Views from the Choir Loft

The UBI CARITAS chant for Holy Thursday

Jeff Ostrowski · April 5, 2012

Here are six (6) different free versions of the “Ubi Caritas” for Holy Thursday. It will be noted that the Simple English Propers and Simple English Psalm Tones versions use the English translation found in Roman Missal, 3rd Edition.

Click here to download this PDF file.

Free Sacred Resources for Holy Thursday, Year B has a whole bunch more free resources, including the Pange Lingua.

Offertory (1 John 2: 3-4)

Ant. Ubi cáritas et amor, Deus ibi est.
OR:
Ant. Ubi cáritas est vera, Deus ibi est.

1. Congregávit nos in unum Christi amor.
2. Exsultémus et in ipso jucundémur.
3. Timeámus et amémus Deum vivum.
4. Et ex corde diligámus nos sincéro. Ant.

5. Simul ergo cum in unum congregámur:
6. Ne nos mente dividámur, caveámus.
7. Cessent júrgia malígna, cessent lites.
8. Et in médio nostri sit Christus Deus. Ant.

9. Simul quoque cum beátis videámus
10. Gloriánter vultum tuum, Christe Deus:
11. Gáudium, quod est imménsum atque probum.
12. Saécula per infiníta sæculórum. Amen.

Ant. Where charity and love are, there is God.
OR:
Ant. Where love is found to be authentic, God is there.

1. The love of Christ has gathered us together into one.
2. Let us rejoice and be glad in Him.
3. Let us fear and love the living God,
4. and love each other from the depths of our heart. Ant.

5. Therefore when we are together,
6. let us take heed not to be divided in mind.
7. Let there be an end to bitterness and quarrels, an end to strife,
8. and in our midst be Christ our God. Ant.

9. And, in company with the blessed,
10. may we see your face in glory, Christ our God:
11. pure and unbounded joy
12. for ever and for ever. Amen.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Los Angeles.—(Read full biography).

22 September 2020 • “Tears of Joy”

A reader wrote to us: “Thank you for the sample verses of Hymn #869 (Solemn Hymn to the Son of God). I found this music posted to YouTube this morning, and I’ve lost count at of the number of times I’ve replayed it and—no exaggeration!—it makes me tear up each time. This lovely hymn makes me feel closer to Jesus in a way I have not experienced before. It also makes me want to proceed with my daily prayers right then and there, rather than run off to the next errand or household task. I could play your traditional hymns and liturgical music all day long!” —(Ann from the Boston area)

—Jeff Ostrowski

Myth Re: Johann Sebastian Bach

Some musicologists try to make a “splash” by saying that Bach was totally forgotten when he died—remembered only as an organ virtuoso—and that his sons were more famous than he was. Such an idea is indefensible. It is true that musical styles changed in 1750AD—but this is normal. Musical styles change constantly; e.g. much of the repertoire of Hofmann and Rachmaninov was considered “garbage” toward the end of their lives. But those who carefully study the lives of Wolfgang Amadeus Mozart, Christian Gottlob Neefe, Franz Liszt, John Field, Hans von Bülow, Felix Mendelssohn, Frédéric Chopin, and countless others realize that Bach was revered. It’s true that his music was seldom played in public, but music by “dead composers” was generally speaking not played in public until approximately the middle of the 19th century.

—Jeff Ostrowski

Arthur Friedheim, Franz Liszt’s Secretary

Arthur Friedheim (d. 1932) has a very poor reputation as a pianist, and Liszt rejected him several times before finally accepting him as a pupil, yet the Liszt recordings he left are quite good—especially considering the transgressions by other Liszt pupils. Friedheim must have been an amazing musician; twice he was asked to become conductor of the New York Philharmonic (1898 + 1911) but he declined both times. Circa 1912, Friedheim was recording Chopin’s “Funeral March” but the record ran out, so he simply stopped in the middle of the piece. Things sure have changed! Pianists no longer stop in the middle of pieces, although Cortot would sometimes abridge pieces to make them fit on records (cf. Chopin’s Andante Spianato & Grande Polonaise Brilliante).

—Jeff Ostrowski