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Ave Verum II (O SACRED BANQUET)

Ave Verum is a Latin Eucharistic text believed to have been written by either Pope Innocent III or Pope Innocent IV. The text may be used for a variety of occasions and liturgical functions, but was primarily sung on the feast of Corpus Christi (Body of Christ) and the music attempts to reveal the mystery enthralled within the Eucharist.

Special attention should be taken throughout the piece to insure that all suspensions are handled with great care and musical intent since their use is aimed at accentuating both the mood and the text of the piece.

The opening eight bars set the tone of the piece and no text is repeated until measure 12 with the text: “vere passum immolatum in cruce pro homine” (truly suffered, was sacrificed on the cross for humanity). Vocal imitation also begins at measure 12 beginning with the bass voice. Each voice enters in their low register building chromatically for 12 bars with great intensity until the climax at measure 23 on the words “in cruce” (on the cross) where all voices are now in their upper register adding to the tension of the line. Additionally, the chord is a B flat 7 indicating that this tension is not complete and necessitates moving forward. This symbolic gesture points to the cross being the ultimate, redemptive sacrifice for all of humanity.

The next passage “cujus latus perforatum” (whose side was pierced) is very pointed and accentuates the word “pierced” on the downbeat of measure 30 with a double suspension. The flat second suspension on the word “perforatum” in the alto voice provides a tritone relationship with the sopranos providing elements of text painting. The most apparent text painting passage is displayed beginning at measure 35 with the words “unda fluxit sanguine” (from where blood and water flowed). The four bar descending passage between the vocal lines attempts to depict the blood flowing from the pierced side of Jesus.

“Esto nobis praegustatum” (be for us a foretaste of heaven) utilizes the most beautiful and unexpected suspensions incorporated to provide a momentary feeling of solace that takes a quick and unexpected turn on the following text “in mortis” (in death) on a diminished 7th chord which really portrays the final judgment after death. “Miserere mei” (have mercy upon me) in the final passage is the most chromatic two bars in the entire piece and appeals to the plea of mercy upon all of us as sinners.

Finally, the tonal center at the beginning of the piece “seems” to indicate the key of F minor, yet the piece seems to move very subtly in and out of this tonal center. This ambiguity continues to the bitter end with the final “Amen.” Assuming the piece is in F minor, the “amen” ends on an open, subdominant chord in the key of F minor and not the tonic chord. This further blurs the tonal center of the entire work and accentuates the “folly” of the cross and that redemption does not end with the suffering and death on the cross, but finds it’s completeness in the resurrection to new life.

Richard Robert Rossi Text Translation Original Latin (from Liber Usualis)

Ave vérum Córpus, nátum de María Vírgine: Vere pássum, immolátum in crúce pro hómine: Cújus látus perforátum, Unda flúxit sanguine: Esto nóbis praegustátum In mórtis examine. O Jésu dúlcis, Miserére méi. Amen.

TRANSLATION

Hail, true Body, born of the Virgin Mary: Truly suffered, was sacrificed on the cross for humanity: Whose side was pierced, from where water and blood flowed: Be for us a foretaste (of heaven) in our final judgement. O sweet Jesus, have mercy upon me. Amen.

Translation by Richard Robert Rossi

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