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This is a list of original Roman Catholic hymns. The list does not contain hymns originating from other Christian traditions despite occasional usage in Roman Catholic churches. The list has hymns in Latin and English.
The Emory Hymnal: a collection of sacred hymns and music for use in public worship (1887) [464] Selection of Hymns, for the use of the first M. E. Church, [465] Cape May City [466] The Emory Hymnal: No. 2, sacred hymns and music for use in public worship (1891) [467] Hymnal of the Methodist Episcopal Church (1891) [468]
The Westminster Hymnal [1] was published in 1912, the only collection of hymns then authorised by the hierarchy of the Catholic Church of England and Wales. It was edited by Sir Richard Runciman Terry. The notable feature of this hymnbook is the attempt to restore the authentic tunes to hymns that had changed over time and varied with location.
The Hyde version of the hymn specifically, which is more commonplace than its counterpart, has been used in at least three hymnals, [6] [7] and was the version used in a cover of the hymn by the Catholic religious sisters congregation, the Daughters of Mary, Mother of Our Savior, for their likewise-named 1998 album "Mary of Graces". [8] [9]
The Breviary Hymns of the Rosary were the four hymns that were sung during the Liturgy of the Hours for the Feast of the Rosary. Each hymn celebrates a category of mysteries of the rosary . [ 1 ]
O Salutaris Hostia" (Latin, "O Saving Victim" or "O Saving Sacrifice") is section of one of the Eucharistic hymns written by Thomas Aquinas for the Feast of Corpus Christi and the Hour of Lauds in the Divine Office. It is actually the last two stanzas of the hymn Verbum supernum prodiens and is used for the Adoration of the Blessed Sacrament.
Gustav Mahler set the Latin text to music in Part I of his Symphony No. 8 in E-flat major (1906). Filippo Capocci , Organ Fantasia on Veni Creator Spiritus (1910) [ 27 ] Maurice Duruflé used the chant tune as the basis for his symphonic organ composition "Prélude, Adagio et Choral varié sur le thème du Veni Creator ", Op. 4 (1926/1930).
Both Marjorie Burns and Stratford Caldecott see in the Elvish hymn A Elbereth Gilthoniel an echo of the Marian hymn, Hail Queen of Heaven. [9] According to Caldecott, "Tolkien would have been familiar with one of the most popular Catholic hymns from his childhood, the tone and mood of which are markedly close to those of Tolkien’s song to ...
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