In his First Epistle to the Corinthians (c 54-55), Paul the Apostle gives the earliest recorded description of Jesus' Last Supper: "The Lord Jesus on the night when he was betrayed took bread, and when he had given thanks, he broke it, and said, 'This is my body which is for you. Do this in remembrance of me. ' "
See also Mark 14:22-25, Matthew 26:26-29, Luke 22:13-20)
Ave Verum Corpus is a short Eucharistic hymn that has been set to music by various composers. It dates from the 14th century and has been attributed to Pope Innocent VI.
During the Middle Ages it was sung at the elevation of the host during the consecration. It was also used frequently during Benediction of the Blessed Sacrament.
The hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-century manuscript from the Abbey of Reichenau, Lake Constance.The poem is a meditation on the Catholic belief in Jesus's Real Presence in the sacrament of the Eucharist, and ties it to the Catholic conception of the redemptive meaning of suffering in the life of all believers.
The text is in Latin, and reads:
Ave verum corpus,
natum ex Maria Virgine,
vere passum, immolatum
in cruce pro homine.
Cujus latus perforatum
vero fluxit sanguine:
Esto nobis praegustatum
mortis in examine.
O clemens O dulcis Jesu pie, fili Mariae.
(Note from Su Min:
note the triple "very"
as in Verum, Vere, Vero)
A translation into English is:
Hail, true Body,
born of the Virgin Mary,
who having truly suffered, was sacrificed
on the cross for mankind,
from whose pierced side flowed the blood:
May it be for us a foretaste [of the Heavenly banquet]
in the trial of death.
O [have] mercy, O sweet Jesus, (O pious [Jesus])
son of Mary.
Phrase by phrase discussion:
1) AVE
Ave is a Latin word, used by the Romans as a salutation and greeting, meaning "hail". It is the singular imperative form of the verb avēre, which meant "to be well"; thus one could translate it literally as "be well" or "farewell".
The Classical Latin pronunciation of ave was [ˈaweː]. In Church Latin, it is ideally [ˈave], and in English, it tends to be pronounced /ˈɑːveɪ/.
The term was notably used to greet the Caesar or other authorities.
In Saint Luke's Gospel 1:28 is the greeting of the Angel Gabriel to Mary, originally written in Koine Greek. The opening word of greeting, χαῖρε, chaíre, here translated "Hail," literally has the meaning "rejoice" or "be glad." (from this we get Cherio”. This was the normal greeting in the language in which Saint Luke's Gospel is written and continues to be used in the same sense in Modern Greek. Accordingly, both "Hail" and "Rejoice" are valid English translations of the word ("Hail" reflecting the Latin translation, “Ave” and "Rejoice" reflecting the original Greek).
Ave = Hail= Greetings = Salutations = Hello (respectfully)
2) VERUM CORPUS
Corpus is body, verum is true,
verum corpus = true body
the "true" is tied to the doctrine of transubstatiation in contrast to to the Protestant view that the bread is symbolic of Christ's body rather than, as an element of the Lord's supper his true body.
3) NATUM EX MARIA VIRGINAE
Natum = born
ex = from
Maria= Mary
Virginae = virgin
natum ex Maria Virgine = born of the virgin Mary
4) VERE PASSUM
vere = truely
passum = suffered
vere passum = truely suffered
5) IMMOLATUM
immolatum = was sacrificed
6) IN CRUCE
In = on
cruce = cross
in cruce = on the cross
7) PRO HOMINE
Pro = for
Homine = mankind
pro homine = for all mankind
8) CUJUS LATUS PERFORATUM
Cujus = pronoun for "whoes"
latus = (think latitude, think latissimus dorsai) side, flank
perforatum = (think.. perforate)
= was pierced
Cujus latus perforatum = whoes side was pierced
9) VERO FLUXIT SANGUINE
Vero = certainly, in truth
fluxit = (think fluid)
= flowed
sanguine = blood
vero fluxit sanguine = certainly flowed blood.
10) ESTO NOBIS PRAEGUSTATUM
Esto= be
nobis = us
praegustatum = (from praegusto, to eat beforehand)
= a foretaste
Esto nobis praegustatum= let it be for us a foretaste
11) MORTIS IN EXAMINE
mortis = death
in examine = the agony/ trial
mortis in examine = in the agony of our death
12) O CLEMENS, O DULCIS JESU PIE
Clemens = have mercy
Dulcis = Sweet
Pie = the vocative of the word pius ("pious", "dutiful to one's parent or God")
O clemens O dulcis Jesu pie,
= Have mercy, Sweet Jesus, Pious One
13) FILI MARIAE
Fili= Son
Marea = Mary
fili Mariae = son of Mary.
Andre de Winne helped out like this:
On 15 Feb, 2014, at 19:54, ANDRE DE WINNE <ajm.de.winne@outlook.com> wrote:HiThe translation you quoted, Su Min, is a bit poetic.Most literally it goes:Ave verum corpus, natum Hail, true body, bornde Maria Virgine, of the Virgin MaryVere passum, immolatum who truly suffered,In cruce pro homine, sacrificed on the cross for man(kind);Cuius latus perforatum out of whose pierced sideFluxit aqua et sanguine, flowed water and blood;Esto nobis praegustatum Be for us a foretasteIn mortis examine. in the trial of deathO Iesu dulcis, O Iesu pie, O sweet Jesus, O faithful JesusO Iesu, fili Mariae! O Jesus, son of MaryNow the context/history. This dates from the 14th century, is attributed to Pope Innocent VI, but has been traced to a poem in a manuscript of the abbey of Reichenau on Lake Boden.By this time the Catholic doctrine of transsubstantation had been developed, which means that the Catholic church teaches that the bread and wine truly and really become the actual body of blood of Jesus, in the consecration part of the Mass, even though they still look like bread and wine. The Reformers (Luther, Calvin...) later rejected this doctrine.The implication is that the host (=the consecrated bread) becomes a focus of worship because it "is" (not just represents) the body of Christ.So the practice grew of the adoration of the host, and in the mass special music was developed to accompany the crucial moment in the ritual when the priest lifts up the consecrated host for the congregation to see and to adore. This is called the elevation of the host, and is still part of the catholic mass even after the changes introduced by Vatican II (1965).Also note that the Catholic church has seven sacraments, and one of the seven is the anointing of the sick with oil, but this also involved bringing communion (bread/host only) to the sick person. The tradition grew that this was only administered to the dying. So the host would be thought of as strengthening the suffering person in his/her last hours before death and be a foretaste of the beatific vision of Christ Himself once the believer has passed into God's presence.So.... when we sing this we are really affirming a core Catholic belief! But that does not mean - in my mind - that this should be banned from a Methodist choir's repertoire . . . .Best greetingsAndre & Cathy De Winne22 Avenue Aristide BriandF - 34120 PEZENASFRANCE+33 (0)4 67 39 25 96
http://cnx.org/content/m20330/latest/
Latin Pronunciation
Ave verum Corpus natum Ah-veh veh-room Kawr-poos nah-toom
de Maria Virgine Deh Mah-ree-ah Veer-gee-neh
Vere passum, immolatum Veh-reh pahs-soom, eem-maw-lah-toom
in cruce pro homine een kroo-cheh praw aw-mee-neh
Cujus latus perforatum Koo-yoos lah-toos pehr-fawr-ah-toom
fluxit aqua et sanguine floo-kseet ah-koo-ah eht sahn-gooee-heh
Esto nobis praegustatum Ehs-taw naw-bees preh-goo-stah-toom
mortis in examine mawr-tees een ehgs-ah-mee-neh
O Jesu dulcis! O Jesu pie! Aw Yeh-soo dool-chees! Aw Yeh-soo pee-eh!
O Jesu fili Mariae Aw Yeh-soo fee-lee Mah-ree-eh
http://www.churchmusicinstitute.org/ave-verum-by-edward-elgar-op-2-no-1/
Ave Verum by Edward Elgar, Op. 2, No. 1
(Download links are at the end of the review.)
There are many appropriate anthems that commemorate the Last Supper and the words of Christ as quoted in 1 Corinthians 11:23-26: This is my body which is for you. This cup is the new covenant in my blood. For as often as you eat this bread and drink the cup, you proclaim the Lord’s death until he comes.
Possibly the most historic text associated with this scripture comes from the 14th century, a communion hymn known by its Latin title Ave Verum (Corpus). As all church music at the time used Latin texts, this anthem can be sung in its original language or in an English translation (Jesu, Word of God Incarnate). If the Latin is sung, an English translation should be given in the bulletin for the congregation to read.
Responsive to the familiarity of this text and the truths it so poignantly expressed, composers of many nationalities and time periods have set it to music. The most famous setting is by Wolfgang Amadeus Mozart (K. 618) in the 18th century. Other settings are by Orlando Lassus, William Byrd, Franz Liszt, Camille Saint-Saens, Alexandre Guilmant and numerous composers from the 20th century, including Malcolm Arnold, Imant Raminsh, Stephen Harrap, and Michael Sitton.
English composer Edward Elgar (1857-1934) has the simplest and most beautiful of all the settings and it is not to be missed: Ave Verum by Edward Elgar, Op. 2, No. 1, 1887, revised 1902, Anthem for SATB voices with keyboard accompaniment.
This composition can be sung by any sized choir, may be downloaded free from CPDL because it is in the public domain, and is appropriate for Maundy Thursday, Good Friday, or any Communion service. If this text has never been heard by your congregation, the upcoming Maundy Thursday service is the perfect occasion to introduce it. Think, for a moment, how fortunate we are as 21st-century Christians to be able to sing a text that has been sung by the saints for six centuries. Is this not a remarkable and humbling experience to join with saints past and present in celebrating the Eucharist through this text?
If you are not familiar with the anthem’s text, it reads: Jesu, word of God incarnate, of the Virgin Mary born, on the cross thy sacred body for us with nails was torn. Cleanse us, by the blood and water streaming from thy pierced side. Feed us with thy body broken, now, and in death’s agony. O Jesu, hear us, son of Mary.
Elgar’s musical setting is in A B Coda form. A soprano soloist (or all female voices) sings the first phrase of text with melody and text repeated by the choir in a simple, SATB chordal version. The B section (Cleanse us) follows the same format: soloist followed by repetition of music and text by choir. The Coda is only six measures long and begins O Jesu. Elgar uses a simple antiphonal effect between sopranos/tenors and altos/basses to begin the Coda and ends the section with four-part chords (Son of Mary) that are lush, chromatic, and movingly expressive of the text. The vocal range of the piece is very modest, and the dynamic level is mostly very quiet and expressive. The 39-measure composition is accompanied throughout by sustaining chords in the keyboard.
There is a 1986 published version of Elgar’s anthem edited by Philip Brunelle for Boosey & Hawkes. This version and most of the other settings by the composers previously mentioned, can be found in the CMI eLibrary. (Find Scriptural, Lectionary, and Liturgical References along with other data on the CMI eLibrary online catalogue for these anthems.)
The good news is Elgar’s beautiful setting of the anthem can be downloaded from CPDL (Composer’s Public Domain Library) free of charge! The CPDL version (also found in the eLibrary catalogue) is edited by Toby Wardman (#10009), is identical to the Brunelle edition. You can download the PDF for free from the CPDL website (links below). There is no excuse for failing to sing this anthem!
Download PDF
Go to CPDL page
You are now ready to introduce this wonderful little gem to your choir and discover the spiritual rewards it offers. May blessings abound as you find a place for it in your worship experience!
Robert C. Mann, D.M.A.
Resource Library Director
Church Music Institute
Ave Verum by Edward Elgar, Op. 2, No. 1
(Download links are at the end of the review.)There are many appropriate anthems that commemorate the Last Supper and the words of Christ as quoted in 1 Corinthians 11:23-26: This is my body which is for you. This cup is the new covenant in my blood. For as often as you eat this bread and drink the cup, you proclaim the Lord’s death until he comes.
Possibly the most historic text associated with this scripture comes from the 14th century, a communion hymn known by its Latin title Ave Verum (Corpus). As all church music at the time used Latin texts, this anthem can be sung in its original language or in an English translation (Jesu, Word of God Incarnate). If the Latin is sung, an English translation should be given in the bulletin for the congregation to read.
Responsive to the familiarity of this text and the truths it so poignantly expressed, composers of many nationalities and time periods have set it to music. The most famous setting is by Wolfgang Amadeus Mozart (K. 618) in the 18th century. Other settings are by Orlando Lassus, William Byrd, Franz Liszt, Camille Saint-Saens, Alexandre Guilmant and numerous composers from the 20th century, including Malcolm Arnold, Imant Raminsh, Stephen Harrap, and Michael Sitton.
English composer Edward Elgar (1857-1934) has the simplest and most beautiful of all the settings and it is not to be missed: Ave Verum by Edward Elgar, Op. 2, No. 1, 1887, revised 1902, Anthem for SATB voices with keyboard accompaniment.
This composition can be sung by any sized choir, may be downloaded free from CPDL because it is in the public domain, and is appropriate for Maundy Thursday, Good Friday, or any Communion service. If this text has never been heard by your congregation, the upcoming Maundy Thursday service is the perfect occasion to introduce it. Think, for a moment, how fortunate we are as 21st-century Christians to be able to sing a text that has been sung by the saints for six centuries. Is this not a remarkable and humbling experience to join with saints past and present in celebrating the Eucharist through this text?
If you are not familiar with the anthem’s text, it reads: Jesu, word of God incarnate, of the Virgin Mary born, on the cross thy sacred body for us with nails was torn. Cleanse us, by the blood and water streaming from thy pierced side. Feed us with thy body broken, now, and in death’s agony. O Jesu, hear us, son of Mary.
Elgar’s musical setting is in A B Coda form. A soprano soloist (or all female voices) sings the first phrase of text with melody and text repeated by the choir in a simple, SATB chordal version. The B section (Cleanse us) follows the same format: soloist followed by repetition of music and text by choir. The Coda is only six measures long and begins O Jesu. Elgar uses a simple antiphonal effect between sopranos/tenors and altos/basses to begin the Coda and ends the section with four-part chords (Son of Mary) that are lush, chromatic, and movingly expressive of the text. The vocal range of the piece is very modest, and the dynamic level is mostly very quiet and expressive. The 39-measure composition is accompanied throughout by sustaining chords in the keyboard.
There is a 1986 published version of Elgar’s anthem edited by Philip Brunelle for Boosey & Hawkes. This version and most of the other settings by the composers previously mentioned, can be found in the CMI eLibrary. (Find Scriptural, Lectionary, and Liturgical References along with other data on the CMI eLibrary online catalogue for these anthems.)
The good news is Elgar’s beautiful setting of the anthem can be downloaded from CPDL (Composer’s Public Domain Library) free of charge! The CPDL version (also found in the eLibrary catalogue) is edited by Toby Wardman (#10009), is identical to the Brunelle edition. You can download the PDF for free from the CPDL website (links below). There is no excuse for failing to sing this anthem!
You are now ready to introduce this wonderful little gem to your choir and discover the spiritual rewards it offers. May blessings abound as you find a place for it in your worship experience!
Robert C. Mann, D.M.A.
Resource Library Director
Church Music Institute
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