Tantum ergo

"Tantum ergo" is the incipit of the last two verses of Pange lingua, a Medieval Latin hymn composed by St. Thomas Aquinas circa A.D. 1264. The "Genitori genitoque" and "Procedenti ab utroque" portions are adapted from Adam of Saint Victor's sequence for Pentecost.^[1] The hymn's Latin incipit literally translates to "Therefore so great".

The singing of the Tantum ergo occurs during adoration and benediction of the Blessed Sacrament in the Catholic Church and other denominations that have this devotion.^[2] It is usually sung, though solemn recitation is sometimes done, and permitted.^[3]

Tantum ergo lyrics

Latin

Literal translation

English translation

A century-old translation,^[4] still used in Catholic churches liturgically,^[5] renders the hymn in a form which can be sung to the same tune as the Latin:

ICEL translation

The following is found in the latest edition of the Holy Communion and Worship of the Eucharistic Mystery outside Mass (2024) ^[6]:

Other, more modern, English translations exist and are also used in Catholic churches liturgically.

Theological aspects

The words "procedenti ab utroque / compar sit laudatio"—literally, "May equal praise be to the One proceeding from both"—refer to the Holy Spirit, which according to version of the Nicene Creed used in Western Christianity proceeds from both the Father and the Son.

A partial indulgence is granted to the faithful who devoutly recite the Tantum ergo. But a plenary indulgence is granted on Holy Thursday and on the feast of Corpus Christi, if it is recited in a solemn manner.^[7]

Musical settings

The basic text has been set by numerous composers: from the Classical period John Francis Wade,^[8] the Renaissance (Palestrina), the Romantic period (Anton Bruckner, Hector Berlioz (H142), Gabriel Fauré, Franz Schubert, Louis Vierne), and modern composers (Maurice Duruflé, David Conte, Crys Armbrust).

Déodat de Séverac composed a motet set to the text.

Bruckner wrote eight settings of the text: WAB 32, WAB 43, WAB 41 (Nos. 1, 2, 3, 4), WAB 42, and WAB 44. Fauré wrote two settings: Op. 55, and Op. 62 No. 2. Schubert wrote six settings: D. 460, D. 461, D. 730, D. 739 (Op. 45), D. 750, and D. 962. Vierne's treatment of it is his Opus 2. Duruflé's setting is contained as No. 4 of his Op. 10, Quatre Motets sur des thèmes grégoriens, published in 1960,^[9] and uses the plainchant melody.

Samuel Webbe composed a motet in 87 87 meter, widely used in the English and American Catholic churches.^[10]

Former Austria-Hungary (incl. South Tyrol)

In the areas of the former Austria-Hungary monarchy the Tantum Ergo for eucharistic benedictions is frequently set to the tune of the Kaiserhymne (Gott erhalte, Gott beschütze), however not always repeating the refrain as in the anthems. This can be confirmed in Vienna^[11] and South Tyrol^[12] at the least.

Philippine use

The Church in the Philippines uses a separate hymn tune [another video] from the Pange lingua, whose first three strophes are otherwise sung to the original tune. This particular setting, which is of Spanish origin, is credited to a José Rafael Carreras y Bulbena and was originally published with a time signature of 3 4 but is now sung in quadruple metre in Luzon and in quadruple then triple metre in the Visayas.^[13]

Let Us Raise Our Voice

This tune is also used to sing "Let Us Raise Our Voice", a loose English adaptation of the Tantum ergo. This is borne out of a commission on revising the Novena by the Redemptorists of the Manila and Cebu Vice-Provinces in the early 1970s, in the wake of liturgical reforms^[14]. The hymn, whose lyrics paraphrase the first two forms of the Memorial Acclamation of the Mass, is sung during the Wednesday Novena Service to Our Lady of Perpetual Help and Benediction at Baclaran Church (the icon's principal shrine in the country).