Novena Hymns

[Armanda Kicks]

ChicagoJ.S. Paluch Co., Inc., 1942. Paperback. 32p. A staplebound booklet in very good condition. Previous seller's handwritten price on front cover, but otherwise clean and tight. Item #196555

Vintage Catholic booklet of prayers for a novena to Saint Anne, mother of the Blessed Virgin Mary.

Novena Devotion Hymns is a free app for Android published in the Reference Tools list of apps, part of Education.

The company that develops Novena Devotion Hymns is WKu. The latest version released by its developer is 1.0.1. This app was rated by 1 users of our site and has an average rating of 3.0.

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The text of this hymn may have been inspired by the refrain of a hymn written by Father Frederick W. Faber (1814-1863), O Flower of Grace! Divinest Flower! The hymn can be found in the second edition of his JESUS AND MARY hymnal published in 1852. Father Faber is a convert to Catholicism, a student of St. John Henry Newman, a product of the Oxford Movement, and a priest of the Oratory of St. Philip Neri.

The words and melody that became traditional first appeared in the WREATH OF MARY compiled by the Sisters of Notre Dame de Namur and published in 1883 by the Oliver Ditson Co. and captioned Our Lady of Help.

I recently learned through the correspondence of Peter Meggison producer of The Devotional Hymns Project that there was one Sister out of all the Sisters of Notre Dame who is generally considered the leader in the publication of all the American hymns and songs found in the hymn collections. It is likely that the words and the melody which became traditional to Mother Dearest, Mother Fairest, can be credited to Sister Aloysius (Josephine) Dorman (1835-1913).

She was known to have a lively disposition and would often charm the hearts of those around her, but little did she know how close the end was near. On one occasion in late March of 1913, she wielded the baton for an orchestra of many instruments and sang a gypsy song accompanying herself with tambourine dancing with as much agility as if she was twenty years of age. The next day she was not well and for two weeks came only to Mass and Holy Communion but, finally she had to confine herself to her room which was just above the sacristy. Sister Aloysius Dorman died April 1, 1913 and is buried in the Notre Dame Cemetery in Hamilton, Ohio.

Mother Dearest, Mother Fairest although not originally written for novenas was incorporated into the evening novena programs as early as the 1930s. Among these novenas were those to Our Lady of the Miraculous Medal, the Sorrowful Mother, Our Lady of Perpetual Help, and Our Lady of Mt. Carmel. The prayers of the novena were usually followed by Benediction of the Blessed Sacrament. The evening novena programs, which included devotional hymns, were printed by the religious congregation which promoted the particular devotion (e.g., the Vincentians and Our Lady of the Miraculous Medal, the Redemptorists and Our Lady of Perpetual Help, etc.).

In addition to the traditional words and melody, I found four other melodies that were composed for this hymn. The first appeared in HYMNS FOR THE ECCLESIASTICAL YEAR published in 1908. The hymnal was compiled by Father Alphonsus Dress, Professor of Music at Loras College in Dubuque, Iowa.

Father Alphonsus taught music at Loras College from 1908 until 1941. He died on November 8, 1941 and is buried at Mt. Calvary Cemetery, Dubuque, Iowa. Some of the information is this short narrative of Father Dress was provided by Archives of the Archdiocese of Dubuque, Pastoral Center.

The Diocesan Hymnal identifies this melody in the hymn index as German but does not identify the hymnal or the gesangbuch it is taken from. Many of the melodies in the hymnal were composed by Bishop Schrembs and arranged or harmonized by other composers like Rt. Rev. Monsignor Peter Griesbacher (P.G.), the Very Rev. Gregory Hgle, O.S.B. (G.H), Joseph I. Mller (J.I.M. or sometimes J.M.), and Alfred Kalnins (A.K.). The initials in the lower right of this hymn G.P. are not identified and so we are left with a mystery.

A fourth melody was found in the ALVERNO HYMNAL AND CHOIR BOOK PART 3. It was composed by Father Joseph Mohr, S.J., (1834-1892). Father Mohr is probably best known for his outstanding gesangbuchs like the Caecilia published in 1868 which contained an anthology of melodies from earlier centuries. His other collections like the Jubilate Deo published in 1877, found its way to America and helped to raise the standard of American hymnals which previously had relied on English and French sources.

The Alverno Hymnals were compiled by Sister Mary Cherubim Schaefer, O.S.F., (1886-1977). Sister Cherubim was a member of the School Sisters of St. Francis. The Alverno Hymnal was published in three parts over the course of five years. They are:

Recently, the archivist for the School Sisters of St. Francis sent me a copy of the organ arrangment from the Alverno Hymnal Abridged Edition published by McLaughlin and Reilly Co., in 1963. This collection is the compilation of the three Alverno Hymnals published between 1948-1953.

Also, to Noel Jones, AAGO in granting permission to link to A Catholic Book of Hymns and Chants with nearly three hundred time-honored traditional Catholic hymns, including Mother Dearest, Mother Fairest. You can download A Catholic Book of Hymns & Chants FREE at www.sacredmusiclibrary.com

Below are computer generated sound files of the melodies listed above. The tempo is approximate but should provide the listener with a good sense of what the hymn sounds like. All the hymns are in the public domain. I have also included a recording of this hymn as sung by The Paulist Choristers, who were featured on Catholic radio programs throughout the nation and produced a collection of Catholic Novena Hymns which were widely sung in Catholic parishes, devotions, missions, and the like.

Saint James the Greater is the patron saint of Bulusan. It is in his honor that the fiesta is being celebrated annually for the last 380 plus years in Bulusan town. Bulusan is composed of 24 barangays/villages. Each barangay has its own patron saint. Even some sitios (smaller unit than a barangay) have their own patron saints too. For the town fiesta in Bulusan, the barangays of the poblacion are customarily the ones hosting the fiesta of the patron saint.

Traditionally a novena is held before the fiesta. The novenario is the 9-day novena before the feast day of the patron saint. It is during these novena days that the village santos are brought to the parish church.

In sharp contrast with the DLC fiesta morning events and the nighttime revelries during the fiesta nights, these religious activities were sacred and solemn. Prayers and singing of hymns were done late in the afternoon processions after the holy mass for each novena day for nine days ending on the eve of the fiesta.

Each village have ancient hymns and prayers to their saint. Hymns vary. The lyrics are in the standard Bicol language. The melody too varies but most of the hymns are plaintive songs in the form of prayers to honor the specific saint.

Saint James the Greater will always be the major attraction of the Bulusan fiesta with the entourage of around 25 villages saints.

Two carosas for Saint James the Greater were seen in the religious processions: One image as an apostle and another image as a fierce warrior riding in a galloping white horse.

In Bulusan, there exists a persistent folk story that Saint James the Greater, our patron saint, has this miraculous power to deflect even the most powerful force of nature like typhoons and volcanic eruptions. Many versions from time to time update the story but the common gist is this : the patron saint is ever ready to protect and shield Bulusan town from danger of any kind.

Many of the melodies and lyrics of traditional CHamoru Catholic hymns were derived or translated from Spanish Catholic hymns introduced by the different Spanish missionaries who worked among the CHamoru people over the history of the Marianas mission. Pal Romn Mara de Vera, a Capuchin priest from Navarre, Spain who worked in Guam from 1915 to 1941, compiled a book of CHamoru and Latin hymns entitled, Lalai-hulo, Antihu: Kanta Gumayuus Siha. Many of these songs in this collection had been sung since the time of the Augustinian Recollect priests who ran the Catholic mission in Guam in the 19th century, and some were written by Pal Roman himself. In fact, the melodies of many of these songs are recognizable in other Spanish-speaking places-but have CHamoru lyrics. Reprinted several times since the 1940s, the hymnal by Pal Roman consists of lyrics of more than 100 songs for various occasions, but do not have any musical notations. Instead, most of the CHamorus familiar with these songs would have had the melodies committed to memory.

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