"I have always found this music to be stunningly beautiful.  It has traditionally been used in the Roman Catholic Church with the Latin Lyrics.
In perusing Catholic hymnals, I find a lot of Protestant Hymns there. So I could not resist the temptation two write English (& Dutch) lyrics for it, making the music available to all Christian Churches.   Enjoy!"   
Adrian V. Miller


Jezus, De Zoon Van God
Jesus, The Son Of God


Jezus de Zoon van God,

kwam om ons te redden.

Godís eigen Zoon werd versmaad en gehoond.

Zonden Hij vergaf, zieken Hij genas

en bracht Godís liefde op deezí aardí

voor iedereen.

Toch werd Hij versmaad

en veroordeelt tot Zijn kruis.

Zelfs toen vroeg Hij voor vergeving voor ons.

Jezus stierf voor ons en daalde neer in Ďt graf,

herrees de derde dag

en leeft nu voor eeuwig,

thuis bij God, hoog in de Hemel

op Zijn eigen troon.


Thuis bij God, hoog in de Hemel,

op Zijn eigen troon.


Adrian Vermeulen-Miller


English Version: Lyrics, MIDI, PDF sheet music, Hymn History


April of 1791, Leopold Hofmann, who was Kapellmeister at St. Stephen's Cathedral in Vienna, fell gravely ill. Mozart, who had never been an avid composer of sacred music, nonetheless saw an opportunity to enhance his income, and maneuvered to succeed Hofmann. Towards this end, he turned his attentions again to sacred music, culminating ultimately with his Requiem. (As it happens, Hofmann survived Mozart, and died in 1793.)

Mozart set the Eucharistic hymn Ave verum corpus in June 1791. This setting was dedicated to his friend, Anton Stoll, who was chorus master of the parish church in Baden, and it was first performed in Baden at the Feast of Corpus Christi.

It is possible that Mozart set this hymn, mindful of the Imperial ban on elaborate concerted music, or it is possible that he was working with the limitations of Stoll's choir. One way or another, his setting is remarkable for its compact simplicity. There are a mere forty-six bars of music, with orchestral writing that serves to provide introduction, transition, and ending, and double the choral parts. The choral setting is simplicity itself, with the choir mostly singing the same text at the same time. This direct approach would suited a reform-minded Austria where textual clarity and brevity were all-important in church music.

Mozart's setting is far from pedestrian or undistinguished. (It actually isn't even complete; the text below includes the last two verses, which Mozart omitted from his setting.) There is an unusual modulation from D major to F major at the text, "whose side was pierced, whence flowed water and blood,", and the simplicity is the sort that Artur Schnabel famously described as too simple for children and too difficult for adults (after all, simple music like this exposes any lapses of rhythm, intonation, or ensemble). And the music seems to encompass a universe of feeling in forty-six short bars.

Ave/verum/Corpus/natum/de/Maria/Virgine: Hail/true/Body/of/Mary/virgin

truly/suffered/was sacrificed/on/cross/for mankind

Cujus/latus/perforatum/unda/fluxit/et/sanguine: Whose/side/was pierced/from where/water/flowed and blood

Esto/nobis/praegustatum/in/mortis/examine. be /for us/foretaste/in/of death/testing

O Jesu dulcis, o Jesu oie, o Jesu Fili Mariae, miserere mei. Amen

Hail, true Body, born of the virgin Mary,

Who has truly suffered and was sacrificed on the cross for mankind,

whose side was pierced, whence flowed water and blood,

be for us a foretaste of heaven, during our final trial,

o Jesu sweet, o Jesu merciful, o Jesus Son of Mary, have mercy on me. Amen

MIDI and PDF Files
(right click and "Save Target As" to download)

Ave verum-(DM)Ch.mid

Ave Verum-(DM)Du.pdf

Ave verum.pdf

Ave verum.wps

Ave verum2.pdf

Ave verum2.wps





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