Music size Music size:. This is a preview of your FlexScore. A Friends Hymnal A New Hymnal for Colleges and Schools O come, O come, Emmanuel First Line: O come, O come, Emmanuel Tune Title: African American Heritage Hymnal LM with refrain Scripture: Advent First; Conflict Source: John Mason Neale, Meter: Advent ; Jesus Christ Birth Source: Medieval antiphons; Latin hymn, Veni, veni, Immanuel First Line: John Mason Neale, ; A.
From Antiphons in Latin Breviary, 12th cent. Ancient and Modern Exodus 19; Isaiah 7: Translated from Latin Advent Antiphons.
Anglican Hymns Old and New Rev. Baptist Hymnal Jesus, Advent ; Peace, on Earth Source: Celebrating Grace Hymnal LM with refrain Date: Advent ; Joy ; Peace on Earth Source: Latin hymn 12th century.
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Oh, come, oh, come, Emmanuel Tune Title: LM with Refrain Date: Church Hymnal, Fifth Edition O come, O come Emmanuel First Line: O come, O come Emmanuel Date: Church Hymnary 4th ed. LM and refrain Scripture: Common Praise Complete Anglican Hymns Old and New LM and Refrain Scripture: Complete Mission Praise O come, O come Emmanuel Meter: Evangelical Lutheran Hymnary Rejoice ; Advent 4 Source: Evangelical Lutheran Worship O come, o come, Emmanuel Tune Title: Exodus 20; Proverbs 8: Seasons and Feasts Advent; Captivity Source: Gather Comprehensive, Second Edition Glory to God Latin prose, pre-9th cent.
O come, O come, Immanuel First Line: O come, O come, Immanuel Tune Title: Neale; Henry Sloane Coffin Date: Veni, veni Emmanuel, 12th c. O come, O come Emmanuel Tune Title: Hymns and Psalms Hymns for a Pilgrim People Neale, ; Henry S.
LM with Refrain Scripture: Hymns for Today's Church 2nd ed. Latin thirteenth century ; translation: Hymns of Promise Coffin, ; John M. Hymns of the Saints Hymns Old and New Hymns to the Living God Jesus Christ Advent Source: Latin hymn, 12th cent. Lead Me, Guide Me 2nd ed. Veni, veni Emmanuel; Latin 9th C.
Lift Up Your Hearts Lutheran Service Book O come, O come, Emmanuel, Tune Title: L M and refrain Scripture: Canticles and Chants Source: LM and refrain Date: Moravian Book of Worship Advent ; Christian year--Advent Source: Neale, ; Alfred Ostrom, ; Federico J. Our Songs and Hymns Christ His Advent Source: Latin Hymn, 12th century. Psalms for All Seasons 74A. Psalter Hymnal Gray Rejoice in the Lord Medieval Latin antiphons; tr.
Seventh-day Adventist Hymnal Sing With Me Latin, 12th century; composite translation. Singing Our Faith Singing the Faith Latin, 18th century; Based on the ancient Advent Antiphons. Small Church Music Songs for Life The Celebration Hymnal Latin Hymn, Psalteriolum Cantionum Catholicarum, The Christian Life Hymnal The Covenant Hymnal The text of the Psalteriolum Cantionum Catholicarum version is essentially expanded, rather than altered, over the subsequent centuries.
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That version exhibits all of the hymn's characteristic qualities: Each stanza consists of a four-line verse, which adapts one of the antiphons, and a new two-line refrain "Gaude, gaude! Emmanuel will be born for you, O Israel" , which provides an explicitly Advent-oriented response to the petition of the verse. This first version of the hymn includes five verses, corresponding to five of the seven standard O Antiphons, in the following order:.
In , "Veni, veni Emmanuel" was included in the second volume of Thesaurus Hymnologicus, a monumental collection by the German hymnologist Hermann Adalbert Daniel. While the Latin text in this version was unchanged from Psalteriolum Cantionum Catholicarum , Daniel's work would prove significant for the hymn in two ways. First, the Thesaurus would help to ensure a continued life for the Latin version of the hymn even as the Psalteriolum came to the end of its long history in print.
Second — and even more significantly for the English-speaking world — it was from Thesaurus Hymnologicus that John Mason Neale would come to know the hymn. Neale would both publish the Latin version of the hymn in Britain and translate the first and still most important English versions. This five-verse version of the hymn left two of the O Antiphons unused. No precise date or authorship is known for these verses.
O come, O come Emmanuel - Jubilate
At present, their first known publication is in Joseph Hermann Mohr 's Cantiones Sacrae of , which prints a seven-stanza Latin version in the order of the antiphons i. In fact, it is this quality that allows the English and Latin words to be used interchangeably, as the English translations of the hymn retain the meter of the original Latin. However, at least in the English-speaking world, "O Come, O Come Emmanuel" is associated with one tune more than any other, to the extent that the tune itself is often called Veni Emmanuel. The familiar tune called "Veni Emmanuel" was first linked with this hymn in , when Thomas Helmore published it in the Hymnal Noted , paired with an early revision of Neale's English translation of the text.
There was even speculation that Helmore might have composed the melody himself. The mystery was settled in by British musicologist Mary Berry also an Augustinian canoness and noted choral conductor , who discovered a 15th-century manuscript containing the melody in the National Library of France. The melody used by Helmore is found here with the text "Bone Jesu dulcis cunctis"; it is part of a series of two-part tropes to the responsory Libera me. As Berry writing under her name in religion , Mother Thomas More points out in her article on the discovery, "Whether this particular manuscript was the actual source to which [Helmore] referred we cannot tell at present.
Berry raised the possibility that there might exist "an even earlier version of" the melody. In the German language, Das katholische Gesangbuch der Schweiz "The Catholic Hymnal of Switzerland" and Gesangbuch der Evangelisch-reformierten Kirchen der deutschsprachigen Schweiz "The Hymnal of the Evangelical-Reformed Churches of German-speaking Switzerland" , both published in , adapt a version of the text by Henry Bone that usually lacks a refrain to use it with this melody.
The pairing of the hymn text with the Veni Emmanuel tune was proved an extremely significant combination. The hymn text was embraced both out of a Romantic interest in poetic beauty and medieval exoticism and out of a concern for matching hymns to liturgical seasons and functions rooted in the Oxford Movement in the Church of England. The Hymnal Noted , in which the words and tune were first combined, represented the "extreme point" of these forces.
This hymnal "consisted entirely of versions of Latin hymns, designed for use as Office hymns within the Anglican Church despite the fact that Office hymns had no part in the authorized liturgy. The music was drawn chiefly from plainchant," as was the case with the Veni Emmanuel tune for "O Come, O Come Emmanuel," the combination of which has been cited as an exemplar of this new style of hymnody.
This new hymnal was a product of the same ideological forces that paired it with the Veni Emmanuel tune, ensuring its inclusion, but was also designed to achieve commercial success beyond any one party of churchmanship, incorporating high-quality hymns of all ideological approaches. The volume succeeded wildly; by , Hymns Ancient and Modern was being used in three quarters of English churches.
The book "probably did more than anything else to spread the ideas of the Oxford Movement" which include the aesthetics of "O Come, O Come Emmanuel" "so widely that many of them became imperceptibly a part of the tradition of the Church as a whole. While the "Veni Emmanuel" tune predominates in the English-speaking world, several others have been closely associated with the hymn. In the United States, some Lutheran hymnals use the tune "St. Alternative tunes are particularly common in the German-speaking world, where the text of the hymn originated, especially as the hymn was in use there for many years before Helmore's connection of it to the "Veni Emmanuel" tune became known.
This melody was carried across the Atlantic by Johann Baptist Singenberger , where it remains in use through the present in some Catholic communities in the United States. A version by Bone without a refrain is commonly connected with a tune from the Andernacher Gesangbuch Cologne, , but it can also be used with the melody of the medieval Latin hymn Conditor alme siderum , further demonstrating the flexibility of metrical hymnody. The text of "O Come, O Come, Emmanuel," in all its various versions, is a metrical paraphrase of the O Antiphons , so the intricate theological allusions of the hymn are essentially the same as for the antiphons.
One notable difference is that the antiphon "O Radix Jesse" "root" of Jesse is generally rendered in meter as "Veni, O Iesse virgula" "shoot" of Jesse. Both refer to the writings of the prophet Isaiah Isaiah In the versions below, a number at the end of each stanza indicates where it fits into the order of the O Antiphons e. Ex hostis tuos ungula, De specu tuos tartari Educ, et antro barathri. Gaude, gaude, Emmanuel nascetur pro te, Israel. Solare nos adveniens, Noctis depelle nebulas, Dirasque noctis tenebras. Regna reclude coelica, Fac iter Tutum superum, Et claude vias Inferum.
John Mason Neale published the five-verse Latin version, which he had presumably learned from Daniels' Thesaurus Hymnologicus ,  in his collection Hymni Ecclesiae. This version, now with the initial line reading "O come, O come, Emmanuel," would attain hegemony in the English-speaking world aside from minor variations from hymnal to hymnal. Thomas Alexander Lacey — created a new translation also based on the five-verse version for The English Hymnal in , but it received only limited use. It would take until the 20th century for the additional two stanzas to receive significant English translations.
The translation published by Henry Sloane Coffin in — which included only the "O Come, O Come Emmanuel" verse by Neale and Coffin's two "new" verses — gained the broadest acceptance, with occasional modifications.