This is the demeanor and approach of the faithful as they enter the Presence of Our Lord in the tabernacle throughout the world in His temples. Alleluia.
The title of this one caught my eye, as there is in the Byzantine chant repertoire a hymn that starts out the same ('Let all mortal flesh keep silence' in English). Though the rest of the text diverges, so they are clearly not the same hymn at all, there are some commonalities in the content and even their respective modes are not that far apart. I imagine the liturgical use of this setting is different in any event. I like this one, it's quite interesting.
It's the words used in the Roman Rite. It's based on the original text from the Liturgy of St. James, which we have a common heritage. It was translated and paraphrased, and set to a French folk tune about 300 years ago, and is in common usage in the English-speaking world, specifically Roman Catholic and Anglican rites. I am a church musician in a Roman Catholic parish, and we use this hymn for Offertory mostly, but also Communion sometimes. It's one of my favourites.
@@CarolynMarkmann What follows is not to be taken as a criticism of your practice, just food for thought. Is the use of a "hymn" (I put this word in quotations because "hymn" has a technical meaning related to the Western Divine Office that the song in this video doesn't satisfy, although under centuries of Protestant influence, the definition of the word has expanded) adapted as a carol from a Proper cherubikon, however beautiful and dignified, a liturgical abuse? I write this because no version of "Let All Mortal Flesh" is to be found in the Graduale Romanum, whereas there *is* a Proper Offertory "sentence" for every Mass. These Offertories have proper chants found in the Graduale, so it stands to reason that the purpose is to cover the liturgical action occurring at the altar from the prayer "Suscipe sancte Pater" through the Lavabo. However, it also seems to me that even in the most rushed Low Mass the various Offertories found in the Graduale are not long enough to do this (although they *are* rather neume-heavy, so maybe an adagio and highly melismatic rendition would suffice). Note that these Proper chants are not Antiphons (c.f. e.g. the Introit) so it is not as though the chant was intended to be interspersed with the remaining verses from the same Psalm (a la Ps. 94 at Matins) or that the entirety of the Psalm is to be chanted according to the matching Psalm tone (although I suppose it could be done this way). Perhaps the intent was that the Offertory was to be repeated as many times as needed. If this was the case, I suppose that it was inevitable that, especially in parish use, people would want to sing additional hymns during this time (or, less correctly, substitute other hymns for what is in the Graduale). The Proper Communions are similar (although not as neume-heavy in the Graduale), so it is likewise understandable why additional (or, again less correctly, substitute) hymnody is commonly used, especially at the people's communion. Incidentally, I think that the cherubikon "Let All Mortal Flesh" comes from the *Byzantine* Divine Liturgy of St. James, I don't believe it is used by the non-Chalcedonians in the Syriac version (although I am no expert in Syriac liturgics so I may very well be wrong). However, in the Orthodox Church, we celebrate the Liturgy of St. James, if at all, only on his feast day. "Let All Mortal Flesh," however, *will* be heard every year on Holy Saturday during the Vesperal Divine Liturgy of St. Basil, where it replaces the normal cherubikon for that day only.
@ Thank you for such a thoughtful reply! I was using the term "hymn" as it is commonly used today - specifically, German-style congregational singing. I am aware of specific liturgical definitions, but for what I do we generally use it in the way I used it. That's how it's used currently in the modern form of the Roman Rite and appears in virtually all our hymnals and music publications in some form, both in one intended for use in the new rite as well as ones intended for use in both rites. Also of note, I am usually in the Ordinary (New) Form, not the Traditional form. I have only passing familiarity with the traditional form of my rite, as it is not commonly offered anywhere within several hundred kilometers of my home location. I attend Low Mass when I am able, but that is exceptionally rare, and only when I travel. My understanding from a friend of mine who lived in a monastic setting for many years is that it is THE offertory hymn of the Roman Rite (his words, not mine). In that sense, I understood that it was *always* correct to use it, regardless of the Propers specified for that day. It's exceptionally hard in the OF of the Roman Rite to know what the Offertory antiphon for any given day is, as they are not commonly published for lay consumption (the Communion antiphon, as a matter of course, is always provided but rarely sung and/or said as a matter of course except for the most traditionally-minded priests or musicians). I have books that give them for Sundays only, and even then they are rarely respected. I think you are right that it comes from the Byzantine Liturgy of St. James - I would assume that is the case, and I'm curious to know if there are others? I am only familiar with that one, and again, where I am from that is what we are commonly referring to (Byzantine Catholics are fairly common in my neck of the woods as we have had significant migration from Ukraine and the area over the past 150 years - my own ancestors included!). There is this great mantra since the Second Vatican Council of "full and active participation" of the laity, which IMO has been to our detriment. In it's extreme application, it demands that all music MUST be sung/singable by the laity/congregation, and so our musical habits are informed by the influence of that interpretation. It disrupts the traditional patterns of doing things and music selections and seriously curtails our ability to do things that are historically accurate, theologically rich and musically beautiful. Fortunately, many parishes are starting to get back on track on that, but in the meanwhile much knowledge about what is good and proper has been lost.
@@CarolynMarkmann With regard to the Liturgy of St. James, aside from the version used (very occasionally) by the Orthodox Church, there is a version used by various non-Chalcedonian (AKA "Oriental Orthodox" AKA "Monophysite" AKA "Miaphysite"- I use "non-Chalcedonian" because it is the least polemic) churches of the West Syriac tradition (the Syriac Orthodox Church of Antioch, the Malankara Jacobite Syrian Church, the Malankara Syriac Orthodox Church and the Syriac Orthodox Church in India), as well as by Maronite Catholics. One note of caution, however, with regard to nomenclature. These churches call their Eucharistic rite "Holy Qubono," and there are several different Anaphorae available to use when celebrating this Liturgy, of which the Anaphora of St. James is one. You might already know this, but in case you don't, an Anaphora is the Eucharistic Prayer. The contemporary Roman Rite has four of these (Eucharistic Prayer I is an amended version of the Roman Canon, which was the only anaphora in the Roman Rite until 1968). The Orthodox Church has two (not including the Liturgy of St. James). The Copts have three (I believe Eucharistic Prayer III for the Roman Mass is a modified version of the Coptic anaphora of St. Basil, which is itself not the same as the one we use). While Catholics call their Eucharistic liturgy "Mass" regardless of which anaphora is used, in the East, the name of the Liturgy being celebrated is taken from the anaphora to be used even though the general order of the service will be largely identical. For example, the difference between the Orthodox Divine Liturgy of St. John Chrysostom and the Divine Liturgy of St. Basil is some of the priest's prayers and the anaphora; depending on whether the particular parish follows a historical practice of saying these in a low voice or a more modern American practice of saying these prayers aloud, the differences may be largely invisible to the average parishioner with the exception of the Theotokion at the end of the anaphora ("It is Truly Meet" vs. "All of Creation Rejoices"). Thus, as for whether or not the Syriac "Liturgy of St. James" includes "Let All Mortal Flesh," what I mean when I answer in the negative is that Holy Qubono does not include such a hymn. With all due respect to your friend and his assertion that "Let All Mortal Flesh" being *the* offertory hymn in the Roman Rite, he is simply wrong. To make such a claim implies that the Offertory is part of the Ordinary of the Mass; however, the Offertory is, even in the Novus Ordo, a Proper, i.e. it is a variable part that changes according to the calendar or the votive Mass being celebrated. There is no such thing as *the* Offertory hymn of the Roman Rite. That said, it is not necessarily wrong that your friend's monastic community treated it as such - it simply is incorrect as a matter of liturgics. Heck, pretending that such a thing as an Ordinary Offertory might even be better, from a pastoral standpoint, that the free-for-all that so many tradition-minded-but-not-necessarily-traditionalist Catholics complain about (Trad complaints are a bit more fundamental). Indeed, when ROCOR promulgated their Western Rite "Liturgy of St. John the Divine" (based upon the Mass as found in the Stowe Missal), it appointed "Let All Mortal Flesh" as *the* offertory hymn, so it seems that the liturgical instincts of your friend's monastery have something in common with ROCOR. As for the prescribed Catholic liturgical books, however, the Graduale Romanum was not abolished with the new Mass, although it was of course modified to accommodate it. If you are interested in obtaining a copy, you can get one (in Latin) from Paraclete Press. If you want an English version, you can download one for free from anglicanhistory [dot] org/music/gradual/gradual [dot] pdf. It is marked as "Anglican use," but it corresponds to the 1974 Roman Gradual, so there is no reason why it cannot be used in a "normal" Novus Ordo Mass.
Amazing, glad it came in my recommended today! Quickly realised the melody is taken from "Jesus Christ S'habille En Pauvre", as I haven't heard "Let All Mortal Flesh Keep Silence" before :O Interesting to see
I'm a musician at a Roman Catholic Church, and I normally play at 2/4 weekend Masses every week. I do it, on average, every 2 to 3 weeks between those 2 Masses! It really depends on the disposition of whoever is planning your music. It's THE offertory hymn.
This is the demeanor and approach of the faithful as they enter the Presence of Our Lord in the tabernacle throughout the world in His temples. Alleluia.
This, to me, might be the single most powerful Christmas Carol of all time. Thank you for making such a moving rendition of it.
I have thought so for 66 years.... i first sang this in a candlelight service when I was 17 years old. It still gives me chills.
This is just magnific. Can't describe it with words
I don't comment much, but this is phenomenal and I see it is a smaller channel, so I'm happy to lend some support where I can.
Thank you so much! We appreciate all the support we can get to help us grow
I am so glad I have found this channel. I love this way of chanting. Viva Cristo Rey, alleluia.
We are also happy you found us!
Very worshipful! Beautiful!
Wicked visual key change!
Praise the Lord!
My church often sings this during communion. Such a beautiful song. Thank you
This is a nice rendition!!! Keep up the good work
The voices tell the story! Astonishing
Excellent rendition
Just found this channel. Excellent quality videos. Thank you!
The title of this one caught my eye, as there is in the Byzantine chant repertoire a hymn that starts out the same ('Let all mortal flesh keep silence' in English). Though the rest of the text diverges, so they are clearly not the same hymn at all, there are some commonalities in the content and even their respective modes are not that far apart. I imagine the liturgical use of this setting is different in any event.
I like this one, it's quite interesting.
This is a version of the Byzantine one adapted to have rhyme/meter, so the words were changed.
It's the words used in the Roman Rite. It's based on the original text from the Liturgy of St. James, which we have a common heritage. It was translated and paraphrased, and set to a French folk tune about 300 years ago, and is in common usage in the English-speaking world, specifically Roman Catholic and Anglican rites. I am a church musician in a Roman Catholic parish, and we use this hymn for Offertory mostly, but also Communion sometimes. It's one of my favourites.
@@CarolynMarkmann What follows is not to be taken as a criticism of your practice, just food for thought.
Is the use of a "hymn" (I put this word in quotations because "hymn" has a technical meaning related to the Western Divine Office that the song in this video doesn't satisfy, although under centuries of Protestant influence, the definition of the word has expanded) adapted as a carol from a Proper cherubikon, however beautiful and dignified, a liturgical abuse? I write this because no version of "Let All Mortal Flesh" is to be found in the Graduale Romanum, whereas there *is* a Proper Offertory "sentence" for every Mass. These Offertories have proper chants found in the Graduale, so it stands to reason that the purpose is to cover the liturgical action occurring at the altar from the prayer "Suscipe sancte Pater" through the Lavabo. However, it also seems to me that even in the most rushed Low Mass the various Offertories found in the Graduale are not long enough to do this (although they *are* rather neume-heavy, so maybe an adagio and highly melismatic rendition would suffice). Note that these Proper chants are not Antiphons (c.f. e.g. the Introit) so it is not as though the chant was intended to be interspersed with the remaining verses from the same Psalm (a la Ps. 94 at Matins) or that the entirety of the Psalm is to be chanted according to the matching Psalm tone (although I suppose it could be done this way). Perhaps the intent was that the Offertory was to be repeated as many times as needed. If this was the case, I suppose that it was inevitable that, especially in parish use, people would want to sing additional hymns during this time (or, less correctly, substitute other hymns for what is in the Graduale). The Proper Communions are similar (although not as neume-heavy in the Graduale), so it is likewise understandable why additional (or, again less correctly, substitute) hymnody is commonly used, especially at the people's communion.
Incidentally, I think that the cherubikon "Let All Mortal Flesh" comes from the *Byzantine* Divine Liturgy of St. James, I don't believe it is used by the non-Chalcedonians in the Syriac version (although I am no expert in Syriac liturgics so I may very well be wrong). However, in the Orthodox Church, we celebrate the Liturgy of St. James, if at all, only on his feast day. "Let All Mortal Flesh," however, *will* be heard every year on Holy Saturday during the Vesperal Divine Liturgy of St. Basil, where it replaces the normal cherubikon for that day only.
@ Thank you for such a thoughtful reply! I was using the term "hymn" as it is commonly used today - specifically, German-style congregational singing. I am aware of specific liturgical definitions, but for what I do we generally use it in the way I used it. That's how it's used currently in the modern form of the Roman Rite and appears in virtually all our hymnals and music publications in some form, both in one intended for use in the new rite as well as ones intended for use in both rites.
Also of note, I am usually in the Ordinary (New) Form, not the Traditional form. I have only passing familiarity with the traditional form of my rite, as it is not commonly offered anywhere within several hundred kilometers of my home location. I attend Low Mass when I am able, but that is exceptionally rare, and only when I travel.
My understanding from a friend of mine who lived in a monastic setting for many years is that it is THE offertory hymn of the Roman Rite (his words, not mine). In that sense, I understood that it was *always* correct to use it, regardless of the Propers specified for that day. It's exceptionally hard in the OF of the Roman Rite to know what the Offertory antiphon for any given day is, as they are not commonly published for lay consumption (the Communion antiphon, as a matter of course, is always provided but rarely sung and/or said as a matter of course except for the most traditionally-minded priests or musicians). I have books that give them for Sundays only, and even then they are rarely respected.
I think you are right that it comes from the Byzantine Liturgy of St. James - I would assume that is the case, and I'm curious to know if there are others? I am only familiar with that one, and again, where I am from that is what we are commonly referring to (Byzantine Catholics are fairly common in my neck of the woods as we have had significant migration from Ukraine and the area over the past 150 years - my own ancestors included!).
There is this great mantra since the Second Vatican Council of "full and active participation" of the laity, which IMO has been to our detriment. In it's extreme application, it demands that all music MUST be sung/singable by the laity/congregation, and so our musical habits are informed by the influence of that interpretation. It disrupts the traditional patterns of doing things and music selections and seriously curtails our ability to do things that are historically accurate, theologically rich and musically beautiful. Fortunately, many parishes are starting to get back on track on that, but in the meanwhile much knowledge about what is good and proper has been lost.
@@CarolynMarkmann With regard to the Liturgy of St. James, aside from the version used (very occasionally) by the Orthodox Church, there is a version used by various non-Chalcedonian (AKA "Oriental Orthodox" AKA "Monophysite" AKA "Miaphysite"- I use "non-Chalcedonian" because it is the least polemic) churches of the West Syriac tradition (the Syriac Orthodox Church of Antioch, the Malankara Jacobite Syrian Church, the Malankara Syriac Orthodox Church and the Syriac Orthodox Church in India), as well as by Maronite Catholics. One note of caution, however, with regard to nomenclature. These churches call their Eucharistic rite "Holy Qubono," and there are several different Anaphorae available to use when celebrating this Liturgy, of which the Anaphora of St. James is one. You might already know this, but in case you don't, an Anaphora is the Eucharistic Prayer. The contemporary Roman Rite has four of these (Eucharistic Prayer I is an amended version of the Roman Canon, which was the only anaphora in the Roman Rite until 1968). The Orthodox Church has two (not including the Liturgy of St. James). The Copts have three (I believe Eucharistic Prayer III for the Roman Mass is a modified version of the Coptic anaphora of St. Basil, which is itself not the same as the one we use). While Catholics call their Eucharistic liturgy "Mass" regardless of which anaphora is used, in the East, the name of the Liturgy being celebrated is taken from the anaphora to be used even though the general order of the service will be largely identical. For example, the difference between the Orthodox Divine Liturgy of St. John Chrysostom and the Divine Liturgy of St. Basil is some of the priest's prayers and the anaphora; depending on whether the particular parish follows a historical practice of saying these in a low voice or a more modern American practice of saying these prayers aloud, the differences may be largely invisible to the average parishioner with the exception of the Theotokion at the end of the anaphora ("It is Truly Meet" vs. "All of Creation Rejoices"). Thus, as for whether or not the Syriac "Liturgy of St. James" includes "Let All Mortal Flesh," what I mean when I answer in the negative is that Holy Qubono does not include such a hymn.
With all due respect to your friend and his assertion that "Let All Mortal Flesh" being *the* offertory hymn in the Roman Rite, he is simply wrong. To make such a claim implies that the Offertory is part of the Ordinary of the Mass; however, the Offertory is, even in the Novus Ordo, a Proper, i.e. it is a variable part that changes according to the calendar or the votive Mass being celebrated. There is no such thing as *the* Offertory hymn of the Roman Rite. That said, it is not necessarily wrong that your friend's monastic community treated it as such - it simply is incorrect as a matter of liturgics. Heck, pretending that such a thing as an Ordinary Offertory might even be better, from a pastoral standpoint, that the free-for-all that so many tradition-minded-but-not-necessarily-traditionalist Catholics complain about (Trad complaints are a bit more fundamental). Indeed, when ROCOR promulgated their Western Rite "Liturgy of St. John the Divine" (based upon the Mass as found in the Stowe Missal), it appointed "Let All Mortal Flesh" as *the* offertory hymn, so it seems that the liturgical instincts of your friend's monastery have something in common with ROCOR. As for the prescribed Catholic liturgical books, however, the Graduale Romanum was not abolished with the new Mass, although it was of course modified to accommodate it. If you are interested in obtaining a copy, you can get one (in Latin) from Paraclete Press. If you want an English version, you can download one for free from anglicanhistory [dot] org/music/gradual/gradual [dot] pdf. It is marked as "Anglican use," but it corresponds to the 1974 Roman Gradual, so there is no reason why it cannot be used in a "normal" Novus Ordo Mass.
Amazing, glad it came in my recommended today!
Quickly realised the melody is taken from "Jesus Christ S'habille En Pauvre", as I haven't heard "Let All Mortal Flesh Keep Silence" before :O Interesting to see
Yes! I do believe it was originally a French carol but Ralph Vaughan Williams arranged it to this text in the early 1900s
Beautiful rendition. The first verse used to be our call to worship! One of my favourite hymns!
Realmente hermoso
I'm so grateful to have heard such a beautiful rendition of my favourite hymn. Thank you.
Pure perfection n bliss
Beautiful and nice tempo.
Wow 2:05
This used to be the Cherubic Hymn for the procession of the bread and wine before the liturgy of the faithful.
Petition to release this on Spotify, please🙇♀️
Very soon. It’s in the works
💗
Magnificent! Why are these treasures not being sung by us in our churches at Mass?????
my parish sung this last week, but we are Eastern Orthodox (western-rite), not Roman Catholic.
I'm a musician at a Roman Catholic Church, and I normally play at 2/4 weekend Masses every week. I do it, on average, every 2 to 3 weeks between those 2 Masses! It really depends on the disposition of whoever is planning your music. It's THE offertory hymn.
Dear Mother of God. I was made redundant at work last week. Please pray for me Mother. Amen
😮😮😮
Is there any chance whatsoever to just hear the lower harmony on this song? I would be so grateful.
Send an email to neumesandtunes@gmail.com and I’ll send an audio file your way.
VIVA MARIA
hi
Hi!