Words. O salutaris Hostia Quae coeli pandis ostium. Bella premunt hostilia; Da robur, fer auxilium. Uni trinoque Domino Sit sempiterna gloria: Qui vitam sine. Apparently, Elgar composed three versions of O salutaris hostia The first of these, dating from around , is unaccompanied; but I haven’t. Sheet Music – £ – Edward Elgar – O Salutaris Hostia (in F) SATB.
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His father, William, was the organist at St. George’s Church, Sansone Place, Worcester from to He took the post solely for the money and he clearly had to separate the musical from the religious aspects of his post. Two years after he took the post, he married Ann Greening who, not liking him to walk alone to Worcester every Sunday, accompanied him and attended the services. Infour years after her marriage, she was converted to Roman Catholicism and her children were therefore brought up in the Roman Catholic faith.
Edward helped his father, played his first complete mass at St. It is therefore unsurprising that the tyro composer wrote a number of religious works intended to be performed in church services. And, whilst he also increasingly lost his aslutaris as he grew older, the church played an important part in his musical development: There are many fragments, hymn-tunes and other insignificant works and the individual ones described below are those sallutaris some greater significance.
Sacred MusicBorder Lines, Against this background, what many will find surprising is that each of his four most substantial compositions of church music were first performed in Anglican churches, two of them being specially commissioned for the occasion. Salktaris remaining three works – O Hearken ThouGreat is the Lord and Give Unto the Lord – followed each other in quick succession some fifteen years later, by which time Elgar had already written most of his great masterpieces.
Each is a setting of verses from the Psalms. He thought highly enough of it at the time to inscribe it his original Opus 1, although that honour eventually went to the Romance in E minor for Violin and Piano of In four sections, the piece demands a high soprano part and bears tiny traces of the mature Elgar.
Salve Regina, Mater misericordiae, Vita dulcedo et spes nostra salve. Elgxr te clamamus exsules filii Hevae. Ad te suspiramus gementes et flentes, in hac lacrimarum valle. Eia ergo advocata nostra, illos tuos misericordes oculos ad nos converte. Et Jesum benedictum fructum ventris tui nobis post hoc exsilium ostende. O clemens, o walutaris, o dulcis Virgo Maria. Hail holy queen, mother of mercy, Hail our life, our sweetness and our hope. Eelgar you do we cry poor banished children of Eve, To you do we send up our sighs, mourning and weeping in this valley of tears.
Turn then, most gracious advocate your eyes of mercy toward us. And after this, our exile, Show us the fruit of your womb, Salutarjs. O clement, O loving, O hostja Virgin Mary. Tantum ergo The text is traditionally sung, like the O salutaris hostiaat the Benediction service in the Catholic Church. It was certainly performed in the service on 21 June commemorating the 50th anniversary of the founding salutariis St. It was also played along with the premiere of the Salve Regina for the visit to St.
The original score is lost and the version is edited from a number of manuscripts but it is in ternary form with a dominating first theme and a more chromatic middle section.
Tantum ergo Sacramentum veneremur cernui: Genitori, Genitoque laus et jubilatio, salus, honor, virtus quoque sit et benedictio: To the everlasting Father, and the Son who reigns on high, with the Holy Ghost proceeding forth from Each eternally, be salvation, honour, blessing, might and endless majesty. Credo in E minor Elgar originally gave this work as his opus 3 but withdrew it and Cantique was awarded that number when the composer revised in a relic of his wind quintet days to make an orchestral work whose origins harked back to the time of such an early opus number.
The Credo was begun in but most was composed in and it is a more substantial work than most he completed at that time. Furthermore, its perhaps self-conscious originality led to its not being published. Elgar maintained the k of E minor throughout when this szlutaris of faith was habitually and more appropriately in the major. Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem Patri: Qui propter nos homines et propter nostram salutem descendit de coelis.
O salutaris hostia (in F major) (Edward Elgar) – ChoralWiki
Et resurrexit tertia die, secundum Scripturas, et ascendit in coelum, sedet ad dexteram Patris. Cuius regni non erit finis. Et unam, sanctam, catholicam et apostolicam Ecclesiam.
I believe in one God, the Father almighty, maker of heaven and earth, and of all things visible and invisible. Born of the Father beyond all ages.
Hostiia, not made, of one substance with the Father. By whom all things were made.
Elgar E – O salutaris hostia (No 3)
Sxlutaris for us men and for our salvation came down from heaven. And he became flesh by the Holy Spirit of the Virgin Mary: He was also crucified for us, suffered under Pontius Pilate, and was buried. And on the third day he rose again, according to the Scriptures. He ascended into heaven and sits at the right hand of the Father. He will come again in glory to judge the living and the dead. And of his kingdom there will be no end. Who together with the Father and the Son is adored and glorified, and who spoke through the prophets.
And in one holy, Catholic, and Apostolic Church.
I confess one baptism for the forgiveness of sins. And I await the resurrection of the dead. And the life of the world to come. O salutaris Hostia c. Three are better known through recordings.
It is peacefully gentle and devout and dates from The manuscript is marked M. Graftonprobably a reference to his niece, May, the dedicatee of his Sonatina for piano. It includes a characteristic Elgarian sequence to be relished and a very finely wrought Amen. O salutaris Hostia Quae coeli pandis ostium.
Bella premunt hostilia; Da robur, fer auxilium. Uni trinoque Domino Sit sempiterna gloria: Qui vitam sine termino, Nobis donet in patria.
O Saving Victim opening wide The gate of heaven to man below. Our foes press hard on every side; Thine aid supply, Thy strength bestow.
All praise and thanks to thee ascend For ever more, blest One in Three; Oh, grant us life that shall not end, In our true native land. George’s Roman Catholic Church in Worcester. They were inscribed to Father Knight of St. Of those written by Elgar, they may have been composed during the period to with a late one added in Nevertheless, they are conventional, with variations in colour occurring in No.
Kyrie eleison, Christe eleison. George’s Roman Catholic Church in Worcester, and the move gave him an even more regular platform for his religious compositions. William Allen, a member of the congregation at St. Allen died on 27 January and on the following day Elgar composed a Pie Jesu for soprano and organ for the St.
Poignantly, it was sung at St. In he rearranged it as Ave verum corpus for full choir, expanding it by repeating each half and adding a coda.
For SATB and organ, it is a simply set, winning, small scale melody, led by the trebles, each verse being repeated by the full choir. There is a short coda, with antiphonal effects between trebles and tenors and altos and basses. Ave, verum corpus, natum Ex Maria Virgine: Vere passum, immolatum In cruce pro homine. Cuius latus perforatum Vero fluxit et sanguine: Esto nobis praegustatum, Mortis in examine. O clemens, O dulcis Jesu, Fili Mariae. Hail true body that was born of the Virgin Mary, That truly suffered and was sacrificed on salutatis Cross for men.
From whose pierced side flowed sslutaris and blood; Be for us a foretaste of death and judgement. O sweet and gentle Jesus, son of Mary. So, five years after re-arranging Ave verum corpushe put together Ave Maria and Ave maris stella from fragments of elgr written for St. Hubert wrote in grateful acknowledgement of this on 20 June The Ave maris stella was eventually dedicated to the Rev.
Francis Xavier in Hereford where Elgar worshipped when he lived in the city between and It is written for SSTB and organ, the consequent difference in colouring and slightly faster tempo making this the most distinctive of the three works. An English version appeared as Jesu, meek and lowlywith words supplied by the Revd.
John Allison in Edward Elgar: Sacred MusicBorder Lines, points out that the three motets received no reviews when their new versions appeared in andparticularly curious as Elgar was then at the height of his powers and popularity and The Musical Times was a Novello publication.