On behalf of an optional sequence

An edited version of this article appeared in Ministry and Liturgy Magazine (39.3) in the God Song column in 2012. I offer an edited version of my article on this blog for pastoral musicians and liturgical planners who prepare to celebrate the Solemnity of the Most Holy Body and Blood of Christ.

NPM

Several years ago, I flew to Detroit, Michigan to attend the National Association of Pastoral Musician conference. Convention goals included challenging participants to listen widely and think broadly to a generous and diverse plethora of keynote speakers, presentations, seminars, workshops, concerts and informal conversations. Serious convention attendants examine liturgical, musical and pastoral praxis, discern mission in shared prayer and garner fresh perspective within a collegial setting.

NPM participants reap a wealth of rich harvest from the insightfully planned conference liturgies. At that particular convention in Detroit, one event emerged as a transformative moment for many of the conference participants.

Lauda, Sion, Salvatorem

As participants snaked and sang in communal procession to receive Eucharist, one refrain became a recurring mantra. The refrain was interspersed between other familiar processional songs that participants knew from memory and the singing grew stronger with each resounding refrain of Lauda, Sion, Salvatorem, the optional sequence sung (or spoken) prior to the Gospel on the Solemnity of the Most Holy Body and Blood of Christ. The more we sang the Latin refrain, the more robustly we extolled our commitment to Christ and Christian mission.

As the Communion procession ended, the final refrain became a heartfelt leitmotif for this mission-bound assembly in eucharistic servitude and ongoing mission on behalf of the people of God. The commitment to Gospel long haul servitude resounded within the sung refrain of Lauda, Sion, Salvatorem. After the liturgy ended, several of us theologically reflected on what an altering moment that one sung refrain became for us and the insight the experience offered us with regard to the use (or non-use) of this glorious ‘optional’ sequence at a celebration of a solemnity that locates our very identity as a Eucharistic people.

A significant question

Based on the text attributed to St. Thomas Aquinas, Michael Joncas married his beautifully constructed composition Lauda, Sion, Salvatorem to eight verses and a refrain crafted by Alan Hommerding. In his composer notes, Fr. Joncas tells us that Alan’s “ability to evoke the theological nuances of the original (text) while still retaining poetic interest” allows the entire composition to work as a Communion procession and Fr. Joncas’ principle intention for the piece.

Lauda, Sion, Salvatorem alternates a single (and simple) melody line sung with a Latin refrain and alternates English verses between a cantor and/or choir.  Fr. Joncas informs us that the Latin refrain “Lauda, Sion, salvatorem, lauda ducem et pastorem, lauda, Sion, in hymnis et canticis” may be loosely translated as “Zion, praise your Savior. Praise the Prince and Shepherd in hymns and canticles.”

When the conference liturgy ended, a small group of us applied liturgical mystagogy to the experience to glean insights on our experience of repeatedly singing this one refrain. A significant question emerged. Because this sequence is an option on the Solemnity of the Body and Blood of Christ, why do so many parishes “option out” of singing this magnificent text that locates our very identity as a eucharistic people?

Considerations

The Joncas/Hommerding composition of Lauda Sion Salvatorem may be performed in its simplest context between a cantor with accompaniment and assembly or augmented with a full choral score. Joncas adds that brass and timpani may “heighten the festive character of this setting.” However, a simple version may prove to be just as rich when well done.

The assembly’s part may be memorized after several repetitions. The brisk tempo and melodic refrain coupled with poignant poetry may be incorporated into any liturgical celebration. Consider using Lauda Sion Salvatorem as a communion processional hymn throughout the entire year so the assembly is prepared to sing and pray it well on the Solemnity of the Body and Blood of Christ.

Several musical settings of “Laud, O Zion” utilize an optional shorter form of the sequence. For example, “Laud, O Zion” by Randall DeBruyn (OCP) may be sung by a cantor with accompaniment. DeBruyn also provides the long form in the octavo “Laud, O Zion” for four-part choir.

CanticaNOVA Publications issues a practical setting of “Laud, O Zion” by Angela Birkhead-Flight, who reworked the original 24 stanzas and grouped them into three sections. After the cantor sings eight verses, the assembly sings a simple refrain, ”Ecce panis angelorum.” The verses may be sung by a cantor with or without accompaniment.

Praise O Zion by Richard Proulx and Alan Hommerding  uses the familiar hymn tune St. Thomas with optional brass quartet and timpani to augment the piece that may be used on multiple liturgical occasions. 

Consider 'optioning in' with the sequence on the Solemnity of the Body and Blood of Christ. Good traditions need to begin somewhere: make this your year to begin this practice.