Leonardo Zuno Fernndez

October 27, 2016

Palestrinas Pange lingua: a Study in Hybrids Between the Renaissance Hymn and Motet

The title of Palestrinas 1589 collection Hymni totius anni might set up an expectation for the

modern listener that this should include homophonic and strophic sacred pieces, but the music

contained therein resembles the Renaissance motet in a variety of ways. While the genres of hymn and

motet have some significant differences, there is room for overlap and variation from the norm in both

kinds of Renaissance music. The examples in this paper show connections between both genres through

the use of Palestrinas settings of Pange lingua (and Tantum ergo, which consists of the last two verses

of said hymn, often used separately). In order to make these comparisons, this study will explore the

historical background of various liturgical and paraliturgical uses of this music, the text of the original

hymn and chant (Example A), as well as a close analysis of Pange lingua from Palestrinas Hymni totius

anni (Example B). This study will use other settings of this hymn for reference and comparison

(Examples C and D 1-2).

Eucharistic devotion in the Renaissance flourished in many forms. In some ways, this grew

organically out of previous practices from the Medieval period (and earlier), such as the Institution of

the Eucharist celebrated on Holy Thursday. St. Juliana of Lige, a 13th-century canoness strongly

promoted the practice of Eucharistic adoration, and she pursued the institution of the Feast of Corpus

Christi, which Pope Urban IV established 1264. The same pope commissioned Thomas Aquinas (the

author of Pange lingua) to write the Mass and Office of Corpus Christi. By the sixteenth century, there

was a flourishing of Eucharistic devotional practices in addition to Holy Thursday and Corpus Christi.

Thomas Aquinass hymn Pange lingua was used in these two solemnities, as well as in paraliturgical

settings.1 Examples of such practices outside of the Mass include Eucharistic adoration, benedictions,

1
Nathan Mitchell, Cult and Controversy: The Worship of the Eucharist Outside Mass, (Collegeville, MN: Pueblo
Publishing, 1982), 314-15, 341.
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processions with the Blessed Sacrament, and the Quarantore (a practice that specified the use of this

hymn).2

Example A, Pange lingua hymn and chant

Following, this study will examine the origin of this hymn, likely sources of its inspiration, and

particular features of the text. Pange lingua is attributed to St. Thomas Aquinas, and its text contains

some profound theological concepts, followed by praise of the Blessed Sacrament and the Holy Trinity,

in a formal register. Such sophisticated theology is to be expected in a hymn written by a saintly

theologian of the highest caliber.3 The original text and two possible translations are shown below:

2
The Quarantore was a celebration of forty continuous hours of adoration of the Blessed Sacrament. In the
rubrics of the Instructio Clementina for the Quarantore (section 31), Tantum ergo is prescribed to be sung during
the benediction; upon the singing of the last verse, Genitori Genitoque, the Blessed Sacrament is to be incensed.
See http://www.newadvent.org/cathen/06151a.htm.
3
St. Thomas Aquinas was canonized in 1323 by Pope John XXII and promoted to Doctor of the Church in 1567 by
Pope Pius V.
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Figure 1.

The first verse is a call to praise the Eucharistic Christ in the exposed Sacrament on the altar.

Verses two and three serve as a narrative of the incarnation of Christ in the Virgin's womb, as well as the

institution of the Eucharist at the Last Supper. Verses two and four display a masterful use of Latin in

the interplay of various words: Nobis datus, nobis natus and Verbum caro, panem verum / Verbo carnem

fficit. Upon the start of verse five (Tantum ergo, Sacramntum), there is a sudden shift in the text.4

4
Given the liturgical function of verses 5 and 6 (the benediction and incensing of the Blessed Sacrament), musical
changes are to be expected.
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The Latin word ergo implies the veracity of the previous theological claims, and links those to the logical

consequence: "Therefore, the great Sacrament let us reverence..." Aquinas mentions faith as a

supplement for the defects of the senses twice. Verse six is filled with jubilation and praise of the Holy

Trinity. In this case, the Father, Son, and Holy Spirit are not mentioned explicitly; rather, the terms

"Begetter," "Begotten," and "the One who proceeds from Both" are used. This makes explicit reference

to the Nicene Creed the symbol of the faithwhich uses these terms to express some fundamental

qualities of the Holy Trinity.

Finally, it is important to mention the primary text (in addition to the Nicene Creed) that served

as inspiration in the composition of this hymn. Venantius Fortunatus (c. 530-600-/609) wrote a hymn

titled Pange lingua gloriosi proelium certaminis, which features some of the same qualities that Thomas

Aquinas used in his own hymn. For example, Fortunatuss hymn also calls for praise, proceeds with a

narrative of Christs incarnation, and ends with the triumph of the Cross. The hymn closes with a doxology

to the Holy Trinity.

Figure 2.
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Figure 3. From the Nicene Creed (325):5

Et in unum Dminum Iesum Christum,
Flium Dei Unignitum,
Et ex Patre natum ante mnia scula.
Deum de Deo, lumen de lmine, Deum verum de Deo vero,
Gnitum, non factum, consubstantilem Patri:
Per quem mnia facta sunt.

Et in Spritum Sanctum, Dminum et vivificntem:

Qui ex Patre Filique procdit.
Qui cum Patre et Flio simul adortur et conglorifictur

Settings and comparisons

While hymns are typically strophic, homophonic in texture, and have a generally syllabic

declamation, such Renaissance hymns could also be set to different textures which were through-

composed, contrapuntal, and polyphonic.6 The examples below will demonstrate how one genre could

interact with the other in a variety of ways, by comparing various settings of Pange lingua and Tantum

ergo, all composed by Palestrina.

Examples A and B, Pange lingua chant and Palestrinas setting from Hymni totius anni

Example A (see appendix) displays the chant, which is mostly syllabic.7 It also emphasizes the

break between Pange lingua and Tantum ergo, by setting the mode III (Phrygian) chant to verses 5 and

6, but listing verses 1-4 in text only. Example B features the most striking combinations between the

hymn and the motet.8 Each of the verses in this setting uses portions of the cursus of the chant. While

the first phrase of this verse is quite clear, other segments only paraphrase the hymn; Palestrina keeps

5
While Ron Jeffers suggests that Aquinas may have used terminology from Adam of St. Victors Pentecost
Sequence (particularly the terms Genitori genitoque and procedenti ab utroque), it is evident that these terms date
back to the early Church. See Ron Jeffers, Translations and Annotations of Choral Repertoire (Corvallis: Earthsongs,
1988).
6
Leeman L. Perkins, Music in the Renaissance, (NY: WW. Norton and Company, 1999), 331.
While Perkins notes that as a rule, odd-numbered strophes were sung monophonically to the liturgical melody,
whereas even-numbered stanzas were sung in parts, the Example B will show the reverse can also be true.
7
Liber Cantualis, Solesmes (France: Abbaye Saint-Pierre de Solesmes, 1978), 100-101.
8
Rafaelle Casimiri, ed., Le Opere Complete di Giovanni Pierluigi di Palestrina: Hymni totius anni (Rome: Fratelli
Scalera, 1942), 74-80.
 Zuno Fernndez, 6

some motivic qualities of the chant without directly quoting it.9 In this collection, every piece begins

with a chant incipit, then moves into a polyphonic texture, and alternates verses between chant and

polyphonic settings.10 In this regard, these are hymns that resemble motets in more than one way.

Next is a close analysis of Example B, which begins with the plainchants incipit; after this, the

music continues in polyphony.11 Another significant observation is that it omits verses 2, 4, and 6. It

could be understood that these would be chanted, in order that the hymn be sung completely. In this

case, every other verse would be polyphonic (thus creating an antiphonal relationship between cantor in

verses 2, 4, and 6, and choir in verses 1, 3, and 5). In this setting, the chant itself moves between

different voices, sometimes quoting an entire phrase, and other times only a few notes from the

chant.12 For example:

Figure 4.

Incipit:

Altus: Cantus:

Tenor: Cantus:

9
One of the clearest examples of a setting that uses such a device is Josquin des Prezs Pange lingua Mass. See
http://www.cengage.com/music/book_content/049557273X_wrightSimms/assets/more/18_Desprez.html
10
This is done by Chanticleer in their recording of this piece: https://www.youtube.com/watch?v=Xk9kezzlwDY
Perkins labels this style of alternation as an alternatim performance (331).
11
Casimiri, ed., Le Opere Complete, 74-80.
12
This is another notable difference from more normative polyphony in hymns, as described by Perkins: The ---
chant was invariably incorporated into the part-writing (in the topmost part), (331).
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This section will use measure numbers and the text as reference points.13 A short portion of the chant

can be found in verse 1, mm. 16-18 in the cantus: quem in mundi. In mm. 19-22, the bassus covers the

same text, followed by the tenor voice in mm. 21-25 a fifth higher. Also in mm. 20-21 the cantus and

the altus engage in some melodic and rhythmic imitation at the fifth. Palestrinas treatment of the

cantus firmus is quite flexible, as can be seen in mm. 32-37 in the cantus voice. The chant continues, but

quickly dissipates into other material. The tenor does something quite similar in mm. 38-43. This is also

the case in verse 3 in the cantus voice at recumbens at mm. 11-13. This is an exact quote that dissipates

after only a few notes. One of the longest passages of the cursus can be found in verse 3, at mm. 17-26,

where the cantus sings two consecutive phrases of the chant. This piece also displays many examples of

imitation. In verse 3, the altus and tenor begin the motive m. 16, followed by the cantus in m. 17, and

finally in the bass in m. 18. The phrase that the cantus sings in mm. 22-26 is repeated almost exactly by

the bassus in mm. 25-29 at the octave. At verse 5, the texture becomes more dense, as another tenor

part is added (tenor I and II are now active). Tenor I appropriates the chant and quotes large portions of

the cursus.14 Before this verse, the G-sharp had only been used at or near cadential points. Here it is

used to begin the verse, which has a highly aesthetic effect. This verse also has an expanded range,

particularly in the alto voice, which reaches a new high note (G'') and remains in a higher range than

before. The altus voice has a very striking octave leap in mm. 37-39. Other voices use the octave leap as

well, but this case is the most noticeable. Given the heightened liturgical role of verse 5, it is

understandable why some of these musical changes take place.

13
For the purposes of this study, measure numbers will be used, since the editor of this edition took the liberty to
include them.
14
Tenor I enters at m. 2 with an almost note-by-note cursus of the chant (with a modified G-sharp at m. 22).
 Zuno Fernndez, 8

Examples C (Pange lingua) and D 1-2 (Tantum ergo)

Example C is through-composed and features a rich variety of alternation between polyphonic

and homophonic textures.15 For example, verses 2 and 6 are strictly homophonic. Verse 1 features the

most contrapuntal texture, and verses 3, 4, and 5 are polyphonic with many similar rhythms aligned,

creating a mixed effect between the two styles. Also, the predominant time signature is imperfect

tempus with imperfect prolation. However, at verses 2 and 6, there is a change to perfect tempus,

imperfect prolation. One finds similar changes in prolation in Palestrina's 1563 collection titled Motecta

festorum totius anni.16 Most changes in prolation are from imperfect tempus to perfect tempus, as in

the case of Dies santificatus, upon reaching the words exultemus et letemur in ea. Also, in his motet

Gaudent in celis, Palestrina changes from imperfect to perfect tempus upon reaching the words exultant

sine fine. There seems to be a pattern here, where Palestrina uses the perfect tempus to express high

praise. Examples D 1-2 are completely strophic and homophonic from beginning to end.17 Ironically, in

their respective collections, these are listed as motets, although they are undoubtedly hymns.

Conclusion

Further study of examples B, C, and D 1-2 would benefit scholarship in the area of Palestrina

polyphony. The interaction between the genres of hymn and motet offers a wealth of possibilities,

because elements of polyphony, counterpoint, and through-composed settings can alternate with

homophonic and strophic textures. While example C features a setting of Pange lingua that resembles

the motet the most, and D 1-2 are strictly hymns, example B is a hybrid of both genres of composition.

15
Franz Espagne, ed. Pierluigi di Palestrina's Werke, Tomus XXX (Rome, 1589), 163-170.
16
Daniele V. Filippi, ed. Motecta Festorum Totius Anni (Florence: Dipartimento di Scienze Musicologiche
Universit di Pavia, 2003).
17
Lon Saint-Requier, ed., Collection Palestrina (Paris: Librairie Musicale et Religieuse H. Hrelle, 1913), vol. II: 6,
15.
 Zuno Fernndez, 9

From these settings of Pange lingua one might conclude that the difference between Renaissance

hymns and motets is not always clear, and there is much room for the interaction, overlap, and variety.
 Zuno Fernndez, 10

Appendix
Example A Source Chant
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Example B - Hymni totius anni, Pange lingua

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Example C Pange lingua from Pierluigi di Palestrina's Werke, Testo dei Madrigali a 4 e 5 Voci, (Tomus
XXX)
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Other examples of hymn settings set to Tantum Ergo:

Example D1: Collection "Palestrina," no. 22
Tantum Ergo a 4 voix mixtes
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Example D2: Collection "Palestrina", no. 25

Tantum Ergo a 5 voix mixtes
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Bibliography

Casimiri, Rafaelle, ed. Le Opere Complete di Giovanni Pierluigi di Palestrina: Hymni totius anni. Rome:
Fratelli Scalera, 1942.

Espagne, Franz, ed. Pierluigi di Palestrina's Werke, Tomus VIII. Rome, 1589.

-----. Pierluigi di Palestrina's Werke, Tomus XXX. Rome, 1589.

Filippi, Daniele V., ed. Motecta Festorum Totius Anni, Florence: Dipartimento di Scienze Musicologiche
Universit di Pavia, 2003.

Jeffers, Ron. Translations and Annotations of Choral Repertoire.Corvallis: Earthsongs. 1988.

Liber Cantualis. Solesmes, France: Abbaye Saint-Pierre de Solesmes, 1978.

Marshall, Robert L. The Paraphrase Technique of Palestrina in His Masses Based on Hymns. Journal of
the American Musicological Society, vol. 16, no. 3, 1963, pp. 347372.
http://www.jstor.org/stable/829827.

Mitchell, Nathan. Cult and Controversy: The Worship of the Eucharist Outside Mass. Collegeville, MN:
Pueblo Publishing, 1982.

Perkins, Leeman L. Music in the Renaissance. NY: WW. Norton and Company, 1999.

Saint-Requier, Lon, ed. Collection Palestrina, Paris: Librairie Musicale et Religieuse H. Hrelle, 1913.

Thurston, Herbert. "Forty Hours' Devotion." The Catholic Encyclopedia. Vol. 6. New York: Robert
Appleton Company, 1909. 24 Oct. 2016. http://www.newadvent.org/cathen/06151a.htm.

Turner, Bruno. Spanish Liturgical Hymns: A Matter of Time. Early Music, vol. 23, no. 3, 1995, pp. 473
482. http://www.jstor.org/stable/3138123.

Wright, Craig and Bryan Simms. Music in Western Civilization. Belmont, CA: Thomson/Schirmer.
http://www.cengage.com/music/book_content/049557273X_wrightSimms/assets/more/18_De
sprez.html.