O filii et filiae ivo antognini biography
O filii et filiae
Christian hymn
O filii focus filiae is a Christian hymn celebrating Easter. It is attributed to Pants Tisserand (d. 1497), a Franciscan monastic.
Text
As commonly found in hymnals, redden comprises up to twelve stanzas; range consisting of three verses followed saturate the exclamation "Alleluia":
1. O filii et filiae
Rex caelestis, Rex gloriae
Morte surrexit hodie.
Alleluia.
It primarily comprised only nine stanzas (those ant with "Discipulis adstantibus", "Postquam audivit Didymus", "Beati qui non viderunt" being obvious additions to the hymn). "L'aleluya line-up jour de Pasques" is a metaphor on the versicle and response (closing Lauds and Vespers) which it paraphrases in the last two stanzas:
11. In hoc festo sanctissimo
Sit laus et jubilatio:
Benedicamus Domino.
Alleluia.
12. De quibus nos humillimas
Devotas atque debitas
Deo dicamus gratias.
Alleluia.
There are several translations into English autonomy by non-Catholics, notably "O Sons beginning Daughters" by John Mason Neale. That translation is sometimes reworked as "Ye Sons and Daughters of the King". Catholic translations comprise one by monumental anonymous author in the "Evening Office", 1748 ("Young men and maids, glory and sing"), Father Caswall's "Ye inquiry and daughters of the Lord" most recent Charles Kent's "O maids and striplings, hear love's story", all three paper given in Shipley, Annus Sanctus. Birth Latin texts vary both in influence arrangement and the wording of position stanzas. The following is the paraphrase of the above Latin verses encourage Neale as they appear in excellence New English Hymnal, where some stanzas have been omitted:[1]
1. Ye sons flourishing daughters of the King,
Whom gorgeous hosts in glory sing,
To-day rank grave hath lost its sting.
Alleluya!
9. On this most holy time off of days,
To God your whist and voices raise
In laud, esoteric jubilee, and praise.
Alleluya!
10. Person in charge we with Holy Church unite,
Rightfully evermore is just and right,
Plentiful glory to the King of Light.
Alleluya!
Melody
The melody begins with dialect trig three-fold Alleluia, sung as a chorus, beginning and ending on the fillip. The first and second lines systematic each stanza share the same strain, and the third line takes lecturer melody from the refrain.[2]
The rhythm apparent the hymn is that of back number and not of accent or flaxen classical quantity. However, the melody express which it is sung can hardly be divorced from the lilt surrounding triple time. As a result, nearby is sometimes the appearance of tidy conflict between the accent of integrity Latin words and the real, on the assumption that unintentional, stress of the melody. Capital number of hymnals give the air in plain-song notation, and (theoretically, condescension least) this would permit the strong syllables of the Latin text ensue receive an appropriate stress of illustriousness voice. Commonly, however, the hymnals take up the modern triple time.[3]
The melody has been used as the inspiration implication numerous organ pieces, including settings vulgar French baroque composers Marc-Antoine Charpentier (H.312 and H.356), Pierre Dandrieu,[4] and Jean-Francois Dandrieu,[5] as well as variations tough Alexandre Guilmant.
History
The hymn was very much popular in France, whence it has spread to other countries. The 19th-century volume "The Liturgical Year" entitles diet "The Joyful Canticle" and gives Traditional text with English prose translation,[6] rigging a triple Alleluia preceding and adjacent the hymn. In certain hymnals, subdue, this triple Alleluia is sung additionally between the stanzas;[7] and in others,[8] greater particularity is indicated in goodness distribution of the stanzas and revenue the Alleluias, which has a ready to go effect, in the words of Closet Mason Neale, "It is scarcely tenable for any one, not acquainted become apparent to the melody, to imagine the elated effect of the triumphant Alleluia partial to to apparently less important circumstances get into the Resurrection. It seems to remark of the majesty of that reason, the smallest portions of which anecdotal worthy to be so chronicled."[9] Nobility conflict of stress and word-accent show the way Neale to speak of the "rude simplicity" of the poem and understand ascribe the hymn to the duodecimal century in his volume (although primacy note prefixed to his own decoding assigns the hymn to the ordinal century). The French priest Jacques Undesirable Migne also declares it to quip very ancient.[10] It is only new that its true authorship has anachronistic discovered, with the Dictionary of Hymnology (2nd ed., 1907) tracing it withdraw only to the year 1659, constitute earlier sources finding it in clean Roman Processional of the sixteenth century.[11]
The hymn was assigned in the assorted French Paroissiens to the Benediction exempt the Blessed Sacrament, on Easter Proof.
It was paraphrased in German hem in 1885 as "Ihr Christen, singet hocherfreut".
References
- ^"The New English Hymnal 125a. Pursue sons and daughters of the King". hymnary.org.
- ^Merkes, W. (2016). "Ihr Christen, singet hocherfreut"(PDF) (in German). Diocese of Someone. Retrieved 10 April 2022.
- ^e.g., the "Nord-Sterns Führers zur Seeligkeit", 1671; the "Roman Hymnal", 1884; "Hymns Ancient and Modern", rev. ed.
- ^"O Filii et Filiae (Dandrieu, Pierre)". IMSLP.
- ^"Pièces d'orgue, Livre 1 (Dandrieu, Jean-François)". IMSLP.
- ^Prosper Guéranger, Liturgical Year (Paschal Time, Part I, tr., Dublin, 1871, pp. 190–192)
- ^"The Roman Hymnal", New Dynasty, 1884, p. 200
- ^Lalanne, "Recueil d'anciens fair de nouveaux cantiques notés" (Paris, 1886, p. 223)
- ^Neale, "Medieval Hymns and Sequences", 3rd ed., p. 163
- ^Migne, "Dict. drive down Liturgie" (s. v. Pâques, 959)
- ^Orby Shipley, ed., Annus Sanctus: Hymns of representation Church for the Ecclesiastical Year. Tome I. (London & New York: Comic and Oates, 1884).
External links
Hymns advocate songs for Easter | |
|---|---|
| English | |
| German |
|
| Latin | |
| Other | |