment. To that end, the book of Psalms contains songs of joy, lament, longing, despair, comfort, and peace. When we cannot seem to muster our own words to sing or pray, let us turn to the Psalms—and to God, who is ever with us. (1/31/21)

♫ Many composers have arranged organ variations of hymns traditionally associated with the solemnity of Christ the King: “All Hail the Power of Jesus’ Name” (CORONATION), “To Jesus Christ, Our Sovereign King” (ICH GLAUB AN GOTT), and “Crown Him with Many Crowns” (DIADEMATA), to name just a few. The grandness, power, and brightness of these arrangements contrasts sharply with today’s Responsorial Psalm, the much-loved Psalm 23, which reminds us that the Lord is our shepherd. Today, let us remember that the Christ who is Lord and King of the Universe is also our Good Shepherd—a king who humbled himself to the point of death so that we might rise and live with him forever. (11/22/20)

♫ Today’s Gospel features the well-known verse: “And so I say to you, you are Peter, and upon this rock I will build my church…” (Matthew 13:18). Musically, this verse is known as the Tu es Petrus (You are Peter). It is frequently used as a processional piece during Masses celebrated by the Pope. Here are a few recordings—some contemplative, some grandiose:
   + arr. James MacMillan (2010), Westminster Cathedral Choir
   + arr. Palestrina (1572), New York Polyphony
   + arr. L. Perosi (1872-1956), New College Oxford Choir & Cappella Sistina
   + traditional Gregorian Chant, CC Watershed 
   + arr. H. Mulet (1914-1919), organist Robert MacDonald (8/23/20)

♫ In today’s first reading from 1 Kings, Elijah does not hear God’s voice in wind, earthquake, or fire. Rather, he hears it in a quiet whisper after the noise. So often, music at Mass inspires a similar experience. We may be moved—even overwhelmed—by sung words, melodies, the voices of a cantor or choir, or the wide-ranging beauty and power of musical instruments. Yet the moments when we hear God speaking to us are often those moments of prayerful silence that follow the music: after the prelude, after the singing of the psalm, and after the Communion music ends, to name just a few. 
   In their 2007 document entitled Sing to the Lord, the U.S. Catholic Bishops remind us that “Music arises out of silence and returns to silence. God is revealed both in the beauty of song and in the power of silence” (118). In our everyday lives, such moments of silence can be all too rare and fleeting. In this week to come, may we be especially attentive to those moments, and may our ears and hearts be attuned to hear God’s voice speaking to us.  (8/9/20)

♫ For nearly a millennium, there has been a tradition of “burying the alleluia” on the final Sunday before Lent. While it is uncommon nowadays, some places still celebrate a rather elaborate ritual. Choirs—usually with no clergy present—carry a paper emblazoned with “ALLELUIA” outside in a funeral-like procession, complete with candles and incense. The paper is then buried to mark the symbolic departure of the Alleluia for the duration of the Lenten season. (In some places, the paper is then dug up at Easter.)
   Most Church communities no longer literally bury the alleluia, but a more common practice is to “bury” it liturgically by doing what we do this weekend: sing a closing hymn filled with alleluias. By doing that, the final words on our lips as we depart Mass are the words that we will not sing again until the Easter Vigil: a boisterous “Alleluia! Alleluia! Alleluia!” (2/23/20)

♫ Today’s Responsorial Psalm contains what, at first glance, may look like a typo. The refrain text uses “for ever,” while the first verse uses “forever.” Even though we in the United States generally use “forever” in all cases, the Church’s official English translations maintain the historical British distinction between the two spellings: forever means “continually” and for ever means “for eternity.” So, today, let us join our fellow English-speaking Catholics around the world as we promise to praise God forever...and for ever. (11/3/19)

♫ Today’s readings and musical texts urge us to turn to the Lord in prayer. The  Catechism of the Catholic Church reminds us that “the Eucharist contains and expresses all forms of prayer” (CCC 2643), so naturally, the music that we sing during Mass takes many forms, too. For instance, today’s opening hymn is a prayer of praise to our “holy, holy, holy” God who is “merciful and mighty.” The offertory hymn is one of petition, asking God to “refresh and bless” and “abide with us.” The Communion hymn is a psalm drawn from scripture, and the closing hymn is a prayer of thanksgiving that we raise “with hearts and hands and voices.” Whatever form our prayer may take, may we never hesitate to lift it to the God who loves us. (10/27/19)

♫ This weekend, all of the hymns and the responsorial psalm happen to be in the first-person singular: they use I, me, and my. Other times, the hymns and psalm are first-person plural: they use we, us, and our. The rest of the Mass texts use both as well: sometimes singular (“I confess”; “I believe in one God”), sometimes plural (“We praise you, we bless you”; “Lord, hear our prayer”; “have mercy on us”). In all of these hymns, responses, and texts, we are always praying both individually and collectively. The Mass is the prayer of the entire Church, so during Mass, our prayer is always joined to that of every person gathered here at St. Edward’s, throughout our diocese, our country, and the entire world. As the Church, we are both we and I, joined together as one in Christ. (2/10/19)   

♫ Before the Gospel is read, we stand and sing the Gospel Acclamation, which is usually “Alleluia.” (The only exception is during Lent, when “Alleluia” is replaced by another response.) In between the times when we all sing the response, the cantor chants a verse. These verses usually come from the Lectionary, the book of readings for Mass. Sometimes the verse is taken directly from the Gospel reading that we are about to hear. Other times, it is borrowed or adapted from another part of scripture. For instance, today’s gospel is from Luke, and the verse is from John, but both of them emphasize loving one another as God loves us. In all cases, this verse is a relatively small part of the Mass, but it has an important purpose: to call our attention to the Word of God that we are about to hear. (2/24/19)

♫ Why is today the Second Sunday in Ordinary Time? Did we skip the First Sunday in Ordinary Time? We didn’t skip the First Sunday; it just doesn’t exist on the Church calendar. Here’s why:
     The first day of Ordinary Time is always the Monday or Tuesday immediately following the Baptism of the Lord. Therefore, the first “week” of Ordinary Time never has a Sunday: it is either six days long (Monday through Saturday) or five days long (Tuesday through Saturday). By the time Sunday arrives, it is the beginning of the second week, so it is referred to as the “Second Sunday in Ordinary Time” or “Sunday in the Second Week of Ordinary Time.”
    That isn’t the only quirk of this season. Due to the dates of Easter and other important feasts, we sometimes omit other Sundays in Ordinary Time. In 2017, we won’t celebrate the 9th, 10th, 11th, and 18th Sundays. For a quick glance at the calendar for this year, see the very first page of our hymnal. (1/15/17)

♫ Why don’t we sing the Gloria during Advent? The Gloria was initially used at Masses celebrated by bishops: first at Christmas, then on Sundays and selected feast days. It was omitted during Lent, a less festive, penitential season prior to Easter. By around 1100 AD, its use had spread to Masses celebrated by all priests. At that time, Advent was popularly understood as a penitential season prior to Christmas, so Advent Masses became more Lenten: purple vestments, fewer flowers, subdued (or eliminated) organ music, and no Gloria. Today, we maintain those traditions, including omitting the Gloria.            
♫ Then why do we sing Alleluia during Advent but not Lent? Historically, even as Advent Masses became more Lenten, the Alleluia was not omitted. Even though both seasons are times of preparation and penitence, Advent is when “we await the blessed hope and the coming of our Savior, Jesus Christ” with special fervor. Singing the Alleluia during Advent emphasizes that joyful hope.
♫ What about the Immaculate Conception this week? It’s a solemnity (an especially important solemn feast day). The Gloria is always sung on solemnities – even when they fall during Advent and Lent – so we will sing it for the holy day Masses.  (12/4/16)
 
♫ I was listening to a Catholic radio show, and the topic was the relationship between Church art, architecture, and music. Could you say a few words about that? I will try to limit myself to a few words. As the setting for liturgy, the physical worship space is deeply connected with music. Ceiling height, congregational seating, the presence or absence of a choir loft and carpet…all of these affect the natural acoustic of the space and the location of the musicians. In turn, these factors influence amplification methods, which instruments are effective, and what music is most prayerfully suited for a given space. There have been – and continue to be – a variety of architectural, artistic, and musical styles reflective of the various cultures of the global Church. When designed well, architecture, art, and music work together harmoniously and beautifully to inspire us to prayer and a deeper encounter with God. (8/21/16)
 
♫ I’ve heard the final song at Mass called the recessional, sending forth, and closing hymn. Which is it? There is no single "correct" name. The General Instruction of the Roman Missal, which establishes the rubrics for Masses throughout the world, doesn’t mention a name. The U.S. bishops use both "recessional hymn" and “closing song" in their guidelines (Sing to the Lord §199), while many Catholic publications use “sending forth.” The multiple names reflect the multiple purposes of the song and why we sing it rather than leave immediately after “Thanks be to God.” It is a recessional because it is sung while the priest and servers recess, a closing song because it is the final ritual action of all who are gathered, and a sending forth song because after it ends, we are “sent forth” to live our Christian mission in the world. (8/2/15)
 
♫ Where do we get the verses for the alleluia before the gospel? Those verses are included in the lectionary, which is the book of readings for Mass. They usually connect to the gospel in some way. For example, this week’s verse—“A great prophet has arisen in our midst. God has visited his people.”—connects with the reference to Jesus as “the Prophet, the one who is to come in the world” near the end of the gospel reading. (7/26/15)
 
♫ Once again, today’s Responsorial Psalm is Psalm 118. This psalm has long been a traditional Easter psalm. We’ve sung it three of the past four Sundays with different refrains each time: “This is the day the Lord has made; let us rejoice and be glad” (Easter Sunday); “Give thanks to the Lord for he is good; his love is everlasting” (Second Sunday of Easter); “The stone rejected by the builders has become the cornerstone” (today). We also sang it with “Alleluia” as the refrain during the Easter Vigil. (4/26/15)