This is one of the best-known of our Marian hymns, and since there’s little reason to make any substantive changes, I’d like to take a look at notation, and when to use (or not use) time signatures in the new hymnal.
This is a hymn which perhaps deserves to be more widely known. I am also including a SECOND melody, from the Uzhorod Seminary Choir.
Here is another feast-day hymn for the Mother of God – this one for the feast of her Protection (Patronage), on October 1. It can also be sung throughout the year.
Most hymns to the Mother of God are “general purpose”, usable throughout the year, while some have verses for a variety of occasions. This spiritual song is intended for singing in connection with a particular feast of the Theotokos: her entry into the Temple in Jerusalem, which we celebrate on November 21.
Last year, we looked at the hymn, O Father Nicholas, which is sung to the same tune as the Marian hymn, Rejoice, O purest Queen (Radujsja Carice). At that time, we made some changes to the melody based on the oral tradition, and the English accents in our text. This blog entry continues that discussion.
Most of our hymns to the Mother of God are supplications – requests for her aid and protection. This song, on the other hand, is an extended praise of Mary the Theotokos in her heavenly glory; it is most frequently sung in connection with the feast of her Dormition on August 15.
Another less well-known entry from the Marian Hymnal – this one written by an identified author, Fr. V. Matyuk.
Although short, this is a delightful hymn to the Mother of God – comcrete and almost iconographic in its appeal.
As a general rule, all hymns to the Mother of God in our 1978 pew book were also included in the 1984 Marian Hymnal. This one is an exception.