O Sacred Heart! O Love Divine!

The author and composer of this hymn is Father Theodore A. Metcalf and for a long time, little was known or written about Father Metcalf and his contributions to Catholic Music for most of the 20th Century. In February 2020, while I was researching this beautiful hymn, I came across an old Catholic periodical from 1888 known by its subscribers as the Little Messenger of the Sacred Heart or The Pilgrim of Our Lady of Martyrs.

The Messenger of the Sacred Heart periodical was first published in France by Jesuits of the Apostleship of Prayer (Society of Jesus) around 1861; and it spread to other countries including United States, Australia, Canada, England, and Ireland. It was one of the most widely read Catholic periodicals, and by the mid-twentieth century there were over seventy Messengers published in more than forty languages. It is still published today as The Sacred Heart Messenger.

Theodore A. Metcalf was the grandson of Theron Metcalf, a member of the Massachusetts Judicial Court. Theron Metcalf was a high Anglican and encouraged family members to become Catholic, even though he did not convert himself. Two of his grandsons did become Catholic, including Father Metcalf.

Father Metcalf was baptized in the chapel of Holy Cross College, Worcester, Mass., when he was a boy by Bishop Fitzpatrick on Oct. 2, 1851. Father Metcalf was ordained in May 1869 in the new Cathedral Chapel of the Holy Cross, Boston. He studied at the American College in Rome and later served as the college’s vice president, and he had the honor of attending the first Vatican Council acting in the role as a transcriber.

Sacred Heart Review - 1918

He returned to the Boston Archdiocese and was appointed pastor of St. Mary’s Church, Charlestown in 1874, succeeding Father William Byrne. He was Chancellor of the Archdiocese of Boston, 1874-1879, under Archbishop John J. Williams, and lived at the Cathedral parish during this time. He conducted some of the most important ceremonies the church had witnessed such as the dedication, the conferring of the pallium on the Right Rev. John J. Williams, and the solemn requiem for Pope Pius IX.

Father Metcalf was the master of ceremonies at the dedication of St. Mary’s Church, Dedham, Massachusetts, October 1880.

Dedication of St. Marys Church in Dedham - Boston Post Oct 19,1880

In 1881, Father Metcalf was appointed as the third pastor to Our Lady Star of the Sea in Marblehead, Mass., from 1882 to 1886. While he was there the Young Men’s Catholic Temperance Society was formed. In 1886 he was appointed pastor to the Gate of Heaven Church in South Boston where he served for four years. During his pastorate at Gate of Heaven Church, he defended the church publicly regarding its teachings on indulgences during an incident involving a faculty member at English High School who was critical of church teachings.

During his years at Gate of Heaven parish, he established and encouraged Sacred Heart devotions and was affiliated with the League of the Sacred Heart of the Apostleship of Prayer. At this time, he composed several hymns to the Sacred Heart, among others.

  • Hymn for the League of the Sacred Heart (Form your ranks, oh! all ye Leaguers of the Heart Divine)
  • May Hymn (Welcome dearest, Mother, this beautiful Mayday)
  • Hymn to the Sacred Heart (O Sacred Heart! O Love Divine!)
  • Ave Maris Stella (Hail, thou star of ocean! Portal of the sky!)
  • Hymn of Thanksgiving to the Sacred Heart (Heart of Jesus, We Are Grateful)
  • O Cor Jesu (Cordis Jesu dulcis, Amor sacratissime!)

All the hymns listed above can be found in the monthly editions of the Little Messenger of the Sacred Heart, periodicals (publ. 1888-1894).  Father Metcalf’s Hymn to the Sacred Heart, more commonly known through its opening lines, O Sacred Heart! O Love Divine! became traditional among American Catholics. It appeared in the ST. BASIL’S HYMNAL, 1888, published by the Basilian Fathers of St. Michael’s College in Toronto, Canada. Successive editions of this hymnal, which was to become the most popular of all American Catholic hymnals for most of the 20th Century, included this hymn.  In 1890, Father Metcalf retired from the Gate of Heaven Church because of poor health. During his lifetime Father Metcalf gained a reputation as an effective preacher drawing many from all parts of the city to listen to his sermons. Father Metcalf died July 29, 1920.

Little Messenger of the Sacred Heart - 1888

The hymn, O Sacred Heart, O Love Divine, was the most popular of all hymns to the Sacred Heart in pre-Vatican II days. It is contained on a DOT record 33 LP Album, circa 1961, Best-Loved Catholic Hymns. The hymns are sung by the Lennon Sisters and directed by Lawrence Welk. Some may recall, too, that it was used as an introduction to the Sacred Heart Hour, a radio program in the 1940s that converted to a TV program in the 1950s and even into the early 1960s.

Best-Loved Catholic Hymns
Best-Loved Catholic Hymns

O Sacred Heart! O Love Divine! and Heart of Jesus, We Are Grateful appeared in the 1944, 1954, 1958, and 1968 editions of The Catholic Chapel Hymnal, a publication of McLaughlin & Reilly Co. There are no new hymns (previously unpublished) contained in this volume; the hymns included are the result of an extensive survey compiled by McLaughlin & Reilly of military chaplains in World War II. The 118 Catholic chaplains were asked which hymns elicit spontaneous singing by the servicemembers participating in chapel services. The Catholic Chapel Hymnal is the outcome of that survey.

Unfortunately, no attribution is given to Father Metcalf in any of the major hymnals in which his works appear. These hymnals include the ST. BASIL’S HYMNAL (1888 thru 1925); THE IMMACULATE HEART OF MARY HYMNAL, 1898; the AVE MARIA HYMNAL, 1936; HYMNS USED BY THE PUPILS OF THE SISTERS OF NOTRE DAME, (1920 and 1948), and ST. JOSEPH’S HYMNAL, 1930. This may have been the way Father Metcalf intended it to be. Yet, on the other hand, his O Sacred Heart, O Love Divine was the most popular and widely used of all hymns to the Sacred Heart in American Catholic life through the entire 20th century. It was used at Sacred Heart novenas, devotions, First Friday Masses, and by Catholic school children at various exercises honoring the Heart of Jesus.

After Pope Leo XIII consecrated the world to the Sacred Heart in 1898, there was a great demand for Sacred Heart hymns as this devotion was flourishing. Thus, the hymns mentioned, and many other others, became an important part of Catholic devotional life.

Reflection

The hymn is a collection of invocations to the Sacred Heart to hear our prayers and will for some of you be very new as you are not accustomed to singing to the Sacred Heart in this way. In the first verse we ask the Sacred Heart to keep us near and to make our love like His.

O Sacred Heart! O Love Divine! Do keep us near to Thee.
And make our love so like to Thine, that we may holy be.

In the second verse you might ask what is the Temple pure or House of Gold? What can be our heaven here below? When you are in church what do you see that resembles a temple or a house of gold? From which our delights and wealth ever flow, can you see it?

I have a particular fondness for the last verse because all of us have at one time or another been ungrateful or forgetful of the Sacred Heart.

Ungrateful hearts, forgetful hearts, the hearts of men have been.
To wound Thy side with cruel darts, Which they have made by sin.

In the gospel we read that a soldier pierced the side of Jesus with a lance (John 19:34). Father Metcalf uses this imagery but switches the lance to darts made from sin. How often have you wounded His Sacred Heart with the cruel darts you have made from your sins?

This was an extremely popular hymn to sing when I was in the choir at St. Mary’s, especially during the month of June which the Catholic Church dedicates to the Sacred Heart. We would sing this hymn sometimes before Mass, at Offertory, during Communion and for Benediction services. We used the arrangement found in the ST. BASIL’S HYMNAL, 1918. May the hearts of many known only to God be drawn to the Sacred Heart of Jesus and may this hymn become the favorite in the repertoire of Catholic choirs again.

St. Basil's Hymnal - 1918

Below is a recording from a cassette tape of St. Mary’s Sacred Heart Concert that was held in June 1982 featuring O Sacred Heart! O Love Divine! and Heart of Jesus, We Are Grateful. It’s so good to hear my friends in the choir again.

A special thank you to Peter Meggison producer of the Devotional Hymns Project for allowing me to link to the Hymn Fest for the Sacred Heart which was performed by the choirs of St. Adelaide Church, Peabody, MA, on June 28, 2019. 

Also, a special thank you to Noel Jones, AAGO in granting permission to link to A Catholic Book of Hymns with nearly 300 time-honored traditional Catholic hymns, including O Sacred Heart! O Love Divine! and Heart of Jesus, We Are Grateful.

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Mother All Beautiful

Mother All Beautiful

This hymn was written by M.S. Pine, a pseudonym for Sister Mary Paulina Finn, VHM (1842-1935), from the Georgetown Visitation Convent in Washington, D.C. Sister Paulina was born from a prominent Catholic family who lived in Boston. Soon after the Civil War, in 1868,  she entered the Visitation Convent. She is credited with having assisted Agnes Repplier embark on her literary career. Agnes was illiterate until the age of ten when she received mentoring from Sister Paulina. Agnes would later go on to become one of America’s leading discursive essayists.

Sister Paulina was head of the English Department at the Convent for over half a century and had a great influence in the education of her pupils. Among her students who would become well-known influential literary figures after their years at Visitation were Eleanor Mercein Kelly and Harriet Monroe. Eleanor published several novels and numerous short stories, some of which appeared in films and on Broadway. Harriet became the founder of Poetry: A Magazine of Verse, which remains in publication today as Poetry.

Sister Paulina was also the Aunt to Father William J. Finn, C.S.P., who was the director of the Paulist Choristers, a famous Catholic group of singers who performed weekly on national radio. Catholic radio programs were extremely popular before the age of television and included an audience of tens of millions of Americans every week.

Sister Paulina was a distinguished writer and under her pseudonym M.S. Pine published various writings including Sacred Poems; Alma Mater and Other Dramas; the Venerable John Bosco, Apostle of Youth; A Glory of Maryland, John Banister Tabb – The Priest Poet, and others. From the Georgetown Visitation Monastery Archives in Washington, D.C., I was provided with copies from the first bound copy of her Sacred Poems, published in 1924, with an inscription from the printer Mr. Thomsen of the Thomsen-Ellis Company. (Click on any image to enlarge)

Sacred Poems by permission of Georgetown Visitation Monastery Archives, Washington, D.C.
Sacred Poems by permission of Georgetown Visitation Monastery Archives, Washington, D.C.
Sacred Poems by permission of Georgetown Visitation Monastery Archives, Washington, D.C.

Sister Paulina is known to have written the lyrics to at least ten different hymns most of which appear in the AMERICAN CATHOLIC HYMNAL compiled by The Marist Brothers and published by P. J. Kenedy & Sons, in 1913 and 1921. Her hymns include:

  • #26 Soul of Jesus, Guest For Me
  • #107 Only Thee, My Jesus
  • #141 Mother All Beautiful (Communion Hymn)
  • #177 O Jesus, Mary, Joseph! (The Holy Family)
  • #208 O Jesus, Jesus Throned On High (Our Lord in the Blessed Sacrament)
  • #262 My Soul, What Can I Render The Lord?
  • #269 God of Peace and Love
  • #280 Hail, Ever-Blessed Day! (Consecration to the Blessed Virgin)
  • #295 We Leave Thy Shrine, O Mother Cherished
  • #297 With Jesus, Mary’s Name (‘Tis holy Joseph’s name)
The American Catholic Hymnal, 1913
The American Catholic Hymnal, 1913
The American Catholic Hymnal, 1913

In addition, the hymn Mother All Beautiful also appeared in the following Catholic hymnals: The DIOCESAN HYMNAL Part Two compiled by Cleveland, Ohio Bishop Joseph Schrembs, D.D.; the 1918 ST. BASIL’S HYMNAL REVISED EDITION,  and the 1935 edition of THE ORDINARY OF THE MASS AND A COMPLETE MANUAL OF HYMNS FOR PAROCHIAL SCHOOLS.

The DIOCESAN HYMNAL Part Two was published by J. Fisher & Bro., of New York in 1928. Bishop Schrembs compiled three hymnals including, The Diocesan Hymnal Part 1 which was published in 1926 consisting of Communion and Confirmation Hymns. Part 2 consisting of Devotional Hymns, and a third, The Eucharistic Hymnal published in 1935, embodied hymns taken from Part 1 & Part 2.

He was elevated to the office of Archbishop in 1935 and was the Promoter of the Seventh National Eucharistic Congress and Protector of the Priests’ Eucharistic League in the United States. He was himself a musician and composed several hymns and was instrumental in producing manuals of Gregorian Chant and Catholic editions of music text books for elementary schools. He is also considered one of the pioneers of Catholic radio. He spoke frequently on local radio stations giving sermons and catechetical instructions often followed by the singing of hymns for which he composed the tunes. He was instrumental in persuading the National Council of Catholic Men (NCCM) to sponsor the Catholic Hour that began broadcasting in 1930. This weekly radio program reached a large national audience.

The music for the hymn was composed by Bishop Schrembs and harmonized by Alfred Kalnins.

Diocesan Hymnal, 1928
Diocesan Hymnal, 1928
Diocesan Hymnal, 1928

The ST. BASIL’S HYMNAL was the most widely used Catholic hymnal during the first half of the 20th century period. The first edition was published in 1888 and contained Daily Prayers, Prayers at Mass, Litanies, Vespers for All the Sundays and Festivals of the Year, a Selection of over Two Hundred Hymns, Office and Rules for Sodalities of the Blessed Virgin Mary, Preparation for and Prayers after Confession and Holy Communion.

The hymnal was compiled and edited by Father Lawrence Brennan, C.S.B., (1847-1904). Father Brennan was appointed as the first full-time pastor of St. Basil’s Church of Toronto. The St. Basil’s hymnbook spread quickly across Canada and the United States and became a standard hymnal in many parishes. In 1904, all the plates, manuscripts, and partially finished editions were destroyed in a disastrous fire, and shortly after this fire, the pastor of St. Basil’s Church of Toronto,  Father Lawrence Brennan died.

A cursory look at the history of St. Basil’s hymnal and it’s various editions would suggest that there were 41 different printings. However, this is not the case, the Fifth edition printed in 1896 was the last edition before the great fire and we don’t see another edition until the Tenth which was printed in 1906. The next major revision of the St. Basil’s Hymnal occurred in 1918. This revised edition is highly sought after by collectors and hymn researchers. It is also the only edition where we find the hymn Mother All Beautiful, which was reprinted by permission from The American Catholic Hymnal.

St. Basil's Hymnal, 1918
St. Basil's Hymnal, 1918
St. Basil's Hymnal, 1918

THE ORDINARY OF THE MASS AND A COMPLETE MANUAL OF HYMNS FOR PAROCHIAL SCHOOLS, was published by The Public Press of Philadelphia in 1935. My copy is a word-only collection measuring about 4 inches wide and approximately 6 inches tall and contains 527 pages with Approbation approval by the Censor Librorum and Archbishop of Philadelphia, Pa. (Click on any image to enlarge)

The Ordinary of the Mass, 1935
The Ordinary of the Mass, 1935
The Ordinary of the Mass, 1935

Sister Paulina died at the Georgetown Visitation Convent toward the end of February in 1935 at the venerable age of ninety-two. She had given nearly sixty-eight years of her life to the convent. Her nephew, Father William Finn conducted the funeral rites in the Convent Chapel.

Sister Mary Paulina Finn with her students, 1906
by permission of Georgetown Visitation Monastery Archives, Washington, D.C.

My research found a few articles with obituaries about Sister Paulina. One source is The Catholic Educational Review, an American Journal of Catholic Education published by the Catholic University of America from 1911 to 1969. The second is an article from The Catholic World, a general literature and science magazine published monthly by the Paulist Fathers. It ran from 1870 to 1996.

Also, an obituary article from The Washington Post dated March 2, 1935.  And lastly, an obituary from the Alumni Publication in 1935 with a special anecdote from one of her many students. (Click on any image to enlarge)

The Catholic Educational Review -1935
The Catholic World - April 1953
The Washington Post – March 2, 1935
With permission from the School Archives this
obituary from the Alumni Publication, 1935

Reflection

It is evident from these sources that Sister Paulina’s life and contributions were deeply valued by her community, leaving a lasting impact that continued to be recognized posthumously. Her devotion to faith and education is reflected in the hymns she composed, which continue to inspire and comfort believers. The hymn I selected, penned by Sister Paulina and musically composed by Father William J. Finn, O.S.P., encapsulates this enduring legacy. I am particularly drawn to the third verse which reminds me that she, Mary, is His mother, but also our mother. Thou art His Mother, He gave us to thee, a reference to the gospel of John 19:26-27.

Today, some musicians use missalette guides for hymn choices, while others aim to revive Gregorian chant, both neglecting the educational value of traditional Catholic hymns. There was a time when Communion hymns of this quality were consistently part of the choir and parish repertoire.

This hymn contains verses that are both beautiful and prayerful, which remain relevant even today, and can resonate with individuals of all ages. Please take a moment to reflect on the verses. Do you see any that reach out to you? Do you see any that teach you or remind you of your Catechism or the teachings of the Catholic Church? If you do, I think you will agree that Sister Paulina is still teaching us today, just as she did those many years ago.

A special thank you to Peter Meggison, producer of The Devotional Hymns Project, for granting permission to use a recording of Mother All Beautiful performed by the Cor et Vox Singers of St. John Cantius Church, Chicago. Also, I have included a computer-generated sound file of the melody composed by Bishop Schrembs.

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Good Night, Sweet Jesus

This hymn was written and composed by Right Reverend Monsignor James B. Curry during his chaplain days at The Tombs, a colloquial name given to New York’s famous city jail in Lower Manhattan. James Curry was born in St. Stephen’s Parish of New York City on December 29, 1856. He received his early education at Public School No. 14 (Stapelton, Staten Island), and at the age of fourteen, he entered St. Francis Xavier’s College located on West Sixteenth Street and studied there from 1871 to 1878.

After graduation, he sailed to Rome, where he studied for the priesthood at the American College, and for six years Father Curry studied dogma under the late Cardinal Satolli (1839-1910), who later became the first Apostolic Delegate to the United States. Father Curry was ordained on May 19, 1883 at St. John Lateran’s, Rome. Father Curry returned to New York and served five years as an assistant under Monsignor Kean and in 1888, he was transferred to Rosebank, a neighborhood in northeastern Staten Island where he served for two and a half years. He was later transferred to St. Paul’s Church located on East 117th street.

His first appointment as pastor came a day after Christmas in 1892, for St. Joseph’s Church in Rhinecliff, and two years later was transferred and appointed pastor to the Church of St. Thomas of Canterbury. In 1900, he returned to New York, and he was appointed pastor of St. James Church in a section of the city known as Cherry Hill. During his pastorate at St. James’, Father Curry became a staunch defender against the proselyting efforts of certain sects and social reform agencies in the neighborhood. He carried out what some called a militant warfare against the efforts of missionaries like Fritzi Rice to entice the Italian children of St. James’ parish into his services of thievery. Father Curry was also a pioneer in the fight against the sale of cocaine. (Click on the image to enlarge)

Richmond Times-Dispatch, 1915

For his efforts to protect the youth of the nation and particularly those of Cherry Hill, he was presented with a document of the state law signed by then Governor Sulzer, and then by President William Taft who signed into federal law, prohibitions against the sale of cocaine, also known as the Harrison Act.

In 1919, Father Curry was transferred to Holy Name Church located at Amsterdam Ave and Ninety-sixth street where served until his death. In 1924, Archbishop Hayes was elevated to Cardinal and presented several Papal honors for members of the New York clergy and laity, and among them was one for Father Curry who was made a Domestic Prelate, with the title of Right Reverend Monsignor. During his time as pastor of Holy Name Church, Monsignor Curry continued his fight against the criminal efforts to enlist young boys into a life of crime by establishing a Young Men’s Club, the West Side Catholic Club for older men, and other societies for the young men and women of the parish. He also founded the Holy Name Day Nursery in Manhattan. The Holy Name Day Nursery opened in 1922 to care for pre-school children whose mothers were working outside of the home.

In addition to his fight against crime, poverty, and drugs in his parishes, Monsignor Curry was a musician and poet. He worked tirelessly to teach his school children the truths of the Holy Catholic Church through his poetry and his music. He published a hymnal of all original compositions in 1913 called THE CATHOLIC’S CHORAL and it was referred to by many as Father Curry’s Hymn Book. It was later published by the McLaughlin & Reilly Co., of Boston, Mass., in 1927. This collection of 101 original devotional hymns is somewhat rare and hard to find. (Click on the image to enlarge)

Father Curry’s Hymn Book, 1927
Father Curry’s Hymn Book, 1927
Father Curry’s Hymn Book, 1927

Monsignor Curry is best known for his hymn Good Night, Sweet Jesus. The hymn was sung by the school children of his parish for some time, and as word spread, adjoining parishes began requesting copies of the hymn. Sheet music was available through McLaughlin and Reilly, Co., in 1917. Very soon the hymn was being sung in Philadelphia and Boston. From there it spread throughout the country with thousands of copies being distributed.

Sheet Music - Good Night, Sweet Jesus, 1934
Sheet Music - Good Night, Sweet Jesus, 1934
Sheet Music - Good Night, Sweet Jesus, 1934
Sheet Music - Good Night, Sweet Jesus, 1934

His Eminence Cardinal Hayes (1867-1938) and Bishop Dunn (1870-1933) of New York and many other church dignitaries paid special tribute to the hymn hailing it as the most effective closing hymn for evening services ever written. Radio programs of the 1930s and 1940s including Father Coughlin’s Hour, Father Finn’s Catholic Truth Period, Edward MacHugh’s Gospel Hour concluded their radio programs by singing this hymn. For Catholic’s living before the age of television, tuning into these radio programs was extremely popular and included an audience of tens of millions of Americans every week. (Click on any image to enlarge)

The Caecilia Magazine, Vol. 60, May 1934, No.5
Treasury of Gospel Hymns and Poems by Edward MacHugh, 1938

As indicated above, the hymn was often used at the end of Benediction services, and as a closing hymn for Novena prayer groups. An example of a novena prayer book is the Novena in Honor of Our Sorrowful Mother. The small prayer book measures about 4 inches wide and 6 inches tall and has 48 pages. It outlines the origins of the novena, a number of prayers to the Sorrowful Mother, the Station of the Cross, and a collection of twenty Marian hymns, hymns used for Benediction of the Blessed Sacrament including O Salutaris Hostia, Tantum Ergo, The Memorare, Good Night, Sweet Jesus, and Holy God We Praise Thy Name.

Novena Prayer Book In Honor of Our Sorrowful Mother, 1958
Novena Prayer Book In Honor of Our Sorrowful Mother, 1958
Novena Prayer Book In Honor of Our Sorrowful Mother, 1958

Several different arrangements of the hymn were composed including SATB, TTBB, and an arrangement for four equal voices by James A. Reilly, of McLaughlin & Reilly Co., Boston.

Good Night, Sweet Jesus – SATB Arrangement
Good Night, Sweet Jesus – For Mens' Voices
Good Night, Sweet Jesus – Arranged for 4 Equal Voice

The hymn was also featured in the December 1930 edition of the well-known Catholic magazine, The Caecilia Magazine. However, in the following decade, the same hymn would be condemned.

The Caecilia Magazine, Vol. 57, December 1930, No.12
The Caecilia Magazine, Vol. 57, December 1930, No.12

The hymn appeared in THE CATHOLIC CHAPEL HYMNAL from 1944 thru 1968. The contents of the CATHOLIC CHAPEL HYMNAL were suggested and approved by 118 Catholic Chaplains in the Armed Forces during World War II. A survey was conducted by McLaughlin & Reilly Co., of Boston, and the chaplains furnished the title of hymns best known to servicemen and women as indicated by spontaneous congregational participation during chapel services.

The Catholic Chapel Hymnal, 1958
The Catholic Chapel Hymnal, 1958

Additionally, I found two other hymn books that featured the hymn. These are THE ORDINARY OF THE MASS and a Complete MANUAL OF HYMNS for PAROCHIAL SCHOOLS, and PRAYERS and HYMNS for CHILDREN. Both of these hymn books measure about 4 inches wide by 6 inches tall and are word only editions.

The ORDINARY OF THE MASS hymn book was published by THE PUBLIC PRESS in 1935 and contains 527 pages with Approbation approval by the Censor Librorum and Archbishop of Philadelphia, Pa.

The Ordinary of the Mass and Manual of Hymns, 1935
The Ordinary of the Mass and Manual of Hymns, 1935
The Ordinary of the Mass and Manual of Hymns, 1935

The PRAYERS and HYMNS for CHILDREN hymn book was compiled and edited by the Most Reverend Richard J. Cushing, D.D., (1895-1970), who would later serve as Archbishop of Boston from 1944 to 1970. He was elevated to Cardinal in 1958. The hymn book was published by the Propagation of the Faith Press in 1943 and consist of 104 pages with Approbation by the Censor Librorum and then Archbishop of Boston William Cardinal O’Connell (1859-1944). I would like to point out that Monsignor Curry and Cardinal O’Connell were classmates at the American College in Rome.

Prayers and Hymns for Children, 1943
Prayers and Hymns for Children, 1943
Prayers and Hymns for Children, 1943

As the hymn’s popularity spread among Catholic parishes across the country and Protestant missions, so did the critics. Various contributors to the Caecilia Magazine, a very well-respected periodical among Catholic musicians and laity, were disgusted with the hymn often referring to it as drippy sentimentality unworthy of the Church’s dignity, and other forbidden wishy-washy sentimental music. In 1945, an unfavorable review by a recurring contributor of the Caecilia Magazine, Dom Gregory Hugle, O.S.B., appears in the second column of the November issue QUESTIONS AND ANSWERS. (Click on any image to enlarge)

The Caecilia Magazine, Vol. 73, November 1945, No.1
The Caecilia Magazine, Vol. 73, November 1945, No.1

My research also led me to find some news paper articles listing Christmas Eve music programs from The Plattsburg Daily Press that indicate the hymn Good Night, Sweet Jesus was used as a recessional hymn for the Mid-night High Mass. Also, from The Journal News in NYACK, New York, the St. Cecilia Choral Society presented a program of liturgical music followed by Benediction to the parishioners of St. Peters where the hymn was used as a closing hymn.

St James and St Matthew - 12-24-37
Church of St. James the Minor December 24, 1949
St Cecilia's Choral Society, April 9, 1938

The Right Reverend Monsignor James B. Curry died in his rectory, after a long illness on June 25, 1932, he was seventy-six years old. His funeral Mass was attended by many Bishops, nearly one hundred priests, and parishioners who filled the Church of the Holy Name out to the doors.

Photo of Monsignor Curry courtesy of the Archdiocese of New York Archives.
Obituary courtesy of the Archdiocese of New York Archives.

Reflection

The verses are simple with prayerful petitions, asking Jesus to guard us, to keep us safe, to watch over us, to guide us, and take us to heaven when our earthly life is done. Today we no longer have Friday or Saturday night Novena Prayer Groups who conclude their prayer services with Benediction of the Blessed Sacrament and the hymn Good Night, Sweet Jesus. I believe this hymn can still be effective today just as it was those many years ago. For a good dose of spiritual nourishment, take a moment to reflect on the verses while listening to the recordings below and I think you’ll agree that it is a beautiful prayerful hymn.

Good night, sweet Jesus, guard us in sleep,

Our souls and bodies in Thy love keep

Waking or sleeping, keep us in sight,

Dear gentle Savior, good night, good night.

Good night, dear Jesus, good night, good night.

 

Good night, sweet Jesus, grant that each day

Of our lives, mortal, thus pass away,

Thy love e’er watching, guiding aright,

Dear gentle Savior, good night, good night.

Good night, dear Jesus, good night, good night.

 

Grant gracious Jesus, when sets the sun

Of our life earthly and day is done,

That Thou wilt take us to Heaven’s light,

Dear gentle Savior, good night, good night.

Good night, dear Jesus, good night, good night.

 

Good night, sweet Jesus, thanks for Thy loyal love

And all Thy wonderous gifts, show’r’d from above,

Grant us forgiveness, poor sinners in Thy sight

Dear gentle Savior, good night, good night.

Good night, dear Jesus, good night, good night.

 

Good night, sweet Jesus, watch while we rest in sleep:

Thou art our Shepherd, Lord; we are Thy sheep.

When we awaken, be Thou our Morning Light.

Dear gentle Savior, good night, good night.

Good night, dear Jesus, good night, good night.

The hymn has also been recorded by various artists over the years including Perry Como, George Beverly Shea, The Slaves of the Immaculate Heart of Mary, and others.

Below is a recording performed by Father Finn’s The Paulist Choristers in 1942 from a collection of Catholic Novena Hymns directed by Edward Slattery. Father William J. Finn (1881-1961), was the founder and conductor of The Paulist Choristers, a volunteer group boys and men initially organized for the Paulist Church in Chicago. The choir became quite famous singing in most metropolitan cities in America and most of the capitals of Europe. In 1918, Father Finn was transferred to New York and brought with him a good part of the boys choir. The Catholic Hour radio program was inaugurated by the Paulist Choristers and was broadcast from the Paulist Church in New York, every Sunday night from 6 to 6:30 over the WLWL, a National Broadcast Chain radio station. Father Finn’s Paulist Choir was most famous for its rendition of Polyphonic music.

Also, with permission from Peter Meggison, producer of The Devotional Hymns Project, a more recent recording made in 2013 by the Singers from St. Joseph Cathedral, Manchester, New Hampshire.

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Ah, whence to me the bliss

Eben Howe Bailey (1843-1943) was the author and composer of this hymn. I recently discovered his manuscripts at the Peabody Essex Museum located in Salem, Massachusetts, and through the Philips Library Finding Aids obtained scanned copies of the manuscripts. (Click on any image to enlarge)

Original manuscripts by Eben Howe Bailey courtesy of the Peabody Essex Museum
Original manuscripts by Eben Howe Bailey courtesy of the Peabody Essex Museum
Original manuscripts by Eben Howe Bailey courtesy of the Peabody Essex Museum

Eben Howe Bailey was an American composer born in Ipswich, Massachusetts, on September 24, 1843. He was well known as a church organist throughout Boston and composed both sacred and secular pieces. He taught music in the schools of Clinton, Massachusetts for five years and between 1870-1880, he taught music in Fitchburg, Massachusetts.

He served as church organist in several locations throughout Massachusetts and the Boston area including at St. Mary’s Catholic Church in Rowley, St Thomas Church in Boston, Leyden Church in Boston Brookline, and St. Joseph’s Church in Ipswich.  More than 400 of his musical compositions have been published, including a Mass in Honor of St. Anne (1925), and Mass in D flat (1891).

He was also the musical editor and composed many of the hymnal songs for The Spiritual Harp: a collection of vocal music for the Choir, Congregation, and Social Circle, compiled by James Peebles and James Barrett and published by The Banner of Light Publishing Co., of Boston in 1868. This hymnal consisted mainly of Methodist, Baptist, and Unitarian church music. He also published a musical method book intended for school students Bailey’s School Songs and Music Reader.

Eben Howe Bailey was married twice, first to Amy Caroline Bailey on May 24, 1866. She died at the young age of 35, in 1880. He married his second wife Mary Emma Hunt, in 1882, and she died several years before him in 1926. He died on January 20, 1943 and is buried in the Rowley Cemetery, Massachusetts. His son Edward Bailey, from his first marriage, died a few years later in 1947.

Professor Eben Bailey - 97 years old
Professor Eben Bailey - 97 years old

The photo above was providing by the Peabody Essex Museum. It is a photo of Eben Howe Bailey taken at his home.

The hymn Ah, whence to me the bliss first appeared in the SUNDAY SCHOOL HYMN BOOK, 1887 and it is captioned Hymn for Communion. This hymn book was published by the Oliver Ditson & Co. and compiled by the Sisters of Notre Dame of Philadelphia. The hymns in this collection were taken from earlier publications by the Cincinnati community including selections from May Chimes, the Wreath of Mary, May Blossoms, and the Laudis Corona. Additionally, selections from Peters’ Sodality Hymn Book, the Birmingham Oratorian Hymnal, and the Catholic Youth’s Hymn Book were also included.

Sunday School Hymn Book, 1887
Sunday School Hymn Book, 1887

The Sisters of Notre Dame de Namur came to the United States from Belgium at the request of Bishop Purcell of the Cincinnati Diocese in Ohio. The sisters established a foundation there in 1840 and quickly spread across the country, establishing convents and schools.

The Sisters arrived in Philadelphia in 1856 at the Assumption parish to teach school. The Philadelphia community felt the need of a hymnal designed for their schools and in 1877, a melody edition consisting of 104 English and a few Latin hymns was compiled and published by the Oliver Ditson Co., one of the major music publishing houses of the late 19th century. Both the Cincinnati and Philadelphia communities published hymnals for their school children between 1877 and 1948. Many of these hymns appeared in other hymnal publications and were widely used in May devotions, becoming the standard in the Marian repertoire of parish schools, sodalities, and parish choirs across the country.

Next, the hymn appeared in the CATHOLIC SCHOOL AND SODALITY HYMNAL published by George W. Gibbons of Philadelphia in 1900. This words-only collection contained over 380 pages of Catholic hymns for the feast days, a large collection of Marian hymns, as well as a large collection of hymns to the Sacred Heart of Jesus, and to the Blessed Sacrament, and a sufficient number of May hymns, and hymns to the Saints and Angels.

Catholic School and Sodality Hymnal, 1900
Catholic School and Sodality Hymnal, 1900
Catholic School and Sodality Hymnal, 1900

It was also published in the SUNDAY SCHOOL HYMN BOOK, 1907 and 1935 with piano accompaniment. It also appeared in the 1921 and 1948 word-only editions of HYMNS USED BY THE PUPILS OF THE SISTERS OF NOTRE DAME. 

Sunday School Hymn Book, 1935
Sunday School Hymn Book, 1935
Sunday School Hymn Book, 1935

I have found evidence in newspapers and magazines, that this hymn was sung on various occasions in the Catholic church, most notably for Weddings during the first half of the 20th century period. (Click on any image to enlarge)

The Sacramento Star, 1908
The Hoosier State Chronicle, 1938
Baltimore & Ohio Magazine, 1950

Reflection

My sister Dorothy who sang with me in St. Mary’s Choir in Akron, Ohio was the first choir member in a long time to sing this hymn. We used the Sunday School Hymn Book, 1935 arrangement. I began singing the hymn after she married and left the choir to raise her family. I recall a great sense of joy in singing this hymn, especially when the choir’s voices joined together during the chorus. It was well liked by the congregation who felt a certain holiness and humbleness when I would sing this during communion.

Take a moment to reflect on the verses of the hymn where the expression of heavenly sweetness, joy, and bliss flood our hearts till overflowing in anticipation that Jesus is coming to us, and he wants to repose in our hearts. 

More than twenty years has passed since I last sang this communion hymn. Sometimes, I hum the tune and sing the words as I do my house work, wood-working, or as I am driving around running errands. I strive to preserve these beautiful devotional hymns and endeavor to inspire our young parish organist to perform hymns of such quality and devotion. However, she currently lacks the proficiency to play hymn accompaniments.

It seems to me that our communion hymns today are far removed from expressing such love and devotion. They fail in so many ways to fill us with heavenly joy knowing that Jesus will soon come to rest in our hearts; to be our little white guest.  I particularly like the last verse which reminds me that when the darkness of death embraces me, I know with confidence that Jesus will be there, with compassion he will look upon me, And bid me come to Thee, Then call, then let me hear.

A special thank you to Peter Meggison producer of the Devotional Hymns Project for allowing me to link to a recording of  the Occasion Singers, a vocal ensemble from the South Coast of Massachusetts who recorded this beautiful hymn in 2015.

Also, a computer generated piano arrangement using Musescore music editing software.

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O Cor Amoris

This wonderful hymn to the Sacred Heart of Jesus has seen different publications and various translations since it first appeared in the 17th century. It is not known who originally authored the hymn. However, Father John Croiset, S. J., (1656-1738), a French Jesuit priest, and spiritual director of Saint Mary Margaret Alacoque (1647-1690) is most likely the author of the hymn text.

Saint Mary Margaret Alacoque was a nun from the Order of the Visitation of Holy Mary and a mystic who promoted devotion to the Sacred Heart of Jesus. Father Croiset wrote DEVOTION TO THE SACRED HEART OF JESUS at the bequest of Saint Mary Margaret Alacoque on behalf of our Lord Jesus Christ which was first published it in 1691.

Since that time other books on the devotion have appeared by many authors including Father Galliflet, S.J., (1663-1749) who is also considered by some to be the author of the hymn text. As time passed, several papal encyclicals promoting this devotion were issued including most recently by Pope Francis new encyclical, Dilexit nos.

The earliest appearance of this hymn in American Catholic hymnals was the LAUDIS CORONA published by D. & J. Sadler & Co., of New York City. The LAUDIS CORONA was published in 1880 and again in 1885. When I review the Preface, it says the tunes were selected by a lady in Baltimore and the music arranged by Professor Francis A. Harkins, M.A., of Boston College. Additional attributions were given to the Sisters of Notre Dame for allowing the use of their hymn book May Chimes; also to Mr. Fred Eversmann, Jr., and Mr. Harry Sauders, both from Baltimore; and to Mr. RoSewig, Music Publisher, of Philadelphia. (Click on any image to enlarge)

Laudis Corona, 1885
from the Boston Pilot, February 2, 1881

The hymn next appeared in the CANTABO DOMINO published by the Oliver Ditson & Co., of Boston in 1886. This collection of Latin hymns and motets was compiled by the Sisters of Notre Dame de Namur from Philadelphia with two separate arrangements found in the hymn book. The Sisters of Notre Dame de Namur came from Belgium and arrived in Cincinnati, Ohio in 1840. They began teaching in the Philadelphia area in 1856.  A study of the Latin text found in these two arrangements suggest that the hymns could be sung at different times of the day corresponding to the prayer life of the Sisters.

Cantabo Domino, 1886
Cantabo Domino, 1886
Cantabo Domino, 1886
Cantabo Domino, 1886
Cantabo Domino, 1886
Cantabo Domino, 1886

O Cor Amoris appeared in another hymn collection that was compiled by the Sisters of Notre Dame de Namur. This was the SUNDAY SCHOOL HYMN BOOK. This collection of hymns was first published by the Oliver Ditson Co., of Boston in 1887, with later printings in 1907, and 1935.

The Sisters of Notre Dame played a pioneering role at St. Mary’s mission church in Akron, Ohio, which was situated on South Main Street opposite McCoy Street in 1887. Though the Sisters of Notre Dame withdrew in 1895, their influence on the parish music was long-lasting. Several of the hymns including Ave Verum; Holy Mary, Mother Mild; Veni Jesu Amor Mi; Jesus Teach Me How to Pray, and others continued to be sung by St. Mary’s Choir into the early 21st century.  St. Mary’s was officially designated a parish on December 12, 1896.

Sunday School Hymn Book, 1887
Sunday School Hymn Book, 1887

Albert H. RoSewig (1846-1929) also composed an arrangement for O Cor Amoris. This arrangement is from his CONCENTUS SACRI, 1913 compiled by him and published by the Oliver Ditson Company of Boston. This collection of Latin hymns was originally published in 1877 by the same company. Several of the hymns can be found on Youtube and other internet sources (i.e. IMSLP, ChoralWiki, etc.).

Albert Henry RoSewig was born in Hanover, Germany and came to Philadelphia at the age of 10 in 1856 and remained there for the rest of his life, he was 83 years of age when he died. He was director of music at St. Charles Borromeo Church for nearly thirty-five years. During his musical career he devoted himself to composing Masses, hymns, and motets. He was severely criticized by reformers and drew condemnation from Pope Pius X for his use of romanticized harmony in Gregorian and priest altar chants. Despite facing significant criticism, the collection CONCENTUS SACRI played a crucial role in its time by offering Catholic choirs access to works from prominent composers like Geibel, Rossini, Mozart, Donizetti, Bellini, Verdi, and Gounod.

His music is still used today, during my time singing with St. Mary’s Choir in Akron, Ohio two of his compositions Ave Maria, Op. 346, and his Ave Maris Stella No. 2, were sung on various occasions. In 2008, the St. Joseph’s History Society of South Camden, NJ, produced a CD recording of Eucharistic Adoration with RoSewig Vespers with the proceeds to benefit the restoration of the church.

Concentus Sacri, 1913
Concentus Sacri, 1913
Concentus Sacri, 1913
Concentus Sacri, 1913
Concentus Sacri, 1913

I next located the hymn in the AMERICAN CATHOLIC HYMNAL published in 1913 and again 1921 by P. J. Kenedy & Sons, New York City. There is a separate melody in each edition and there are Latin text differences between the two arrangements. The 1913 edition uses a melody composed by Anthony Werner (1816-1866) which was used often for the Benediction hymn O Salutaris/O Saving Victim Opening Wide. The Latin text of the hymn matches that found in the Sunday School Hymn Book by the Sisters of Notre Dame de Namur. In the 1921 edition, an old German melody is used. 

The significance of the American Catholic Hymnal is worth mentioning. During a time when most hymnals repeated the same texts, this collection shows many were taken from various religious periodicals, including the Messenger of the Sacred Heart, Ave Maria, the Rosary Magazine, the Voice, and the Sentinel of the Blessed Sacrament.

American Catholic Hymnal, 1921
American Catholic Hymnal, 1913
American Catholic Hymnal, 1921

The German melody would reappear again in the 1953 ALVERNO HYMNAL AND CHOIR BOOK, Part 3. The Alverno Hymnal and Choir Book was published in three parts by the McLaughlin & Reilly Co., of Boston between 1948 and 1953. Each hymnal was compiled, edited, and arranged by Sister Mary Cherubim Schaefer, O.S.F., (1886-1977). Sister Cherubim was a member of the School Sisters of St. Francis.

Alverno Hymnal Part 3, 1953
Alverno Hymnal and Choir Book, 1953

During the 1920s and 1930s [devotion to the Sacred Heart of Jesus grew perhaps as a result of the Canonization of Margaret Mary Alacoque by Pope Benedict XV in May of 1920 or perhaps Pope Pius XI Encyclical Miserentissimus published in May of 1928.] Catholic hymnals featuring hymns to the Sacred Heart of Jesus were numerous. These include the PSALLITE and HOSANNA both compiled by Father Ludwig Bonvin, S.J., the CATHOLIC HYMNAL compiled by Father John Hacker, S.J., the SURSUM CORDA compiled by the Sisters of St. Francis for the school children of New York, HYMNS USED BY THE PUPILS OF THE SISTERS OF NOTRE DAME, the HYMN BOOK for the use of the PUPILS OF THE SACRED HEART,  the ST. BASIL’S HYMNAL, the ST. GREGORY HYMNAL, the ST. MARY’S HYMNAL, the DIOCESAN HYMNALS especially the EUCHARISTIC HYMNAL compiled by Cleveland, Ohio Bishop Schrembs, the AVE MARIA HYMNAL, the ST. CECILIA HYMNAL, the PAROCHIAL HYMNAL and the CANTICUM NOVUM both collections compiled by Father Carlo Rossini, the MOUNT MARY HYMNAL, and the ST. ROSE HYMNAL.

One could debate which of these hymnals was the most widely used as each of them have their own place and importance in Catholic hymnody. My intention is to keep this write-up short, informative, and concise. So I decided to focus on the hymnal that I deemed to be the most widely used and perhaps the most widely criticized – the ST. BASIL’S.

O Cor Amoris appeared in the ST. BASIL’S HYMNAL from 1925 to 1953. With some helpful hints from the CMAA forum, this arrangement was composed by Canon Désiré Planque (1805-1888), a musician from France. His TTB arrangement for O Cor Amoris Victima was published in 1926. He also composed another hymn O Bone Pastor in F major, and other works including Masses, psalms, hymns, antiphons, and restored plain chant in the Diocese of Arras, France.

St. Basil's Hymnal, 1925
St. Basil's Hymnal, 1925

The St. Basil’s Hymnal drew severe criticism by the Society of St. Gregory, a new group inspired by Nicola A. Montani who was friends with the clergy and laity and who felt there was a need for a new society to promote the reform of church music that was indicated by Pope Pius X, Motu Proprio of 1903. The societies bulletin, The Catholic Choirmaster, first issued in February 1915 and having received approbation of the Holy See began a relentless campaign against what they deemed as the poor quality of American hymnals. In the April 1916 issue of the bulletin, in an article signed Hymnologus (aka Nicola A. Montani), various examples of text and tune were sited as being inferior because of their secular origins. A number of hymnals were mentioned but the criticism was largely aimed at the St. Basil’s Hymnal.

Another critical review of the Revised Edition of the St. Basil’s Hymnal, appeared in the April 1919 issue of The Catholic Choir Master under the pseudonym M. Colas (Nicola A. Montani), giving further musical examples of the secular sources of many of the melodies.

The Society of St. Gregory’s campaign against Catholic hymnals graduated to an all-encompassing Black List of disapproved church music as well as a White List of approved church music. In 1919, the Diocese of Ft. Wayne was the first to adopt church music regulations according to the Black and White List. Over the years other dioceses across the United Stated also adopted similar regulations including Indianapolis (1935), Pittsburgh (1937), Chicago (1955), and Cleveland (1964).

In my review of these regulations, especially those from the Cleveland Diocese, (Banned Hymns in the Cleveland Dioceses), the hymns that were condemned consisted mostly of Marian hymns, Communion hymns, and hymns to the Sacred Heart of Jesus. In addition to these, various Mass settings, Choral pieces, Catholic hymnals, Wedding Marches, and Ave Maria’s were banned from all liturgical functions as well as extra-liturgical devotional ceremonies. 

In my survey of Catholic hymnals O Cor Amoris last appeared in OUR LADY OF THE LAKE HYMNAL AND CHOIR BOOK published by the Gregorian Institute of America in 1956. This collection of hymns was composed and arranged by Sister Mary Elaine Gentemann, C.D.P., (1909-2008) from Our Lady of the Lake College in San Antonio, Texas.

The hymn book contains a good measure of Latin hymns, motets, and Mass settings with a few English hymns such as Daily, Daily, Sing to Mary and Good St. Anne sprinkled in. Sister Mary Elaine composed several Mass settings between 1945 and 1965. One of her Mass settings, Mass in Honor of Blessed Martin de Porres, composed in 1945, drew criticism over her use of Negro Spirituals for the various parts (i.e., Nobody Knows the Troubles I’ve Seen for the Kyrie). For further reading consult the Caecilia magazine March 1945, page 153.

This arrangement of O Cor Amoris would be a beautiful piece to sing with a full choir or a small group of talented singers.

Our Lady of the Lake, 1956
Our Lady of the Lake, 1956

Reflection

O Cor Amoris was a favorite of St. Mary’s Choir in Akron, Ohio and a favorite of my friend and fellow choir member Telford Wartko. Tel as he was known, was a construction worker and was one of many men who worked on the Ohio stretch of I-77 highway project back in the 1950s. He was a member of St. Joseph’s Church in Randolph, Ohio where he lived and a member of the Knights of Columbus.

I recall Tel being a great fan of NASCAR and he would go to the races every year. He was an outdoorsman, and he had a lifetime appreciation for music. Tel was a soft-spoken man when I knew him and a good friend. Tel, Tom McNeill, and I were the last of the men from St. Mary’s Choir and we became affectionately known as the three tenors by music director Mary Leary who served as organist of St. Mary’s until she retired in 2005. Tel died December 16, 2010, after a lengthy battle with cancer.

In the photo left to right is Telford Wartko
Don Howe, and Tom McNeill.
Prayer card for Tel Wartko

The melody that St. Mary’s Choir learned to sing is from the SUNDAY SCHOOL HYMN BOOK published by the Sisters of Notre Dame de Namur. Singing Latin hymns at Sunday Mass in the Ordinary Form was a cherished tradition at St. Mary’s with the choir frequently singing these beautiful compositions during Offertory and Communion.

Sunday School Hymn Book, 1935

Here is my translation of the hymn O Cor Amoris. The first column is the Latin text from the SUNDAY SCHOOL HYMN BOOK. The second column is somewhat word for word, while the last column fits the melody from the Sunday School Hymn Book.

O cor amoris victima,
caeli perenne gaudium,
mortalium solatium,
mortalium spes ultima
Cor dulce, Cor amabile,
Amore nostri languidum,
Amore nostri saucium,
Fac sis mihi placabile, 
Jesu Patris cor unicum,
Puris amicum mentibus
Puris amandum cordibus
In corde regnes omnium
O heart victim of love,
Heavens eternal joy,
Mortal comfort,
Mortal hope forever
Heart so kind, Heart so loving,
Our love so faint,
Our love is so wounded,
Make me (like Thee) (appeasable)
Jesus is one Heart with the Father,
A pure friend in minds,
Pure hearts to be loved,
In the heart the kingdoms of all
O Heart of Love, Lamb of God
Heaven’s eternal endless joy!
Our earthly comfort, Our sure relief
Our true hope forever more! 
Heart so kind, Heart so loving
Our love so faint, Our love so weak
Our love so wanting, Our love so wounded
Make us so like to Thee!
Jesus is one Heart with the Father
A pure friend in thought, word, and deed.
Pure hearts that we should love
So let our hearts join with Theirs!

Below are computer generated sound files of the hymn melodies mentioned in this write up. The tempo is approximate but should provide the listener with a good sense of what the hymn sounds like.

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The City of David is Sleeping

The City of David is Sleeping

In summer of 2023, I was approached by Peter Meggison, producer of The Devotional Hymns Project to engrave five original manuscripts by a religious Sister of Mercy. He recounted a wonderful anecdote about meeting her in 1987, when she was quite elderly but was still able to communicate.

This hymn write-up is about Sister Mary Ignatia Giblin (1910-1990) and her composition for the sacred Christmas song The City of David is Sleeping.

Elizabeth Joan Giblin was born to her parents Thomas and Flora Giblin (neé Lecraw) on November 16, 1910 in Pawtucket, Rhode Island. She entered the Sisters of Mercy at Mt. St. Rita on July 2, 1927 and made her perpetual vows at St. Xaviers in Providence, Rhode Island on March 12, 1933.

While a novitiate, Sister Mary Giblin was a student of Mother Mary Alexis Donnely, R.S.M., a well-known Catholic composer who published three hymnals and various pieces for different occasions. Many of her compositions were published in a series of hymn pamphlets by McLaughlin and Rielly.

Sister Mary Giblin had various assignment throughout the Catholic Schools of the Providence Diocese teaching 1st and 2nd grades. She began teaching music at St. Xavier’s Academy in 1935. She earned a Bachelor of Education degree in music in 1937 and a Bachelor of Science degree from St. Rose’s College in 1942. Then in 1945, she was assigned to St. Mary School in Pawtucket where she taught music.

During the summer months of June and July 1945 she underwent a major operation at St. Joseph’s Hospital and recuperated at St. Francis Xavier Convent. By September of the same year she was back teaching music at St. Mary School, a position she held for several years.

In September 1952, she was assigned to St. Michael School in Providence teaching music at the school and convent. In 1953, almost a year later to the date, she was assigned to Sacred Heart Convent where she taught the fourth grade until 1964.

In the spring of 1964, she underwent an operation for a malignancy at Our Lady of Fatima Hospital and spent the better part of the year receiving treatments and recuperating. She retired in 1972 tutoring part time at the Mt. St. Rita Health Center. In the same year, ill health confined her to the Mercy infirmary. She remained there until her death on November 23, 1990.

At her funeral, one of her pupils reflected on her life. All of us who were associated with Sister Mary Ignatia can look back on her and on her special gift of music and fondly recall how she shared that gift with so many people. Her greatest joy was to create music: to play the organ for Mass or Benediction, to direct operettas,… to rewrite or reword songs for sing-a-longs that added so much joy to a sister’s jubilee celebration, to bring smiles to the faces of little children, to encourage young musicians who were struggling as they began to learn how to play the piano, or those taking voice lessons who tried so hard – according to the instructions – to breathe from the diaphragm and always to use head tones.

Throughout most of her active years in ministry, she was known for her love of music and her ability to pull music talent from even the most unlikely sources. For one whose life was so filled with song, we may also say that her songs became prayers. For she fingered her rosary constantly and always appreciated and responded when someone spent a few moments with her in prayer.

The music which follows was transcribed from original manuscripts provided by Peter Meggison, producer of The Devotional Hymns Project.

Manuscript by
Sister M. Ignatia, R.S.M.
transcribed by
motherofmercycatholichymns.com

The following musical arrangements were made by David E. Sylvester, a long-time organist and friend of Peter Meggison. David started playing the organ at St. Mary’s Church in Pawtucket at a young age when Sister Mary Ignatia was a teacher, although he didn’t have her in school when he was a student there. David and I exchanged emails shortly after I transcribed his arrangements, and he was quite impressed stating Outstanding job on the music! He conveyed to me that all of his choir’s loved to sing this sacred Christmas song.  

Arranged by
David E. Sylvester, 1958
transcribed by
motherofmercycatholichymns.com
transcribed by
motherofmercycatholichymns.com
Arranged by
David E. Sylvester, 1971
transcribed by
motherofmercycatholichymns.com
transcribed by
motherofmercycatholichymns.com

The City of David is Sleeping, edited, and arranged by Gilbert Prentiss (1927-2008), was published by McLaughlin and Reilly Co., in 1968. It also appeared in piano songbooks of the 1960s and 1970s.

The City of David is Sleeping, 1968
The City of David is Sleeping
Copyright Entry 1970

The photo below is courtesy of the Sisters of Mercy of the Americas Archives in North Carolina.

Group photo taken about 1929
Sister M. Ignatia is third in
from the left
Back of photo

A comment on the photograph. The date of the photo is not known but is probably around 1929 when Sister Ignatia was a Novice. Few photographs exist of the Sisters but clearly there were times when groups were photographed. Sisters were not usually allowed to have photographs taken until the late 1960s, which makes this photograph incredibly special.

Sister Mary Ignatia Giblin (1910-1990)

While researching this sacred Christmas song, I came upon a newspaper article found in The Thompsonville Press, a Connecticut newspaper. This particular edition was published on December 31, 1914 in the social column In Neighboring Places. The article describes the Christmas morning services at St. Mary’s Church in Longmeadow where a Miss Gertrude Hughes sang a solo The City of David is Sleeping.

The Thompsonville Press,1914

This confirms anecdotal evidence conveyed to me that the City of David appeared in some old hymnals and that the composition by Sister Mary Giblin is original. 

Sister Mary Ignatia also composed music for the following hymns. Look for these and other fine hymns in future write-ups.  

  • Ave Maria (May 1944, Ascension Day)
  • God of Love (a Thanksgiving hymn)
  • Jesus When in Cruel Anguish
  • My God, My Life, My Love (August 1944, while on retreat)

Reflection

Having the opportunity to transcribe Sister Mary Ignatia’s original manuscripts allowed me to be the first to hear her music in a long time. I was immediately captivated by The City of David Sleeping. It is absolutely beautiful, it is simple and easy to learn, and most of all, it tells the wonderful story of Christmas. It brought back memories of the of kind of music that I would sing with St. Mary’s Choir in Akron, Ohio. Take a moment to read the verses and reflect on them, and I’m sure you’ll agree.

The music of Sister Mary Ignatia Giblin, R.S.M., like those who came before her, Sister Mary Xavier, S.N.D; Sister Mary of St. Philip, S.N.D.; Sister M. B., R.S.M; and Sister Mary Alexis Donnelly, R.S.M, have been forgotten by all but a few vintage organists and hymn researchers.

I think it’s important to remember their contributions and to sing their hymns and sacred songs once more.

A special thank you to Peter Meggison, producer of The Devotional Hymns Project who made available to me a new recording of Sister M. Ignatia’s The City of David is Sleeping. 

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If you liked this write-up on Sister Mary Giblin’s sacred Christmas song, please take a moment to read about these other fine hymns and sacred songs that are very appropriate for the Christmas season.

Let a Pious Prayer Be Said

Let A Pious Prayer Be Said

Father Jeremiah Cummings, D.D. (1814-1866) wrote the words of this hymn. He was from a family of Northern Irish Protestants who came to the United States and settled in what is now Washington D.C. (ca. 1782). After his birth, his mother converted to Catholicism, and this led to an estrangement with her family. His father died when he was a young boy, and soon afterwards the family moved to New York City. Although they were penniless, he desired to study for the priesthood. Arrangements were made and he became a student of Bishop John Dubois (1764-1842), third bishop of the Diocese of New York and attended Bishop Dubois’s seminary in Nyack. 

Through the good graces and the interest of Father J. P. McGerry of the New York Archdiocese, he was accepted at the College of the Propaganda, Rome, in 1834. Little is known about Father McGerry except for a curious entry found in Archives of the Pontifical College in Rome. Entry 21, page 371, gives a brief account of a handwritten letter by Father McGerry to Dr. Paul Cullen written on March 10, 1834 in which he asks for help in the case of a boy of 11 years who is anxious to become a priest but whose parents have not the means to pay the necessary fees. He writes,

I have a boy, the son of a very distinguished convert who is anxious he should study for the Church. The boy is eleven years old and very talented. The mother of the boy since her conversion has been by the gambling and sporting of her husband very much reduced in circumstances. All the family are converts but the husband. The oldest daughter entered a Nunnery at sixteen and is now a professed Sister in the Convent of the Visitation at George Town, District of Columbia. If you aid me to get a place in the Propaganda for the boy alluded to, Jeremiah Cummings, on reduced terms, you will do me a favor and a great good, I hope, to Religion. If not, let me know if there is a place for him, and what will be the lowest terms upon which he can be received.

Jeremiah Cummings successfully completed his studies and gained the degree of Doctor of Divinity. He was ordained on January 3, 1847 and returned to New York City. He was for a brief time assigned as a priest at the old St. Patrick’s Cathedral.

In 1848, Bishop John J. Hughes (1797-1864) the first Archbishop of the Archdiocese of New York, appointed him pastor of the new St. Stephen’s Parish where he oversaw the building of the church and school. Father Cummings had a great fondness for music, and soon took charge of the choir. Oftentimes as was the case, well-known singers from the Metropolitan Opera House joined the choir. Through his influence the choir gained the esteem of the people who came from all over the city to Sunday High Mass. St. Stephen’s Church became one of the largest Catholic parishes of the day with over 28,000 parishioners. 

In addition to his priestly duties, Father Cummings found time to author a couple books including Italian Legends published in 1858, and Spiritual Progress published in 1865. He contributed articles to Appleton’s Encyclopedia and Brownson’s Quarterly Review.

He published a hymnal of his own compositions, SONGS FOR CATHOLIC SCHOOLS. Two editions were published, the first was published by J. O’Shea in 1860, and the second edition by J. & D. Sadlier in 1862. Father Cummings hymnal is significant in the annals of Catholic hymnals as being in his own words, the first of its kind, and until 1860, the only Catholic collection of original hymns by an American author. (Click on any image to enlarge)

Songs for Catholic Schools, 1862
Songs for Catholic Schools, 1862
Songs for Catholic Schools, 1862

In the 1860 July issue of the Brownson’s Quarterly Review which was mistakenly identified by J. Vincent Higginson as the 1863 Brownson’s Review in his History of American Catholic Hymnals Survey and Background, the editor gives an account evaluating the hymns as All the Songs, with one exception, are by Dr. Cummings, and though not all of equal merit, they all indicate poetry of a high order, and breathe the true spirit of Catholic faith and piety. The music by Signor Speranza is simple, yet rich , and we shall be much mistaken if several of his airs do not become naturalized and enter into the list of our national airs .

The editor’s remark that All the Songs, with one exception, are by Dr. Cummings, deserves mention because future publishers of English and American Catholic hymnals including DOM Ould’s Book of Hymns with Tunes, Dr. Terry’s Westminster Hymnal, the Holy Name Hymnal, the De La Salle Hymnal, and the American Catholic Hymnal would mistakenly identify the author of certain hymns as other than by Father Cummings.

This fact was brilliantly illustrated in a paper that appeared in the 1915 July issue of The Catholic Historical Review – A Forgotten American Hymnodist by Monsignor Hugh Thomas Henry (1862-1946). Three hymns were specifically  mentioned in this paper:

The Hymnals

The hymn Let A Pious Prayer Be Said appeared in only a few Catholic hymnals. These are the CANTICA SACRA published in 1865 and 1880; the YOUTH’S MANUAL FOR CHURCH AND SCHOOL, 1885 and 1908 editions; HYMNS USED BY THE PUPILS OF THE SISTERS OF NOTRE DAME, 1921 and 1948 editions, SELECTED HYMNS ca. 1930s, and THE CATHOLIC CHAPEL HYMNAL, 1958. Sometimes the hymn is listed as Dirge or A Dirge and others by the first line of text.

The CANTICA SACRA, or Hymns for the Children of the Catholic Church, first appeared as a word only edition in 1865, and the texts was compiled by Bishop John B. Fitzpatrick of Boston. This was followed by the musical edition with all original tunes compiled by Father John H. Cornell of Boston College and published by Patrick Donahoe in 1865. The hymnal contains hymns by Father Cummings, Father Faber, Father Caswall, and some translated hymns by St. Alphonsus Ligouri. 

Cantica Sacra, 1865
Cantica Sacra, 1865
Cantica Sacra, 1865
Cantica Sacra, 1865

A third edition of the CANTICA SACRA was then published by Thomas B. Noonan & Co., of Boston in 1880. In this edition, attributions are given to J. Frank Donahoe, organist at Holy Cross Cathedral, Boston and the Sisters of Notre Dame, for their musical arrangements. A few of the tune are of German origins for example Holy God, we praise thy name. The musical editions do not include the hymn Let a Pious Prayer Be Said, probably because it was listed as a miscellaneous hymn.

Cantica Sacra, 1880
Cantica Sacra, 1880
Cantica Sacra, 1880

The YOUTH’S MANUAL FOR CHURCH AND SCHOOL is a small collection of hymns, prayers, and Catechism, first published in 1885 by J. L. Spalding, then again in 1908 by Thomas J. Flynn & Company of Boston. The hymn section of this hymnal, a word only collection, is often referred to as the Cantica Sacra and contains three parts.

The first part is captioned Hymns for the Children of the Catholic Church and is essentially a reprint of the hymns found in the CANTICA SACRA. The second part contains Miscellaneous Hymns, there are about twenty, which do not appear in the musical edition. The third part is captioned Hymns, there are thirty-eight and they are not numbered but indicate the music can be found in other collections. For example, the hymn Children of the Heavenly King, refers to Rohr’s Catholic Melodies, page 61.

Youth's Manual, 1908
Youth's Manual, 1908
Youth's Manual, 1908

HYMNS USED BY THE PUPIL’S OF THE SISTERS OF NOTRE DAME is significant because the Sisters of Notre Dame de Namur who originally came from Belgium in 1840, were among the first of the religious order of nuns to established schools and academies in the United States beginning in Cincinnati, Ohio. These vest-pocket word-only hymn collections were published in 1920 and again in 1948 by The Angel Guardian Press. In the 1920 edition, the hymns are listed numerically. The 1948 edition, which is essentially a reprint of the 1920 edition, corrected the listing of hymns to be alphabetical and included the hymn number and page number.

Hymns Used by the Pupils of the
Sisters of Notre Dame, 1920
Hymns Used by the Pupils of the
Sisters of Notre Dame, 1920
Hymns Used by the Pupils of the
Sisters of Notre Dame, 1920
Hymns used by the Pupils of the
Sisters of Notre Dame, 1948
Hymns used by the Pupils of the Sisters of Notre Dame, 1948
Hymns used by the Pupils of the Sisters of Notre Dame, 1948

A good number of the Sisters of Notre Dame wrote hymns for the school children and a demand for the hymns used by the Sisters grew as students graduated and moved to other parts of the country. Carrying these hymns in their hearts, the students passed them on to future generations. Eventually, publishers like W. C. Peter’s, the Oliver Ditson Company, and McLaughlin & Reilly published collections of these hymns in hymnbooks. Though many of the hymns by the sisters have fallen silent, a few still remain and are popular among Catholics today.

On an aside, among the other religious order of nuns who established schools and academies across the United States were the Sisters of Mercy arriving in 1843, and the Sisters of St. Joseph arriving around the same time.

SELECTED HYMNS is a small word-only book of hymns that was probably developed by the Sisters of St. Joseph of the Archdiocese of Boston according to hymnologist Peter Meggison producer of The Devotional Hymns Project. There is no date of publication or name of the editor, however, the hymns refer to existing hymnals of the day for the music such as St. Basil’s, the Chapel Hymnal S.N.D., the Standard Catholic Hymnal, Berge’s New Catholic Hymn Book, Father Curry’s Hymnal, the Sacred Heart Hymnal, and others.

Some of the hymns, list publishers or authors like R.S. Morrison Pub.: Presser Co., Phil.; A Sister of St. Joseph; Clarence E. Reed – White Smith Music Company; Mellyn and Horgan; Rev. M. O’Flaherty, and others simply as Manuscript. It has been an interesting challenge to try and date this little hymn book to say the least. Most of the hymnals referred to in this collection were published before or around the 1930s.

Selected Hymns, 1930
Selected Hymns, 1930
Selected Hymns, 1930
Selected Hymns, 1930
Selected Hymns, 1930
Selected Hymns, 1930
Selected Hymns, 1930
Selected Hymns, 1930

THE CATHOLIC CHAPEL HYMNAL is one of the most important contributions to Catholic hymnody published during the 20th century. The contents of THE CATHOLIC CHAPEL HYMNAL were suggested and approved by 118 Catholic Chaplains in the Armed Forces during World War II. The Chaplains replied to a survey conducted by McLaughlin & Reilly Company, a premier Catholic music publishing company of the 20th century period. The survey requested the titles of the hymns best known by service men and women that resulted in spontaneous congregational singing during chapel services. The first edition was published in 1944 with later editions in 1949, 1958 and 1968.

The Catholic Chapel Hymnal, 1958
The Catholic Chapel Hymnal, 1958
The Catholic Chapel Hymnal, 1958
The Catholic Chapel Hymnal, 1958.
Music arranged by Edward Grey
The Catholic Chapel Hymnal, 1958.
Music arranged by Edward Grey

The hymn also appeared in a 1927 Hymn Pamphlet published by McLaughlin & Reilly, Co. It is the same melody but arranged for four voices by J. G. H. I could not find any information on this composer with the exception of his arrangements for Father Curry’s hymn Good Night, Sweet Jesus which include an SATB and a Tenor I-II – Bass I-II.

Courtesy of The Devotional Hymns Project
Courtesy of The Devotional Hymns Project

The Melodies

John M. Loretz, Jr. (1840-1912), organist at St. Peter’s Church, Brooklyn, New York composed the melody for this hymn, shown at the begining of this write-up, and as far as I can determine it is the only melody for this hymn. His initials J.M.L., are found throughout Father Cummings hymnbook. According to the Cyclopedia of Music and Musicians (1889) Vol. 2, page 484:

He was born in Mühlhausen, Alsace in 1840, and came to the United States as a child. In 1857,  he went to Paris, France and studied at the Paris Conservatorie. He returned to the United States in 1860 and made his début as a pianist for the Brooklyn Philharmonic Society. He was a conductor at the Park Theatre in New York, and bandmaster in the United States Navy. Some of his works include The Pearl of Bagdad, an opera, given in the Brooklyn Lyceum in 1872; he composed several Symphonic overtures; Masses; Episcopal Church services, Sonatas, and other music for pianoforte.

The music found in THE CATHOLIC CHAPEL HYMNAL shown earlier in the hymnal section was arranged by Edward Grey. Edward Grey (Gray), Johann Hornung, Nino Borucchia, and G. Agostini are all pseudonyms for Father Joseph Toussaint Oliva Portelance, O.F.M. (aka Father Ange-Marie Portelance, O.F.M.) 

Joseph Portalance was born on November 8, 1900 in Montreal, Canada. His baptismal name was Joseph Toussaint Oliva. His father’s name was Toussaint and his mother’s name was Geneva according to the Canada Census, 1901. He entered the novitiate on September 24, 1922 (St. Joseph Province) and took temporary vows on September 30, 1923, and his solemn vows on September 30, 1926. He entered the priesthood on June 29, 1947. His Franciscan name was Ange-Marie Portelance. Father Portelance also lived on the Friary in Brookline and was an employee of McLaughlin & Reilly. He compiled and edited THE CATHOLIC CHAPEL HYMNAL (1944 thru 1958), composed numerous motes, masses, and other music for the Catholic Church. Through 1946 – 1950, he was Professor of Music at St. Francis Collage Biddeford, Maine. From the University of New England Digital Commons, St. Francis College History Collection (1949-1950) I located the following excerpt:

During our four years, the benevolent Fr. Ange-Marie Portelance, a graduate of the Reale Academia Filarmonica Romana, has been in charge of the choir and Glee Club. A baritone himself, he teaches vocal art, piano and also directs the school orchestra.

In June 2021, I learned from the archivist for the Franciscan Order – Holy Spirit Province, that he was dismissed from the Order on May 16, 1956. The records give no reason for his dismissal and the Order does not stay in touch with members once they leave.

For a while it seemed that details on Father Portalance had come to an end and I had almost given up hope of ever finding anything more when I came across an obituary for Joseph T. Olivain. The details of this individual are to similar to those of Father Portelance to ignore them. I leave it to the reader to decide if it be the same person.

The hymn Let a Pious Prayer Be Said was used as a recessional hymn at funerals from the 1920s through 1940s as evidenced by these newspaper clippings from the Andover Townsman in Andover, Massachusetts, and The Boston Globe of Boston, Massachusetts.

Boston Globe, May 3, 1922
Andover Townsman, February 20, 1947
Andover Townsman,
February 20, 1947
Andover Townsman,
April 22, 1948

Reflection

The verses of this hymn remind me of the teachings of the Catholic church about Purgatory (CCC 1030-32), and the importance of offering prayers for the dead, Let a pious prayer be said, especially the Eucharist sacrifice. We can also offer works of penance, almsgiving, and indulgences all on behalf of the dead, that their sufferings soon may cease, and thus purified, until cleansed, attain the beatific vision of God. Show them mercy, grant them rest, in the city of the blest.

As part of my reflection, I want to include an article I found in The Catholic Free Press Vol. 65, No. 44, for October 28, 2016. It was written by Sister Paula Kelleher, SSJ, who recalls this hymn while remembering her family and friends. It is beautiful reflection and worth a few minutes of your time to read.

Courtesy of The Catholic Free Press

This is a wonderful hymn to sing for the Feast of All Souls, for a funeral, or for any memorial or intention of the dead. May we always remember our departed loved ones in our prayers and may those in most need of God’s mercy be given pardon and granted everlasting life.

Thank you to Peter Meggison producer of The Devotional Hymns Project who granted permission to link to a new recording of this wonderful hymn by an ensemble of singers from the Boston area.

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O Queen of the Holy Rosary

Emily Mary Shapcote (née Steward) wrote the words to this hymn in 1882 and it first appeared in ST. DOMINIC’S HYMN-BOOK published in 1885 by Burns and Oates and was sold throughout England and America.

St. Dominic's Hymn-Book, 1885
St. Dominic's Hymn-Book, 1885
St. Dominic's Hymn-Book, 1885

The history books have little to say about Emily, her early life, and her journey to Catholicism. She was born in Liverpool, England in 1828 and married the Rev. Edward Gifford Shapcote in 1856. He was a graduate of Corpus Christi College one of the constituent colleges of Cambridge University and the late curate of St. George’s-in-the-East. He was an English minister in the Church of England and a missionary in Africa. Emily joined the Catholic Church in 1866 and her husband joined a few years later in 1868.

Emily was a hymn writer with several hymns to her credit and is the author of several books including Legends of the Blessed Sacrament published in 1877; Among The Lilies published in 1881, and Mary: The Perfect Woman published in 1904. She co-authored a hymn collection with her sister and aunt – HYMNS FOR INFANT CHILDREN published in 1852 by Joseph Masters of London. Those marked E being by Emily Shapcote, those marked A by her aunt, Mary Steward, and those marked C by her sister, Eleanor Steward. A third edition with accompanying tunes was published in 1872, and was edited by the Rev. John B. Dykes, Vicar of St. Oswald’s in Durham, England.

Hymns for Infant Children, 1872
Hymns for Infant Children, 1872
Hymns for Infant Children, 1872

In 1873, Emily translated the Latin prayer Salve Mundi Salutare (O Saviour of the world, I cry to Thee) A Rhythmical Prayer to the Sacred Members of Jesus Hanging upon the Cross. This prayer is attributed to St. Bernard and is still popular today. A detailed look into the origins of this prayer can be found at the Hymnology Archive.

Emily died in 1909 while residing in the city of Torquay. Torquay is a seaside resort town on the English Channel in Devon, South West England.

In addition to ST. DOMINIC’S HYMN-BOOK above the hymn Queen of the Holy Rosary appeared in the following Catholic hymnals: SUNDAY SCHOOL HYMN BOOK, 1887 thru 1935 compiled by the Sisters of Notre Dame; CATHOLIC HYMNS, 1898 compiled by Augustus Edmonds Tozer (1857-1910); THE BOOK OF HYMNS WITH TUNES, 1913 compiled by Dom Samuel G. Ould, O.S.B., (1864-1939); ST. BASIL’S HYMNAL, 1918 thru 1958 compiled by The Basilian Fathers; DIOCESAN HYMNAL, 1928 compiled by Cleveland, Ohio’s Archbishop Schrembs (1866-1945); CATHOLIC CHURCH HYMNAL, 1905 and 1933 compiled by Augustus Edmonds Tozer; AVE MARIA HYMNAL, 1936 compiled by Father Joseph J. Pierron (1875-1949); the ST. CECILIA HYMNAL, 1928 thru 1960 compiled by J. Alfred Schehl (1882-1959); HOLY NAME HYMNAL, 1947 compiled by Father James J. McLarney, O. P., (ca. 1900s-1969);  and MEDIATOR DEI HYMNAL, 1955 compiled by J. Vincent Higginson (1896-1994) ( a.k.a. Cyr de Brant).

The Melodies

The first verse of the hymn began Queen of the Holy Rosary, the O being added to fit some of the melodies. Ten different melodies have been located for this hymn from Catholic hymnals listed above.

One of the first melodies to appear in American Catholic hymnals was composed by a Sister of Notre Dame de Namur from the Philadelphia Community and was published by the Oliver Ditson Company of Boston in 1887. During this time period the Oliver Ditson Company had become one of major music publishing houses and had offices in New York, Chicago, and Philadelphia. The identity of the Sister who composed the melody is unknown. This is not at all uncommon because in those days’ authorship was not given to the individual but to the whole community. This melody continued to appear in later publications of the SUNDAY SCHOOL HYMN BOOK, 1907 and 1935; also the ST. PAUL HYMNAL, 1915; HYMNS USED BY THE PUPILS OF THE SISTERS OF NOTRE DAME, 1921 and 1948; the LAUDATE CHOIR MANUAL, 1942.

Sunday School Hymn Book, 1887
Sunday School Hymn Book, 1887
Sunday School Hymn Book, 1887
Sunday School Hymn Book, 1887

A second melody appeared in CATHOLIC HYMNS compiled by Augustus Edmonds Tozer and published in 1898 by Cary & Co., in London and by the Frederick Harris Co., in Toronto, Canada. This collection of hymns is considered to be a musical edition of the ST. DOMINIC’S HYMN-BOOK noted above. Augustus Edmonds Tozer (1857-1910) was a convert to Catholicism and received his Doctorate from Oxford University and was named a Knight of St. Sylvester for his work in the reform movement in England. J. Hallett Sheppard (1835-1879) composed the melody, and little is known about this composer except that he died on January 11th of consumption in 1879 at the age of forty-three. His daughter, Teresa Madeleine Hallett who was only six months of age died a month earlier on December 30th.

Catholic Hymns, 1898
Catholic Hymns, 1898
Catholic Hymns, 1898
Catholic Hymns, 1898

A third melody appears in THE BOOK OF HYMNS WITH TUNES compiled by Dom Samuel Gregory Ould, O.S.B., (1864-1939) published in 1913 by Cary & Co., London and by the Edward Schuberth & Co., of New York. This is one of the most important Scottish hymn collections of the early twentieth century. Samuel Gregory Ould is a convert to Catholicism and joined the Church of Rome in 1879. He is best known for his CANTIONES SACRAE: MUSICAL SETTINGS OF THE ROMAN LITURGY published by Novello and Company of London, in 1899. William Sewell (1861-1942) composed the melody. He served as the organist of the Redemptorist Church of St. Mary’s, Clapham for twenty-five years and he composed a Mass setting for St. Philip Neri while he was in charge of music at Birmingham Oratory as well as other Mass settings. He was co-editor of THE BOOK OF HYMNS WITH TUNES in collaboration with Dom Gregory Ould. William was also a convert to Catholicism and joined the Church of Rome in 1885.

The Book of Hymns, 1913
The Book of Hymns, 1913
The Book of Hymns, 1913

The fourth melody which has become traditional to the hymn is from the WIRTEMBERGISCHEN KATHOLISCHEN GESANGBUCH, 1784. The tune name is known as ELLACOMBE. The melody has been used for various hymns and appeared in American hymnals as early as 1872. However, the first American hymnal to use this tune for O Queen of the Holy Rosary was the ST. BASIL’S HYMNAL, 1918. The hymn continued to appear in later editions including the NEW ST. BASIL’S HYMNAL published 1958.

St. Basil's Hymnal, 1918
St. Basil's Hymnal, 1918

Archbishop Joseph Schrembs, D.D., of Cleveland, Ohio composed the fifth melody, and it was arranged by Msgr. Peter Griesbacher (1864-1933), the melody appeared in the DIOCESAN HYMNAL PART TWO – DEVOTIONAL HYMNS published by J. Fischer & Bro., of New York in 1928. Archbishop Schrembs was the fifth Bishop of Cleveland and served from 1921 to 1945. He was named Archbishop by Pope Pius XII on March 29, 1939. Very few musicians and parishioners remember Archbishop Schrembs important contribution to Catholic hymnody. Below is a brief synopsis of his contributions.

He was a musician and lover of sacred music and composed several hymns. He was instrumental in producing manuals of Gregorian Chant and Catholic editions of music text books for elementary schools. He also envisioned a plan for Church music reform that would begin with young children. He compiled two Diocesan Hymnals and the Eucharistic Hymnal between 1926 and 1935. The hymns embodied in the Eucharistic Hymnal were taken from The Diocesan Hymnal, Books One and Two. Archbishop Schrembs was the Protector of Priests’ Eucharistic League in the United States and Promoter of the Eucharistic Congress in 1935 when the Seventh Eucharistic Congress met in Cleveland.

Diocesan Hymnal Part One, 1926
Diocesan Hymnal Part Two, 1928
Eucharistic Hymnal, 1935
Diocesan Hymnal, 1928
Diocesan Hymnal, 1928

The Rt. Rev. Msgr. Peter Griesbacher (P.G.) was responsible for a large number of the harmonization’s of the hymns found in the Diocesan Hymnal, Books One and Two. He was a German born music composer and ordained a priest in 1886. He edited a number of publications of Catholic church music and has composed numerous mass settings, a number of cantatas, various choral works, and organ manuals.

Victor Hammerel composed or arranged the sixth melody which is found in the CATHOLIC CHURCH HYMNAL compiled by Augustus Edmonds Tozer and published by J. Fischer & Bro., of New York and The Vincent Music Co., of London. The first printing of this collection was in 1905 and a second printing in 1933. Victor Hammerel was choirmaster for a time at the Church of the Blessed Sacrament and organist at St. John’s Church both within a few miles of each other in Providence, Rhode Island. He composed a number of mass settings, choral works, and hymn collections including HYMNS TO THE SACRED HEART AND HOLY NAME OF JESUS, 1898; DEVOTIONAL HYMNS TO OUR LADY, 1900; TWENTY-TWO CHRISTMAS AND EASTER CAROLS, 1900. This melody also appeared in the PAROCHIAL HYMNAL, 1951 compiled by Father Carlo Rossini for the hymn Queen of the Holy Rosary.

Catholic Church Hymnal, 1933
Catholic Church Hymnal, 1933

A seventh melody can be found in the AVE MARIA HYMNAL, 1936 compiled by Father Joseph J. Pierron and published by The Bruce Publishing Company with offices in New York, Milwaukee, and Chicago. The melody is attributed to Michael Haydn (1737-1806). The AVE MARIA HYMNAL saw several editions with the first edition published in 1929 and the last edition in 1941. The hymnal is a collection of English and older German melodies. Joseph Pierron was ordained a priest in 1905 and studied music in Europe for three years. He held assistant positions in various parishes and pastorship in several churches throughout the Archdiocese of Milwaukee. In November 1949, he went to Boys Town, Nebraska to serve as music director for Father Flanagan’s Boys’ Home. Father Pierron was editor of the Caecilia magazine in 1930, and composed several hymns, hymn collections, and authored several articles on music.

Ave Maria Hymnal, 1936
Ave Maria Hymnal, 1936

Hans Newsidler (ca. 1508-1590) composed the eighth melody. This melody is often attributed to Michael Praetorius (1571-1621); however, it is his harmonization of the melody that should be properly credited to him. The melody is identified as Ich Will Ein Neues Singen in editions of the SONGS OF SYON published in London by Schott & Co. This collection of Anglican hymns was compiled by the Rev. George R. Woodward, M.A., (1848-1934) and saw four editions between 1904 and 1923. The melody appeared in the ST. CECILIA HYMNAL compiled by Joseph Alfred Schehl (1882-1959) and published by the Frederick Pustet Co., Inc., with offices in New York and Cincinnati. The hymnal achieved five editions between 1928 and 1960, and was the Official Hymnal for the Schools of the Archdioceses of Cincinatti. Joseph Schehl was a famous composer, choirmaster, and musician from Cincinnati. He dedicated more than sixty years to his musical career and served as organist-choirmaster for forty-seven years at St. Lawrence Parish, Prince Hill, Cincinnati. He composed eight mass settings, various motets, and several volumes of organ music.

St. Cecilia Hymnal, 1955
St. Cecilia Hymnal, 1955

Stefano Constantino Yon (1876-1956) composed the ninth melody, and it is found in the HOLY NAME HYMNAL, 1947 compiled by Father James J. McLarney, O. P., and published by McLaughlin & Reilly Co., of Boston. The Holy Name Society consists of thousands of chapters in the United States and remains active in Catholic parishes even today. Constantino Yon or as he was sometimes referred S. Yon, or S. Constantino, was the organist and choirmaster of St. Vincent Ferrer’s Roman Catholic Church in New York, a position he held for almost forty years. He was a composer of hymns and other sacred music, and his choir would perform annually at the Christmas parties given by Cardinal Spellman for the children of New York’s Foundling Hospital. Constantino was a teacher of voice and piano and gave lessons at his home, in his studio in Carnegie Hall as well as the Academy of Mount St. Vincent and Elizabeth Seton School in Yonkers. Pietro A. Yon, the famous organist of St. Patrick’s Cathedral of New York and best known for his choral work Gesù Bambino (When blossoms flowered ‘mid the snows) was Constantino’s younger brother.

Holy Name Hymnal, 1947
Holy Name Hymnal, 1947

The source for the tenth melody may be the MAINZ GESANGBUCH of 1661 or 1870. It is from this collection of German songs that the melodies for To Jesus Christ Our Sovereign King and the Stabat Mater (At the Cross Her Station Keeping) are found. Another source is the CATHOLIC YOUTH’S HYMNAL compiled by Benjamin Hamma (1831-1911) and published by J. Fischer & Bro., of New York in 1891. Benjamin Hamma was a German composer and teacher with a number of hymns, choral pieces, and Mass settings to his credit. This melody is used in other Catholic hymnals for the hymns I’ll Sing a Hymn to Mary and I’ll Sing to Thee, O Mary. An examination of these arrangements did not reveal a composer’s name and it was found that only a few measures from each arrangement appear to be the same, suggesting a common melody which has been altered over time.

Mediator Dei Hymnal, 1955
Mediator Dei Hymnal, 1955

Reflection

There are two melodies that I learned while singing in St. Mary’s Choir (1977-2010), the traditional melody (Ellacombe) found in St. BASIL’S HYMNAL, 1918 and the melody found in the SUNDAY SCHOOL HYMN BOOK, 1907 by the Sisters of Notre Dame, captioned Our Lady of the Rosary. In the poetic imagery we can clearly see that our Pater’s and Ave’s recited with each bead we say are likened to roses in garlands, very poetic indeed since the beads of the rosary are strung together like a wreath. The help and grace we receive from praying the rosary are not to be trifled with or scoffed at, for the rosary has brought many souls to Christ.

As I was taught, each decade of the rosary is a journey in the sacred life of Jesus and every bead like a step toward Calvary. In singing this hymn, I have come to believe the author intended the words We gather to thine honor, buds white, and red and gold as symbols of the mysteries themselves. The Joyful mysteries are white roses, and Sorrowful mysteries are red roses, and the Glorious and Luminous mysteries gold roses.

It’s amazing to me that some of our best devotional hymns were written by converts to the Catholic Faith. At St. Mary’s when I sang in the choir, we would sing this hymn before Mass, at Offertory or as a second recessional. The Catholic Church celebrates the feast of Our Lady of the Rosary on October 7, let us sing this hymn once again during the month of October in honor of Our Lady of the Rosary and make it part of our parish repertoire.

A special thank you to Peter Meggison producer of the Devotional Hymns Project for allowing me to link to the choir of Blessed Sacrament Church in Providence, Rhode Island. Five of the melodies listed above are beautifully woven together producing a wonderful and truly uplifting recording.

Also, to Noel Jones, AAGO in granting permission to link to A Catholic Book of Hymns with 295 time-honored traditional Catholic hymns, including two arrangements of O Queen of the Holy Rosary. This is a wonderful collection of hymns with text approved, having the IMPRIMATUR from the Roman Catholic Church in the Diocese of Covington, Kentucky, which make them perfectly suited for Mass and devotions.

Listed below are computer generated sound files. The tempo is approximate but should provide the listener a good sense of what the hymn sounds like. All the hymns are in the public domain. Music directors, organist, and choirmasters, if you use any of these selections in your Sunday or weekly music programs and you make a recording, contact the author and I will feature your recording and choir in the What’s New section of the website. 

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Immaculate Mary

Immaculate Mary

The author of this hymn is not known. The verses that we sing today are thought to be a translation of a French hymn originally authored by Abbot Jean Gaignet (1839-1914) in the 1870s. An interesting article appeared in the Catholiques en Vendee, a diocesan bulletin of Luçon, France in 2015. In summary the article recounts the events of the 140th anniversary of the Vendée pilgrimage to Lourdes and how the Abbot Gaignet authored the hymn.

Abbot Jean Gaignet was a professor at the Major Seminary of Luçon when he wrote the Salut d’arrivée, a sort of greeting to Mary. This hymn was dedicated to the Virgin Mary and consisted of eight verses intended for Vendée pilgrims going to the Grotto of Lourdes. The hymn became an immediate success and was loved by all the faithful. The Bishop of Luçon then asked Abbot Gaignet to write a long version which would describe all the apparitions of the Virgin at Lourdes and would accommodate the lengthy procession of pilgrims.

Accordingly, he wrote sixty-eight verses which recount all the apparitions of the Lady of Lourdes. The Salut d’arrivée or Arrival Greeting then became the le chapelet de Notre-Dame de Lourdes, meaning, the rosary of our Lady of Lourdes. This composition received the Imprimatur of the Bishop of Luçon and the Bishop of Tarbes.

Each country and culture have produced their own version of the verses. These variations can be found in different regions of a country, its population, from town to town, from village to village, or across a span of time. (see below) Some follow the apparitions of Lourdes while some are expressions of our devotion to Mary Immaculate, and still others are petitions or a combination of all three.

French,  Massabieille 1870s

La terre à Marie

disait le salut

La Vierge bénie

Soudain apparut

Chorus

Ave, Ave, Ave, Maria!

Ave, Ave, Ave, Maria!

 

Une enfant candide,

Au souffle du ciel

Regarde timide

Au roc Massabiel

(Chorus)

Celeste et bénigne,

La Dame à  l’enfant

Sourit et fait signe

De son front brillant

(Chorus)

Bernadette émue

A genoux tombait

L’enfant ingénue

Prit son chapelet

(Chorus)

Plus twenty-three more verses

Source: Les Echos De Massabieille Chants Populaires De Lourdes, 1872

England & U.S., 1898 – 1950s

Immaculate Mary!

Our hearts are on fire,

That title so wondrous

Fills all our desire !

Chorus

 Ave, Ave, Ave, Maria!

Ave, Ave, Maria!

 

We pray for God’s glory,

May His Kingdom come

We pray for His Vicar,

Our Father, and Rome.

(Chorus)

We pray for our Mother,

The Church upon earth,

And bless, sweetest Lady,

The land of our birth

(Chorus)

O Mary! O Mother!

Reign o’er us once more

Be all lands* thy dowry

As in days of yore.

(Chorus – *England)

Plus twelve more verses

Source: Catholic Hymns, 1898

1950s – Today

Immaculate Mary,

Your praises we sing,

You reign now in heaven

With Jesus our King

Chorus

Ave, Ave, Ave, Maria!

Ave, Ave, Maria!

 

In heaven the blessed

Your glory proclaim

On earth we your children

Invoke your fair* name

(Chorus – *sweet)

We pray for our Mother,

The Church upon earth

And bless, Holy Mary,

The land of our birth

(Chorus)

No more verses

Source: Breaking Bread, 2023

Despite the wide spectrum of verses, what remains traditional to the hymn are the Ave’s. And yet, even among the Ave’s there are differences. In some countries and cultures we have a refrain of six Ave’s, while in our missalettes and pew missals today we have only five Ave’s. There also exists somewhat of a controversy regarding the musical accent given to the Ave.

On an aside, it has been suggested that the hymn text we sing today for Immaculate Mary was taken from or is a replacement for another hymn Hail, Virgin of Virgin’s Thy Praises We Sing, written by Father Jerimiah Cummings in 1860 for the Feast of the Assumption. This hymn appeared in his hymn book SONGS FOR CATHOLIC SCHOOLS. Only in the first line of text can it be shown that there is any similarity. Like many of the hymns that honor Our Blessed Mother, Hail, Virgin of Virgin’s was removed and largely forgotten except by a few hymn researchers, hymnologist, and vintage organist. To learn more about this wonderful Marian hymn click on the links in this paragraph and visit The Devotional Hymns Project website and listen to a newly commissioned recording.

The earliest appearance of the hymn in English that we know as Immaculate Mary is found in the PAROCIAL HYMN BOOK published in 1897. It is captioned a Hymn in honor of our Lady of Lourdes, and the first line of text is Immaculate Mother, we come at thy call. This hymn book was compiled by Father Anatole Police, S.M., a Marist priest. He published two earlier editions of the PAROCHIAL HYMN BOOK in 1881 and 1883 while living in London. The hymn Immaculate Mary or Immaculate Mother does not appear in these earlier editions. Father Police came to Boston in the spring of 1891. (Click on any image to enlarge)

The Parochial Hymn Book, 1897

Immaculate Mary also appeared in CATHOLIC HYMNS published in 1898 in London, England. This hymnal was compiled by Augustus Edmonds Tozer. This collection of hymns was identified by J. Vincent Higginson (aka Cyr De Brant) to be a musical edition of ST. DOMINIC’S HYMN BOOK, with three editions published between 1885 and 1887. St. Dominic’s Hymn Book is a collection containing many older texts by Father Faber, Father Caswall, Father Aylward, Father Stanfield, and others. The hymn Immaculate Mary does not appear in the 1885 edition of St. Dominic’s Hymn Book referenced above. Augustus Edmonds Tozer (1857-1910) was a convert to Catholicism and received his Doctorate from Oxford University and was named a Knight of St. Sylvester for his work in the reform movement in England. His CATHOLIC CHURCH HYMNAL published later was helpful in church music reform in both England and America.

Catholic Hymns, 1898

These early hymn books published by Father Police and Augustus Tozer are particularly significant to the hymn we know today as Immaculate Mary. Both hymns are set to the Lourdes Pilgrim Tune, with similarities in the verses and musical variations in the Ave’s.

Father Police’s version of the hymn quickly faded from the Catholic repertoire whereas, Augustus Tozer’s Immaculate Mary, our hearts are on fire with its five Ave’s would become the standard in Catholic hymn books until the 1950s.

In the 1950s, the hymn text was revised to Immaculate Virgin, thy praises we sing. This revision first appeared in the CANTATE OMNES hymnal published by the Catholic Choirmasters’ Guild of Buffalo, New York in 1952.

Cantate Omnes, 1952

Later, in THE PEOPLE’S HYMNAL compiled and edited by The Hymn Committee of The Theological College in Washington D. C., published in 1955 we learn why the lyrics were changed and the reasoning behind it. Below is an excerpt from the Introduction of that hymnal.

Catholic devotion, as the Church takes care to emphasize, should represent, not what we would wish to feel, but what we actually feel. There is no need for saying our hearts are on fire when really thy are not. This device exalts the emotions at the expense of reason. The whole tradition of Catholic devotion opposes the fabrication of an external devotion with poetic conceits and painfully drawn figures of speech which does not in the least represent our interior dispositions. 

The hymn must express, not what makes its subject so sweet or beautiful alone, but what makes it so holy, magnificent, and lovable, so worth singing to and about. THE PEOPLES HYMNAL strives, therefore, to avoid every meretricious pretense of emotion, and replace this all-too-common hymnology with compilation of hymns meant to arouse a mature, honest, and integrally human response.

In preparation for my HYMN OF THE MONTH, and as part of my research, I conduct a hymn survey from my own collection of Catholic hymnals. You can read more about my methods of research in a special write-up Conducting Hymn Research. This list often times is quite lengthy and to keep page scrolling to a minimum, I have been providing a link to the survey. However, this time I decided to present the survey based on the first line of text from the hymn covering a time period from the hymns first appearance in 1897 to the present day. And so…

The hymn Immaculate Mother, we come at thy call, and low at thy altar, Before thee we fall appeared in the following Catholic hymnals:

  • The PAROCHIAL HYMN BOOK, published in 1897 Boston, and compiled by Father Anatole Police, S.M.
  • The DE LA SALLE HYMNAL, published in 1913 and compiled by the Brothers of Christian Schools of New York.
  • The DIOCESAN HYMNAL PART 2, published in 1926 and compiled by Bishop Joseph Schrembs of Cleveland, Ohio.

The hymn Immaculate Mary, our hearts are on fire, That title so wondrous fills all our desire! appeared in the following Catholic hymnals:

  • CATHOLIC HYMNS, published in 1898 London, and compiled by Augustus Edmonds Tozer.
  • The CATHOLIC CHURCH HYMNAL, published in 1906 and 1933, compiled by Augustus Edmonds Tozer.
  • The CROWN HYMNAL, published in 1913, compiled and edited by Father Leslie J. Kavanagh and James M. McLaughlin. Father Kavanagh was elevated to Monsignor in 1919 and James McLaughlin was partners with James A. Reilly of McLaughlin & Reilly music publishing company.
  • The BOOK OF HYMNS with TUNES, published in 1913 London and New York, and edited by Father Samuel G. Ould, O.S.B. and William Sewell.
  • The ST. BASIL’S HYMNAL from 1918 thru 1953 and compiled by the Basilian Fathers of Toronto, Canada.
  • The ST. MARY’S HYMNAL, published in 1924 and 1944-1950 New York, compiled by Christian Zittel.
  • SELECT HYMNS, published in the 1930s, text only and references the CROWN HYMNAL.
  • The GLORIA HYMNAL, published in 1933, was compiled by the Basilian Fathers.
  • The ORDINARY OF THE MASS and a COMPLETE MANUAL OF HYMNS, published in 1933 Philadelphia, text only.
  • SING TO THE LORD – A COLLECTION OF CATHOLIC HYMNS AND PRAYERS, published in 1946 Boston, and compiled by Archbishop Richard Cushing, D.D., introduction of a new refrain in English in addition to the traditional Ave’s.
  • The HOLY NAME HYMNAL, published in 1947 and compiled by Father J. J. McLarney, O.P., uses the same English text for the refrain as well as the traditional Ave’s as found in SING TO THE LORD.
  • The MANUAL OF HYMNS FOR CATHOLIC SCHOOLS, published in 1948 was compiled and edited by The Voshardt Press, text only. The hymns are taken from St. Basil’s, St. Gregory, Cantate Domino, Catholic Church, and the American Catholic Hymnal.
  • The JUBILEE HYMNS BOOK II, published in 1949 Toronto and edited by Father James E. Ronan. Father Ronan was later elevated to Monsignor.
  • The MONASTARY HYMNAL, published in 1954 Boston and compiled, edited, and arranged by Achille P. Bragers.
  • The MEDIATOR DEI HYMNAL, published in 1955 by the Gregorian Institute of America and compiled by Cyr De Brant – a pseudonym for J. Vincent Higginson.
  • The PARISH HYMNAL, published in 1957 by the Gregorian Institute of America.
  • The CATHOLIC CHAPEL HYMNAL, published from 1944 thru 1968 compiled by Edward Grey and Edward Curry.
  • The ST. ANDREW HYMNAL, published in 1964 and authorized by the Archbishop’s of Scottland for the use in the Scottish Dioceses.
  • The CATHOLIC HYMNAL & SERVICE BOOK, published in 1966, part of the Benziger Editions with approval by the Commission on Church Music, Archdiocese of New York.
  • The CATHOLIC BOOK OF HYMNS & CHANTS, published in 2020 by the Sacred Music Library.

The hymn Immaculate Virgin, thy praises we sing, Who reignest in splendor with Jesus our King, and Immaculate Mary, thy praises we sing, Who reignest with Christ, our Redeemer and King appeared in the following Catholic hymnals:

  • The CANTATE OMNES published in 1952, was compiled and published by the Catholic Choirmasters’ Guild from Buffalo, New York
  • The PEOPLE’S HYMNAL, published in 1955, compiled by The Hymn Committee of The Theological College in Washington, D.C., printed by World Library of Sacred Music
  • The NEW ST. BASIL HYMNAL, published in 1958, was compiled by the Basilian Fathers and printed by Willis Music Company in Cincinnati, Ohio
  • The BVM HYMNAL, published in 1961, is the Official Hymn Book of the Sisters of Charity of the Blessed Virgin Mary from Dubuque, Iowa. Distributed by the Gregorian Institute of America.
  • The ADOREMUS HYMNAL, published in 2011, compiled by the Adoremus Society of the Renewal of the Sacred Liturgy, with approval by the Committee on Divine Worship United States Conference of Catholic Bishops.

The hymn Immaculate Mary, your praises we sing, You reign now in splendor with Jesus Our King and Immaculate Mary, your praises we sing, You reign now with Jesus, Our Savior and King appeared in the following Catholic hymn books.

  • OUR PARISH PRAYS AND SINGS, published in 1973 by the Liturgical Press, St. John’s Abbey, Collegeville, Minnesota.
  • The CATHOLIC HYMNAL – Hymns for Liturgical Celebration, published in 1974 by Our Sunday Visitor.
  • GLORY & PRAISE, published in 2001 by Oregon Catholic Press.
  • The CHORAL COMPANION, published in 2006 by World Library Publications.
  • GATHER HYMNAL 3rd edition, published in 2011 by the Gregorian Institute of America

The Melodies

In my quest to find the origin of the melody, I came across a few interesting stories. One story indicates the melody comes from the mountainous region of Southwestern France known as the Pyrenees, and it was brought back to Luçon, France by the French Catholic priest Abbot Jean Gaignet (1839-1914). In this account, Abbot Gaignet went on a retreat after learning two of his brothers were killed in the Franco-German war of 1870. While there he heard the melodies and brought them back when he returned to his priestly duties. This Pyrenean melody became the traditional melody we know today as the Lourdes Pilgrims’ Tune.

Another story takes us to the small town of Berlaar, Belgium where it is said the melody was composed by Constant Verhulst (1838-1923) in 1857, for a Feast of Mary in Berlaar, a year before the apparitions of Lourdes. After the apparitions, a nun in Berlaar wrote the words to a song te Lourdes op de bergen meaning in Lourdes on the mountain to the tune of Constant Verhulst. I haven’t been able to verify that Constant Verhulst composed the melody but only that the song uses the traditional Lourdes Pilgrim tune.

A different story suggests the melody was borrowed from a hymn composed by Fr. Louis Lambillotte, S. J., in 1842, and references his CHOIX DE CANTIQUES SUR DES AIRS NOUVEAUX, but does not indicate which hymn. Father Lambillotte (1796-1855) was a French Jesuit priest who composed several melodies that are still used today including: On This Day O Beautiful Mother; Come Holy Ghost, Creator Blest; ‘Tis the Month of Our Mother; Panis Angelicus; Mother Mary, at Thine Altar, and many more.

Somewhat of controversy exists regarding the famous refrain Ave, Ave, Ave Maria! In my small collection of French hymnals, the refrain contains six Ave’s. In the United States, five Ave’s in the refrain has been the standard for over 120 years. The origin of the five Ave’s can be traced back to Tozer’s CATHOLIC HYMNS, 1898. He was the first to alter the refrain of melody by giving the Latin Ave its proper accent. Some feel this revision removes the folk quality of the French Avé.

Reflection

I grew up singing Immaculate Mary, thy praises we sing, You reign now in splendor with Jesus Our King. I will probably always remember it with those words. But I also like the words of the hymn that was used by my parents and grandparents Immaculate Mary, our hearts are on fire, That title so wondrous fills all our desire!

I presented the reasoning why the words were changed, but I question whether there was any wisdom in that choice. Afterall, the apostle’s on the road to Emmaus declared, We’re not our hearts burning inside us as he talked to us on the road and explained the Scriptures to us (Luke 24:32).

I wonder if the apostle’s hearts were really on fire or if they chose to exalt their feelings at the expense of reason.

Father Anatole Police, S.M.

I recently received new information from the archivist for the Society of Mary, U. S. Province on Father Anatole Police, S.M., who compiled and edited the PAROCHIAL HYMN BOOK here in America and in England between 1881 and 1897. Father Anatole Police was born in 1834 in the diocese of Bayeux (Calvados), France. He professed his vows in 1861 and was ordained in the same year at Belley, France.  He spent twenty-six years at St. Anne’s in London, England and the last seven years of his life at Our Lady of Victories in Boston. MA.

His French colleagues considered him more English than French. He completed the work on the upper Church of Our Lady of Victories at the death of Father Firmin Coppin (1838-1891). Father Anatole was an accomplished musician and was responsible for the acquisition of the original organ, a Hook and Hastings Opus #1531 that was installed in 1892. The original organ would be replaced by a Casasvant Opus #1484 in 1933. Nothing was retained of the Hook and Hastings organ except for the pipe work and its entire case. The Casavant organ was still in use in 1986.

Our Lady of Victories - Hook and Hastings Organ, 1915
Courtesy of The Devotional Hymns Project

The work on the upper church of Our Lady of Victories began in the spring of 1891, but at the same time, Father Coppin, although only 53, became seriously ill and had to allow Father Police who had recently arrived from London, to take charge. The work of construction on the upper church went on through the summer and was finally finished in November. But Father Coppin was not there to see it. A month before, on October 16, 1891, he died.

Father Police, who had been in charge during the illness of Father Coppin, remained as administrator until the new pastor arrived. This would be Father Descreux, who came in August, 1892. After the arrival of Father Descreux, Father Police stayed on as assistant for another six years, till his death in 1898 at the age of almost 64.

Father Police was an outstanding musician and editor of the American PAROCHIAL HYMN BOOK which was published in 1897. He also was the editor of the Manuel de Cantiques et Chants Religieux published in Boston in 1893 and it is thought that this is a French edition of the Parochial Hymn Book. In my examination of this French collection I found a few hymns with popular melodies. For example:

  • Regina Coeli composed by M. Labat. This arrangement of Regina Coeli appeared in the St. Basil Hymnals from 1891 thru 1918. I sang this with St. Mary’s Choir in the 1980’s.
  • Another hymn, L’AMOUR DU COEUR DU MARIE uses the same melody as the hymn To Jesus’ Heart All Burning, with fervent love for all men composed by Wm. J. Maher.
  • Adeste Fideles, although the French hymn is captioned CE PETIT ENFANT EDT NOTRE DIEU, ADORONS LE which loosely translates to This Little Child is Our God, Lets Worship Him.
  • The Ave Maris Stella, with Latin text and a melody by Father Louis Lambillotte, S.J.
  • LA PENTECÔTE, ESPRIT-SAINT, DESCENDES EN NOUS, to the melody for Come Holy Ghost, Send Down Those Beams.
  • There is a section of Benediction hymns and Litanies common to most Catholic hymnals of that time period with Latin text and traditional melodies.

Father Police was widely known in Boston for his devotion to the ministry of confessions, and for his establishment of the English-speaking confraternity of the Third Order of May. He was loved by his parishioners, and all who knew him. His winsome ways encouraged co-operation in the task of embellishing the newly constructed upper church. During his brief year as administrator many finishing touches were added.

The exterior statues of Our Lady of Victories were put on the facade, donated by Caroline Aubry. The statues of Our Lady of Victories and most others in the upper church were imported from France. In 1892, the three altars were erected in the upper church: the main altar being donated by Mr. Louis P. Ober; that of the Blessed Virgin Mary, by Mr. Lomer Lahaise; and that of the Sacred Heart by Mrs. John Dean. 

Father Police died in April of 1898, at the Carney Hospital in Dorchester, MA, at the age of nearly 64, He is buried at Holy Cross Cemetery in the Clergymen’s section as Anatole Palici in Malden, MA.

Sadly, Our Lady of Victories Church was permanently closed in 2016.

Our Lady of Victories - Upper Church ca. 1960
Courtesy of The Devotional Hymns Project
Our Lady of Victories - Basement Church
Courtesy of The Devotional Hymns Project

A special thank you to Peter Meggison, producer of The Devotional Hymns Project for the post cards of Our Lady of Victories which show the original Hook and Hastings Organ, the upper church and the lower basement church.

Jesus, Teach Me How To Pray

Jesus, Teach Me How To Pray

The words of this hymn were written by a Sister of Mercy from the Convent of Charleville, County Cork, Ireland. We know her only as Sister M. B. Her hymn first appeared in EASY HYMNS AND SONGS compiled by Father Henry Formby and published by Burns and Lambert of London in 1853. A musical edition of this collection was also published, and one would be extremely fortunate to have a copy. The melody found in the musical edition is a Suabian Air. (Click on any image to enlarge)

Easy Hymns and Sacred Songs, 1853
Easy Hymns and Sacred Songs, 1853
Easy Hymns and Sacred Songs, 1853
Easy Hymns and Sacred Songs, 1853
Easy Hymns and Sacred Songs, 1853
Easy Hymns and Sacred Songs, 1853

Information provided by the archivist of the Charleville convent indicates there were two sisters from that period that might be the author. From the Charleville Community there is Sister Mary Baptist Keating (1823-1863). Catherine Keating was born in Cahir, County Tipperary in Ireland to her parents Patrick and Cathrine in 1823. She entered the convent on September 26, 1855 and was professed April 13, 1858. From the annals of the Charleville convent provided by the archivist we are given the following account:

Sister Mary Baptist Keating was remarkable for many virtues, but for two in particular, to a degree uncommon even in religious communities. These were confidence in God and charity. She seemed never to waver in a steady faith that she would go to heaven when she died and straight. No lecture from the most ascetic writer, no meditation on the purgative way from the keenest Jesuit that ever addressed us in retreat, were able to shake for an instant that deep-rooted confidence or to throw one shade of fear over her face. Her charity was equally remarkable, no matter who was accused, saint or sinner in much or in little. Sr. M. Baptist always had their excuse ready, and we fancied that her features had a look of pain until politeness allowed her to reply and offer her excuse and this was generally so natural and simple that one felt quite satisfied with it.

The circumstances of her last moments were also remarkable. About an hour or two before she died, she called Rev. Mother to her and desired her to put her arm under her head that she might feel she was there for her and that she might die soon. Rev. Mother did so and whispered, Have you the same confidence in your good God that you always had? O, the very same, she said, the greatest confidence. In a little while after we thought she was dying and put the candle in her hand and knelt. After a while she opened her eyes and said, smiling, I thought too I was dying but I won’t for a little while – the moment I see God I’ll die. She allowed Rev. Mother to withdraw her arm but soon motioned her to post again and, Rev. Mother remembers she said, Stay there. I will surely die now. My Jesus…  She stretched her feet, closed her mouth and eyes, and died. Sister Mary Baptist Keating died on March 25, 1863 and is buried at the Convent Cemetery in Charleville.

Another likely candidate is Sister Mary Francis Bridgeman (1813-1888), she was a pioneer of the Sisters of Mercy in the Crimea who made many foundations in Ireland and abroad and was forever writing, she is from the Kinsale Community. From the annals of the Kinsale convent we are given the following account:

She began her nursing experience at a Limerick cholera hospital during the 1832 epidemic, and by 1854, she had considerable experience caring for the sick and the poor. She kept an account of her experiences, recording the conditions under which they travelled to the Crimea, the state of the hospitals they worked in, their relationships with the soldiers, medical and military authorities.

All of the sisters mentioned above were acquainted with one another from their time during the Crimean War (1853-1856), as all of them were nurses. The Sisters of Mercy achieved great success as nurses and were recognized by the military commanders for their compassion toward the wounded and their cleanliness of the hospitals during the war effort. Sister Frances Bridgeman, later Mother Francis Bridgeman would work closely with another famous nurse of the Crimean War, Florence Nightingale.

Some of Sister M. B.’s poems became Catholic hymns. Nearly all of them are for children including a Christmas hymn – Heart of the Holy Child, and I Am a Little Catholic, this last hymn would later become, I Am a Faithful Catholic with music attributed to Mozart. She also authored the popular Christmas hymn Oh! Sing a Joyous Carol, which is still being sung today. For now the true identity of Sister M.B. must remain a mystery.

On an aside, another Sister of Mercy from the Charleville Convent who is listed in the index of the hymn book above is Sister M. J. She has been identified as Sister Mary Joseph Croke (née Isabella Croke). She was born in Mallow, County Cork, Ireland in 1825. She was also a nurse during the Crimean War (1854-1856) and kept a journal during the war with entries amounting to over 160 pages. Isabella was a convert to Catholicism and entered the Sisters of Mercy on August 15, 1847, was received on February 22, 1848, and made her vows on April 10, 1850. She wrote poetry, and several became hymns and appeared in Father Formby’s collection of hymns, HYMNS FOR THE YEAR published in 1867, and Westlake’s POPULAR HYMN AND TUNE BOOK published in 1868.

This short narrative on Sister Mary Joseph Croke is taken from the article Sister Mary Joseph Croke – Another Voice from the Crimean War by Mary Ellen Doona.

You might also notice in the index a hymn to St. Patrick by Sister Agnes. The hymn would later become known as Hail, Glorious St. Patrick written by Sister Mary Agnes McSweeny after Ireland had been ravaged by a famine in 1850.

In 1842, Elizabeth (Eliza) McSweeney entered the Convent of Mercy of the Sisters of Mercy in Charleville, Co. Cork, Ireland.  She was a member of this community until she left on a mission in the summer of 1866 to Bathurst in Sydney Australia. Sister McSweeney was one of seven nuns to go to Bathurst along with her cousin Sister Mary Ignatius Croke.

The journey to Australia took three months at sea. Sister McSweeney loved teaching First Holy Communion classes, visiting the sick, the poor and the homes of her students as well as visiting the prisoners in the Bathurst jail. She was known for her remarkable abilities and was well versed in French and English literature, church history and skilled in poetry. Sister McSweeney died at the age of 81 in 1905 and is buried at the convent cemetery in Bathurst. 

EASY HYMNS AND SACRED SONGS FOR YOUNG CHILDREN was a small sized text collection of Catholic hymns compiled by Father Henry Formby (1816-1884). The following biographical details on Father Henry Formby are taken from the Biographical Dictionary of the English Catholics, Vol. 2. pages 309-313, by Gillow, Joseph, 1850-1921.

Henry Formby was born in 1816, the son of Henry Grenehalgh Formby, second son of Richard Formby, of Formby Hall, Lancaster, Esq. He was educated at Clitheroe Grammar School, and from there to the Charterhouse School, and ultimately was admitted into Brasenose College, Oxford. Brasenose College is a constituent college of Oxford University. He received a Master of Arts and took Orders in the Church of England and was appointed vicar of the Ruardean village in Gloucester.

His parish was quite large, and he petitioned to have the parish divided but his plan was opposed by his bishop. This was during the Tractarian Movement which he followed with keen interest. Greatly influenced by the conversion of his friend John Henry Newman, he chose to resign his position in the Church of England and was received into the Catholic Church, at St. Mary’s College, Oscott, January 24, 1846. He passed his theology studies at Oscott and was ordained a priest by Bishop Wareing (1791-1865) the first Roman Catholic Bishop of the Diocese of Northampton, on September 18, 1847.

For a number of years he served at St. Chads, Birmingham, and at Wednesbury. During the later part of his life, about twenty years, he resided at the Dominican Priory of St. Peter, Hinckley, Leicester where he assisted in preparing the novices for the priesthood.

Father Formby was a prolific writer publishing more than forty volumes of Catholic catechetical material. One such example was a three-part series of Catholic Hymns and Songs for the use of Catholic Schools and Families published in 1853. This collection was sold by Burns & Lambert of London as one volume and carried the Imprimatur of Cardinal Wiseman. Part I of this collection is captioned Catholic Hymns. Part II: Sacred Songs, and Part III: Descriptive Songs. Each part has a list of contents, authors, and index of first lines. At the time of publication many of the authors, including Father Faber, Father Caswall, Cecilia M. Caddell, Sister M. J., and Mary E. Leeson were still living and many of the hymns had never before been published.

Catholic Hymns, 1853
Catholic Hymns, 1853
Catholic Hymns, 1853
Catholic Hymns, 1853

In another example, Father Formby published several Bible story books, a series of publications carefully illustrated for use by Catholic families and schools.

Bible Stories by Father Henry Formby, 1855
Bible Stories by Father Henry Formby, 1855
Bible Stories by Father Henry Formby, 1855

Father Formby was the leader in England in producing illustrated catechetical materials for all age groups but most especially the children. He died during a visit to Colonel Worswick who resided at Normanton Hall on March 12, 1884, at the age of sixty-seven. He is buried at St. Joseph’s College, Mill Hill.

Donahoe's Magazine - Boston, June 1884

The hymn Jesus, Teach Me How to Pray,  appeared in a period that produced many hymns for children. Some of Sister M. B.’s hymns found their way into American hymnals including the CATHOLIC CHURCH HYMNAL, 1905 compiled by Augustus Edmonds Tozer; the SUNDAY SCHOOL HYMN BOOK, 1887, 1907 and 1935 compiled by the Sisters of Notre Dame; CROWN HYMNAL, 1913; CLEVELAND DIOCESAN HYMNAL, 1926; OUR LADY OF MERCY HYMNAL, VOL. II, 1927 compiled by the Sisters of Mercy from the Providence, Rhode Island Community and THE ST. FRANCIS PARISH HYMNAL, 1954.  A complete list of hymnals can be downloaded clicking on the following link Jesus Teach Me How to Pray – Hymnal Survey

The Melodies

I found twelve different melodies that have been composed for this hymn. Several of the composers and sources have been identified including Frank N. Birtchnell (1860-1941); Felix Mendelssohn (1809-1847); a Suabian Air; a Sister of Mercy; a Sister of Notre Dame de Namur; Arthur De Meulemeester; a melody from Muenster’s 1866 Gesangbuch, and a melody by Bishop Schrembs (1886-1945) of Cleveland, Ohio. There are four melodies that I could not identify. (Click on any image to enlarge)

The first melody to be used for Jesus, Teach Me How To Pray,  is identified as a Suabian Air. It is found in the musical edition of EASY HYMNS AND SACRED SONGS FOR YOUNG CHILDREN compiled by Father Henry Formby in 1853. It also appears in the CROWN OF JESUS MUSIC compiled by Henry F. Hemy (1818-1888) and published by Thomas Richardson & Sons of London in 1864, and the CROWN HYMNAL, compiled by Msgr. Leslie J. Kavanagh and James M. McLaughlin and published in 1913 by Ginn & Company of Boston.

Monsignor Kavanagh was the Superintendent of Catholic Schools of the Archdiocese of New Orleans and James M. McLaughlin was the organist at St. Mary’s Church in Boston, Massachusetts. James McLaughlin was also Editor of the School Music Department at Ginn & Company, and later Director of Music in the Boston Public Schools, joined with James A. Reilly to form McLaughlin & Reilly Music Company. McLaughlin & Reilly became one of the largest publishers of Catholic Music in America until the 1970s.

Crown of Jesus Music, 1864
Crown of Jesus Music, 1864
Crown Hymnal, 1913
(bottom score)
Crown Hymnal, 1913
(top score)

The second melody appeared in the PAROCHIAL HYMN BOOK’s of 1883 and 1897 compiled by Father Anatole Police, S.M., The Parochial hymn books were published in Dublin, London, and New York. Father Police came to Boston, sometime during the 1890s, and issued the American version in 1897. The Parochial hymn books contained many of his own hymn tunes with references to other hymn collections such as Oratory Hymn Book, the Holy Family Hymn Book, Hymns for the Year, and of the Rev. J. Furniss’ Sunday School Manual; a selection from the Rev. Fr. Stanfield’s and the Rev. W. Maher’s Hymn Books; besides a large proportion of French, Italian, and German melodies.

This melody also appeared in the ST. PAUL HYMNAL of 1915 compiled by the Diocese of St. Paul, Minnesota. None of the hymn books identify the composer.

The Parochial Hymn Book, 1897
(top score)
St. Paul's Diocesan Hymnal, 1915
(bottom score)

The next melody is found in the LAUDATE PUERI published in 1886 by the Sisters of Notre Dame of Cleveland, Ohio. This community of sisters came from Coesfeld, Germany to Cleveland in 1874, at the request of Bishop Richard Gilmour (1824-1981), who was approached by Father F. Westerholt, pastor of St. Joseph’s Church in Cleveland who wished to have the sisters come and teach at St. Joseph’s School. The composer’s name is not given but many of the tunes were taken from Gesangbuchs of Trier, Cologne, Mainz, and Joseph Mohr’s Cecilia. The LAUDATE PUERI is one of the early German oriented collections that used English text with German melodies. 

Laudate Pueri, 1886
Laudate Pueri, 1886

The fourth melody is found in the SUNDAY SCHOOL HYMN BOOK published in 1887, 1907, and 1935 by Oliver Ditson Company. This collection of hymns was compiled by the Sisters of Notre Dame de Namur from the Philadelphia Community. The Sisters of Notre Dame de Namur first arrived in Cincinnati, Ohio in the 1840s and quickly spread across the United States establishing convents, schools, and academies.

When trying to identify Sisters who wrote hymns or composed music, difficulties arise. It was the custom in many religious communities not to give credit to individuals but the whole community. In some rare cases, authorship has been known in a verbal tradition and passed down by Sisters who knew the author or composer. In other cases, authorship has been meticulously reconstructed by hymn researchers. In addition, a photograph of an individual Sister is somewhat rare and yet some photographs were taken, usually in groups. It wasn’t until after the 1960s that this custom began to change.

There is one Sister out of all the Sisters of Notre Dame de Namur who is generally considered the leader in the publication of all the American hymns and songs found in hymn collections. Her name was Sister Aloysius (Josephine) Dorman (1835-1913). I have written about Sister Dorman in a previous the hymn write-up. To learn more, I invite you to read about this wonderful musician by clicking on the following link. Mother Dearest, Mother Fairest.

This melody also appeared in the St. Joseph’s Hymnal compiled by the Sisters of St. Joseph from Nazareth, Michigan published in 1930. Both the 3rd and 6th editions.

Sunday School Hymn Book, 1887, 1907, and 1935
Sunday School Hymn Book, 1887, 1907, and 1935

Frank N. Birtchnell (ca. 1900) composed the fifth melody. This melody appeared in CATHOLIC HYMNS compiled by Augustus Edmonds Tozer (1857-1910) and published by Carry & Co., of London, and The Frederick Harris Co., of Toronto, in 1898. It would also appear in another collection by Tozer in 1905 and 1933, the CATHOLIC CHURCH HYMNAL, published by J. Fischer & Bro., of New York City.

Augustus Tozer was a convert to Catholicism and received his Doctorate from Oxford University and was named a Knight of St. Sylvester for his work in the reform movement in England. His CATHOLIC CHURCH HYMNAL published later was helpful in church music reform in both England and America.

Frank Birtchnell along with Moir Brown, compiled and edited the NOTRE DAME HYMN TUNE BOOK. This hymn collection was published in 1905 by the Rockliff  Brothers, LTD., of Liverpool, England. Several hymn tunes by both men can be found in this collection.

Catholic Hymns, 1898
Catholic Church Hymnal, 1905 and 1933

A sixth melody appeared in the HOLY FAMILY HYMN BOOK compiled by Father Francis J. Butler, a priest of the Archdiocese of Boston in 1904, and published by Thomas J. Flynn & Co. The hymn book contains the words and music of the Hymns found in Butler’s Holy Family Series of Catholic Catechisms, together with the music for Vespers and Benediction of the Most Blessed Sacrament.

Butler’s Holy Family Series of Catechisms was a three-part series for Communion Class, Confirmation Class, and an Advanced Class. In the Preface of the hymn book, it states that The hymn book was compiled mainly for the benefit of Sunday Schools and especially of those schools in which the Holy Family Series of Catechisms was used. The melodies are not new but are approved by long experience as suitable for large bodies of young people. Gratitude is given for the assistance of the Sisters of Mount Saint Joseph’s Academy, Brighton. In this collection, the editors provide several melodies for some of the hymns, and a few indicate the composers name.

Holy Family Hymn Book, 1904

The next melody appeared in the NOTRE DAME HYMN TUNE BOOK compiled by Frank N. Birtchnell and Moir Brown and published in 1905 by Rockliff Brothers, LTD., of Liverpool, England. The melody is attributed to Mendelssohn. I believe this to be Felix Mendelssohn (1809-1874) although the hymn book does not give any additional information. Felix Mendelssohn was a German composer, pianist, organist, and conductor.

The Notre Dame Hymn Tune Book, 1905
The Notre Dame Hymn Tune Book, 1905

The eighth melody appears in three separate hymnals. The PSALLITE, 1907 and 1923; HYMNS FOR THE ECCLESIASTICAL YEAR, 1908; and the SURSUM CORDA, 1925. Information regarding the composer is only vaguely hinted at in the SURSUM CORDA which indicates that Singenberger’s organ book and Mohr’s Caecilia along with other good books on the market were used as resources for the melodies. The PSALLITE ORGAN ACCOMPANIMENT edited by Father Ludwig Bonvin, S.J. (1850-1939), gives specific details indicating that the melody was taken from Johann Singenberger (Herder’sche Verlagshandlung, Freiburg i. Br.) collection.

Psallite Organ Accompaniment, 1923
(middle score)

Arthur De Meulemeester (1876-1942) composed the melody found in the ST. CECILIA’S HYMN BOOK published in Dublin, Ireland by Cahill & Company, Limited in 1911. Arthur De Meulemeester compiled, edited, and arranged the hymn book. He was the organist and choirmaster at the Redemptorist Church of the Most Holy Redeemer in Belfast for most of his life.

This same melody appeared in the third edition of the REDEMPTORIST HYMN BOOK WITH MUSIC ACCOMPANIMENTS published by Burns, Oates & Washbourne in 1955. The first edition was published in 1947, and the second edition in 1951.

St. Cecilias Hymn Book, 1911
(Dublin, Ireland)
Redemptorist Hymn Book, 1955
(top score)

Bishop Joseph Schrembs (1866-1945) composed the tenth melody. He was the Fifth Bishop of Cleveland, Ohio from 1921 to 1945. It appears in the Diocesan Hymnal Part 2 published by J. Fischer & Bro., of New York City in 1928. Bishop Schrembs compiled the Diocesan hymnals which consisted of three books.

  • Part 1 – Communion and Confirmation Hymns, 1926
  • Part 2 – Devotional Hymns, 1928
  • Part 3 – Eucharistic Hymns, 1935

Bishop Schrembs was elevated to the office of Archbishop in 1935 and was the Promoter of the Seventh National Eucharistic Congress and Protector of the Priests’ Eucharistic League in the United States.

His melody was harmonized by Monsignor Peter Griesbacher (1864-1933). The Rt. Rev. Msgr. Peter Griesbacher was responsible for a large number of harmonization’s of the hymns found in the Diocesan Hymnals. He was German born and ordained a priest in 1886. He edited a number of publications of Catholic church music and has composed some forty mass settings, a number of cantatas, various choral works, and organ manuals.

Cleveland Diocesan Hymnal Part 2, 1928
Cleveland Diocesan Hymnal Part 2, 1928
Cleveland Diocesan Hymnal, 1928

Sister Mary Alexis Donnelly, R.S.M., (1857-1936) composed the next melody and it appeared in OUR LADY OF MERCY HYMNAL VOL. II, published by the Sisters of Mercy of Providence, R.I., in 1927. This is the third hymnal compiled by Sister Donnelly during her lifetime. She was recognized by her superiors to be musically gifted. From 1910 to 1916, she served as Reverend Mother of the Providence Community.

Her name and contributions have been forgotten in the history of Catholic musicians. She was a close friend of James A. Reilly, president of the Catholic Music Publishing Company, later McLaughlin & Reilly Company, one of the major publishers and distributor of Catholic music in America. She compiled three hymnals:

  • THE HOLY FACE HYMNAL (1891)
  • OUR LADY OF MERCY HYMNAL (1899
  • OUR LADY OF MERCY HYMNAL VOL. II. (1927)

Many of her compositions were featured in a series of hymn pamphlets which proved to be an enormous success for McLaughlin & Reilly and were sold continually during the company’s existence. You can learn more about Sister Mary Alexis Donnelly and listen to some of her compositions by visiting The Devotional Hymns Project website, and the HYMN OF THE MONTH: Jesus, Keep Me Close to Thee.

Our Lady of Mercy Hymnal Volume II, 1927
Our Lady of Mercy Hymnal Volume II, 1927
Our Lady of Mercy Hymnal Volume II, 1927 (top score)
Our Lady of Mercy Hymnal Volume II, 1927
(top score)

The last melody appeared in the LAUDATE CHOIR MANUAL originally compiled around 1904 by Father Joseph Hohe (d. 1925). The LAUDATE, a German centered collection of hymns with English text, continued as the official choir book for  the Diocese Leavenworth, Kansas when in 1942, Bishop Paul C. Shulte (1890-1984) approved the revised edition prepared by Father Herman Koch and Father Andrew Green, OSB.

The melody is taken from the Gesang-und Gebetbuch, Muenster, 1866. The same melody is used for the German hymn Jesu, Jesu, Komm’ zu mir or the English version Jesus, Jesus, Come to Me also found in the LAUDATE. I could not locate a copy of the Gesangbuch to confirm the composers name.

Laudate Choir Manual, 1942 (bottom score)
Laudate Choir Manual, 1942
(bottom score)
Laudate Choir Manual, 1942 (top score)
Laudate Choir Manual, 1942
(top score)

Reflection

This hymn was extremely popular at St. Mary’s Parish, Akron, Ohio,  where I grew up, especially during daily Mass for the school children and for First Communion. I remember singing this hymn with the choir on many occasions especially for First Communion. I joined St. Mary’s Choir in 1977 and this hymn continued to be used by the parish for nearly thirty years.

The melody I learned to sing is from the Sunday School Hymn Book compiled by the Sisters of Notre Dame De Namur, the fourth melody above. When I started researching this hymn, I was not prepared to encounter so many melodies. It is difficult to say which melody is traditional to the hymn. The Suabian melody was the first melody children sang. But I think the melody that has endured out of all those presented here is by the Sisters of Notre Dame, but of course, I favor the melody I learned.

The hymn reminds me of when the apostles asked Jesus, Lord, teach us to pray. (Luke 11:1) This is a good hymn, with a simple melody which is characteristic of children’s hymns. I can’t tell you how many times I have knelt in prayer, at church or at home and invariably my thoughts are interrupted, or some distraction occurs. Sister M. B. must have been keenly aware of these distracting elements in a child’s life when she writes Suffer not my tho’ts to stray, Send distractions far away.

The fourth verse touches me deeply, Make me love Thy Mother Blest, Safe beneath her care to rest, As a bird within its nest, Sweet, Holy Child. It reminds of another verse from another hymn Mother of Mercy, Day By Day, when Father Faber writes, Get me the grace to love thee more, Jesus will give if thou wilt plead, And, Mother! When life’s cares are o’er, O, I shall love thee then indeed.

The hymn was written for children, but as I grow older, I see the wisdom of Sister M. B.’s words in my own daily life as I am sure you will. Take a moment to reflect on the verses and I think you’ll agree.

A special thank you to Peter Meggison, producer of The Devotional Hymns Project for granting permission to use a newly commissioned recording of Jesus, Teach Me How to Pray, from the Holy Cross Cathedral in Boston.

Below is a play list of the melodies presented above. These are computer generated sound files. The tempo is approximate but should provide the listener with a good sense of what the hymn sounds like. All the hymns are in the public domain. Music directors, if you use any of these selections in your Sunday or weekly music programs and you make a recording, contact the author and I may feature it in the What’s New section of the website. 

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