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39-606: In modern English usage, it is sung to a variety of tunes, although the original plainsong melody is the most common variant. The hymn was first sung for the procession (on November 19, AD 569) of a relic of the True Cross , that was sent by Byzantine Emperor Justin II from the East at the request of St. Radegunda , and was carried in great pomp from Tours to her monastery of Saint-Croix at Poitiers . Its original processional use

78-606: A denominational hymnal but was well-received by choirs. Mason's famous hymns, which were also included in Southern tunebooks, appeared later editions or publications: Laban ("My soul, be on thy guard;" 1830), Hebron ("Thus far the Lord hath led me on," 1830), Boylston ("My God, my life, my love," 1832), Shawmut ("Oh that I could repent! 1835") Bethany (" Nearer, My God, to Thee ", as sung in the United States) (1856). In England,

117-416: A number of musical works. Gounod took a very plain melody based on the chant as the subject of his "March to Calvary" in the oratorio " La rédemption " (1882), in which the chorus sings the text at first very slowly and then, after an interval, fortissimo. Franz Liszt wrote a piece for solo piano, Vexilla regis prodeunt , S185, and uses the hymn at the beginning and end of Via crucis (The 14 stations of

156-517: A virgin market in the Methodist and Baptist revival movement . Singing in these camp meetings was chaotic because multiple tunes were sung simultaneously for any given hymn text. Since he lacked musical training , Wyeth employed Elkanah Kelsey Dare to collect tunes and edit them. Wyeth's Repository of Music, Part Second (1813) included 41 folk tunes, the first printed in America. This was also

195-571: Is a hymn placed at the end of a church service to close it. It is used commonly in the Catholic Church ,the Seventh-day Adventist Church , and Anglican Church , an equivalent to the concluding voluntary , which is called a Recessional Voluntary, for example a Wedding Recessional. This Catholic Church –related article is a stub . You can help Misplaced Pages by expanding it . This Anglicanism -related article

234-580: Is a stub . You can help Misplaced Pages by expanding it . Hymnals A hymnal or hymnary is a collection of hymns , usually in the form of a book, called a hymnbook (or hymn book ). They are used in congregational singing . A hymnal may contain only hymn texts (normal for most hymnals for most centuries of Christian history); written melodies are extra, and more recently harmony parts have also been provided. Hymnals are omnipresent in churches but are not often discussed; nevertheless, liturgical scholar Massey H. Shepherd once observed: "In all periods of

273-854: Is a distinct genre from breviary hymns, often containing a refrain . With its longer cathedrals and churches, England was particularly rich in these and several are to be found in the Sarum Processional . In The English Hymnal nos. 613 to 640 are described as "Processional" and nos. 641 to 646 are "Suitable for use in procession". The processional hymns include " Of the Father's Heart Begotten " ( Corde natus ex parentis , by Prudentius ), " Ride On, Ride On in Majesty! "(by H. H. Milman ), "Hail thee, Festival Day!" ( Salve, festa dies , by Venantius Fortunatus ) and "Jerusalem, my happy home" (by F.B.P. c. 1580). A recessional hymn or closing hymn

312-1008: Is commemorated in the Roman Missal on Good Friday , when the Blessed Sacrament is carried in procession from the Repository to the High Altar. Its principal use, however, is in the Divine Office, with the Roman Breviary assigning it to Vespers from the Saturday before Passion Sunday daily to Maundy Thursday , and to Vespers of the Feast of the Exaltation of the Holy Cross (September 14), and in

351-532: Is mentioned in Stephen's discussion of his aesthetic theory in chapter V of A Portrait of the Artist as a Young Man by James Joyce . The poet-artist David Jones entitled a 1947 painting "Vexilla Regis", and mentions the hymn in his long poem The Anathemata : fragments of an attempted writing , and also in his book of essays "Epoch and Artist." In "A Commentary on The Anathemata of David Jones" by Rene Hague ,

390-789: Is still used by the Amish , making it the oldest hymnal in continuous use. The first hymnal of the Lutheran Reformation was Achtliederbuch , followed by the Erfurt Enchiridion . An important hymnal of the 17th century was Praxis pietatis melica . Market forces rather than denominational control have characterized the history of hymnals in the thirteen colonies and the antebellum United States; even today, denominations must yield to popular tastes and include "beloved hymns" such as Amazing Grace and Come Thou Fount of Every Blessing , in their hymnals, regardless of whether

429-676: The Te Deum go back much further. The Reformation in the 16th century, together with the growing popularity of moveable type , quickly made hymnals a standard feature of Christian worship in all major denominations of Western and Central Europe. The first known printed hymnal was issued in 1501 in Prague by Czech Brethren (a small radical religious group of the Bohemian Reformation ) but it contains only texts of sacred songs. The Ausbund , an Anabaptist hymnal published in 1564,

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468-676: The Church of England it was included (as "The Royal Banners Forward Go") in William Henry Monk 's 1861 hymnbook, Hymns Ancient and Modern . In 1906 Percy Dearmer and Ralph Vaughan Williams included it in The English Hymnal , and the hymn was retained in the successor volume, The New English Hymnal (1986). In North America, the hymn is also published in Lutheran Worship . In German-speaking countries,

507-590: The Missouri Harmony (1820) of Allen D. Carden. and the Southern Harmony (1835) of William Walker drew attention to the fact that they contained regional folk songs for singing in two, three, or four parts. A new direction was taken by B. F. White with the publication of the Sacred Harp (1844): whereas others had gone on to produce a series of tunebooks, White stopped at one, then spent

546-539: The Procession , usually at the start of a Christian service, although occasionally during the service itself. The procession usually contains members of the clergy and the choir walking behind the processional cross . Occasionally, a service will also contain a recessional hymn , although in the Protestant tradition this is usually an organ voluntary . The genre first appears in the early Middle Ages, and

585-503: The "Ancient" in the title referring to the appearance of Phos Hilaron , translated from Greek by John Keble , and many hymns translated from Latin. This was a game-changer. The Hymns Ancient and Modern experienced immediate and overwhelming success. Total sales in 150 years were over 170 million copies. As such, it set the standard for many later hymnals on both sides of the Atlantic. English-speaking Lutherans in America began singing

624-466: The Church's history, the theology of the people has been chiefly molded by their hymns." Since the twentieth century, singer-songwriter hymns have become common, but in previous centuries, generally poets wrote the words, and musicians wrote the tunes. The texts are known and indexed by their first lines ("incipits") and the hymn tunes are given names, sometimes geographical (the tune "New Britain" for

663-745: The Cross), S53. Anton Bruckner composed a motet based on strophes 1, 6 and 7 of the text (1892). Gustav Holst used both the words and the plainchant melody of Vexilla regis in The Hymn of Jesus (1917). Dante makes an early literary allusion in Inferno , where Virgil introduces Lucifer with the Latin phrase Vexilla regis prodeunt inferni . Dante's reference is itself later referenced in Walter M. Miller Jr. 's A Canticle for Leibowitz . Vexilla regis

702-514: The Regal Banners fly, Now shines the Cross's mystery; Upon it Life did death endure, And yet by death did life procure. Hail, Cross, of hopes the most sublime! Now in this mournful Passion time, Grant to the just increase of grace, And every sinner's crimes efface. Blest Trinity, salvation's spring, May every soul Thy praises sing; To those Thou grantest conquest By

741-821: The Tree of pain is laid. O Cross! all hail! sole hope, abide With us now in this Passion-tide: New grace in pious hearts implant, And pardon to the guilty grant. Thee, mighty Trinity! One God! Let every living creature laud; Whom by the Cross Thou dost deliver, O guide and govern now and ever! Amen. Revised text (strophes 1, 6 & 7) Vexilla Regis prodeunt: Fulget Crucis mysterium, Qua vita mortem pertulit, Et morte vitam protulit. O Crux ave, spes unica, Hoc Passionis tempore Piis adauge gratiam, Reisque dele crimina. Te, fons salutis Trinitas, Collaudet omnis spiritus: Quibus Crucis victoriam Largiris, adde praemium. Amen. Abroad

780-581: The birth of the "folk hymn": the use of a folk tune, collected and harmonized by a trained musician, printed with a hymn text. "Nettleton," the tune used in North America to sing "Come Thou Fount" (words written in 1758), first appeared here. Southerners identified with folk hymns of Wyeth's 1813 Part Second and collected more: the titles of Kentucky Harmony (1816) of Ananias Davisson , the Tennessee Harmony (1818) of Alexander Johnson,

819-618: The common English translation, originally by John Mason Neale in 1851. Original text (strophes 1, 6 & 7) Vexilla regis prodeunt: Fulget crucis mysterium Quo carne carnis conditor, Suspensus est patibulo. O Crux ave, spes unica, Hoc passionis tempore Auge piis justitiam, Reisque dona veniam. Te, summa Deus Trinitas, Collaudet omnis spiritus: Quos per crucis mysterium Salvas, rege per saecula. Amen. The Royal Banner forward goes, The mystic Cross refulgent glows: Where He, in Flesh, flesh who made, Upon

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858-574: The correctors of the Breviary under Urban VIII revised the whole hymn in the interest of classical prosody. The Commission on Plain Chant under Pius X restored the ancient form of the text. The Graduale Romanum (1908) gives only the ancient form of the hymn, while the Antiphonary (2012) gives only the revised form. The Processionale (1911) gives both forms. There exist multiple variants of

897-528: The first stanza can be appreciated fully only by recalling the occasion when the hymn was first sung — the triumphant procession from the walls of Poitiers to the monastery with bishops and princes in attendance and with all the pomp and pageantry of a great ecclesiastical function. "And still, after thirteen centuries, how great is our emotion as these imperishable accents come to our ears!" (Pimont). There are about forty translations into English verse. Vexilla regis prodeunt appears in several modern hymnals . In

936-490: The growing popularity of hymns inspired the publication of more than 100 hymnals during the period 1810–1850. The sheer number of these collections prevented any one of them from being successful. In 1861, members of the Oxford Movement published Hymns Ancient and Modern under the musical supervision of William Henry Monk , with 273 hymns. For the first time, translations from languages other than Hebrew appeared,

975-519: The holy Cross, rewards apply. Amen. "Vexilla" has been interpreted symbolically to represent baptism , the Eucharist, and the other sacraments. Clichtoveus explains that as vexilla are the military standards of kings and princes, so the vexilla of Christ are the cross, the scourge, the lance, and the other instruments of the Passion "with which He fought against the old enemy and cast forth

1014-586: The hymn can be found in the Catholic hymnal Gotteslob as "Der König siegt, sein Banner glänzt". In addition to the original plainchant, the hymn is often sung to the hymn tune Gonfalon Royal , a melody composed for this hymn by Percy Carter Buck in 1913 to be sung at Harrow School in England, where he was director of music ( Gonfalon is a Norman word for a banner). Both words and tune are quoted in

1053-460: The incipit " Amazing Grace , how sweet the sound"). The hymnal editors curate the texts and the tunes. They may take a well-known tune and associate it with new poetry, or edit the previous text; hymnal committees are typically staffed by both poets and musicians. Some hymnals are produced by church bodies and others by commercial publishers. In large denominations, the hymnal may be part of a coordinated publication project that involves several books:

1092-432: The latter makes several references to the "Vexilla Regis." [REDACTED]  This article incorporates text from a publication now in the public domain :  Herbermann, Charles, ed. (1913). " Vexilla Regis Prodeunt ". Catholic Encyclopedia . New York: Robert Appleton Company. Processional hymn A processional hymn , opening hymn , or gathering hymn is a chant , hymn or other music sung during

1131-647: The pew hymnal proper; an accompaniment version (e.g. using a ring binder so that individual hymns can be removed and sit nicely on a music stand); a leader's guide (e.g. matching hymns to lectionary readings); and a hymnal companion, providing descriptions about the context, origin and character of each hymn, with a focus on their poets and composers. In some hymnals, the front section is occupied by service music, such as doxologies, three-fold and seven-fold amens, or entire orders of worship ( Gradual , Alleluia , etc.). A section of responsorial psalms may also be included. Hymnals usually contain one or more indexes; some of

1170-581: The pre-Vatican II Breviary also for the Feast of the Finding of the True Cross (May 3rd), and of the Triumph of the Holy Cross (July 16th). Originally the hymn comprised eight stanzas. In the tenth century, stanzas 7 and 8 were gradually replaced by new ones ( O crux ave, spes unica , and the doxology, Te summa Deus trinitas ), although they were still retained in some places. In the seventeenth century

1209-709: The present day, and Walker's Christian Harmony , published in 1866, with the first convention organized in 1875 (43 all-day singings in 2010); the Kentucky Harmony was republished in altered form as the Shenandoah Harmony in 2010, reviving the world of predominantly minor key melodies and unusual tonalities of Davisson's work. In the North, the " Better Music Boys ," cultivated musicians such as Lowell Mason and Thomas Hastings who turned to Europe for musical inspiration, introduced musical education into

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1248-492: The prince of this world". Johann Wilhelm Kayser dissents from both, and shows that the vexillum is the cross which (instead of the eagle) surmounted, under Constantine, the old Roman cavalry standard. This standard became in Christian hands a square piece of cloth hanging from a bar placed across a gilt pole, and having embroidered on it Christian symbols instead of the old Roman devices. The splendour and triumph suggested by

1287-525: The psalms" in general, was served by hymnals for West gallery singing imported from England. William Billings of Boston took the first step beyond West Gallery music in publishing The New-England Psalm-Singer (1770), the first book in which tunes were entirely composed by an American. The tune-books of Billings and other Yankee tunesmiths were widely sold by itinerant singing-school teachers. The song texts were predominantly drawn from English metrical psalms , particularly those of Isaac Watts . All of

1326-746: The publications of these tunesmiths (also called "First New England School") were essentially hymnals. In 1801, the tunebook market was greatly expanded by the invention of shape notes , which made it easier to learn how to read music. John Wyeth , a Unitarian printer in Harrisburg, Pennsylvania , who had apprenticed in Boston during the emergence of the First New England School, began to publish tunebooks in 1810 in German and English for various sectarian groups (but not Unitarians). He saw

1365-482: The rest of his life building an organization, modeled on church conventions, to organize singing events, with the result that the Sacred Harp continues as a living tradition to the present. The other tunebooks eventually yielded to denominational hymnals that became pervasive with the development of railroad networks, with the exception of the Southern Harmony, for which there is an annual singing in Benton, Kentucky to

1404-502: The same time, few other books are so well memorized. Singers often have the song number of their favorite hymns memorized, as well as the words of other hymns. In this sense, a hymnal is the intersection of advanced literate culture with the persistent survival or oral traditions into the present day. The earliest hand-written hymnals are from the Middle Ages in the context of European Christianity , although individual hymns such as

1443-559: The school system, and emphasized the use of organs, choirs, and "special music." In the long term this resulted in a decline of congregational singing. On the other hand, they also composed hymns that could be sung by everybody. Mason's The Handel and Haydn Society Collection of Church Music (1822) was published by the Handel and Haydn Society of Boston while Mason was still living in Savannah ; nobody else would publish it. This never became

1482-616: The song texts conform to sectarian teaching. The first hymnal, and also the first book, printed in British North America , is the Bay Psalm Book , printed in 1640 in Cambridge , Massachusetts , a metrical Psalter that attempted to translate the psalms into English so close to the original Hebrew that it was unsingable. The market demand created by this failure, and the dismal nature of Calvinist "lining out

1521-493: The specialized indexes may be printed in the companion volumes rather than the hymnal itself. A first line index is almost universal. There may also be indexes for the first line of every stanza, the first lines of choruses, tune names, and a metrical index (tunes by common meter, short meter, etc.). Indexes for composers, poets, arrangers, translators, and song sources may be separate or combined. Lists of copyright acknowledgements are essential. Few other books are so well indexed; at

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