For Palm Sunday, I present the ancient melancholy hymn about the sacrificial suffering of Jesus Christ for the sake of mankind in six different settings.
O Sacred Head Now Wounded – Fernando Ortega with images from The Passion of The Christ:
“O Sacred Head, Now Wounded” sung by the Choir of King’s College:
This is the traditional version version sung by most choirs. Listen for that gorgeous alto line….
Cello and Choir: Marcelo Zigaran performing : O SACRED HEAD NOW WOUNDED:
Marcelo Zigaran, cellist performing with Firts Methodist Houston choir in a performance broadcasted on Houston TV. O Sacred Head Now Wounded, piece by J. S. Bach arranged for cello, choir and piano by J. Raney:
O SACRED HEAD NOW WOUNDED sung by Selah:
Oh Sacred Head , arrangement by Kevin Schaffer © 1994 Clifty Music (BMI):
This song also appeared on Hear It In Our Voice: Volume III by The Acappella Company, Favorite Hymns of The Firemen by The Firemen, Never Grow Old by Revival, and This Little Light by The Sounds of Glory.Lead: Brian Randolph.
This one starts out a little weirdly (some might say inappropriately) – but give it time. Perhaps the cheery beginning is meant to signify Christ’s triumphal entry into Jerusalem? Then it slows down significantly as Christ’s passion begins. More images from The Passion of the Christ:
This lovely guitar/cello duet of O Sacred Head Now Wounded is performed by Jack Marti & Elisabeth Montague:
Some background on this Palm Sunday staple via Wikipedia:
The hymn is based on a long medieval Latin poem, Salve mundi salutare, with stanzas addressing the various parts of Christ‘s body hanging on the Cross. The last part of the poem, from which the hymn is taken, is addressed to Christ’s head, and begins “Salve caput cruentatum.” The poem is often attributed to Bernard of Clairvaux (1091-1153), but is now attributed to the Medieval poet Arnulf of Louvain (died 1250). The seven cantos were used for the text of Dieterich Buxtehude’s Membra Jesu Nostri addressing the various members of the crucified body
The poem was translated into German by the prolific Lutheran hymnist Paul Gerhardt (1607-1676). Although Gerhardt translated the whole poem, it is the closing section which has become best known, and is often sung as a hymn in its own right. The German hymn begins, “O Haupt voll Blut und Wunden”. The closing section has also been translated into English, by several writers, but is best known as “O Sacred head, sore wounded”.
The hymn was first translated into English in 1752 by John Gambold (1711–1771), an Anglican vicar in Oxfordshire. His translation begins, “O Head so full of bruises.” In 1830 a new translation of the hymn was made by an American Presbyterian minister, James Waddel Alexander (1804-1859). Alexander’s translation, beginning “O sacred head, now wounded,” became one of the most widely used in 19th and 20th century hymnals.
Another English translation, based on the German, was made in 1861 by Sir Henry Baker. Published in Hymns Ancient and Modern, it begins, “O sacred head surrounded by crown of piercing thorn.”
In 1899 the English poet Robert Bridges (1844-1930) made a fresh translation from the original Latin, beginning “O sacred Head, sore wounded, defiled and put to scorn.” This is the version used in the 1940 Hymnal (Episcopal), the 1982 Hymnal (Episcopal; stanzas 1-3 and 5), and the Church of England‘s New English Hymnal (1986) and several other late 20th-century hymn books.
The English Hymnal, 1906 has a translation atrributed to “Y.H.”, referring to Bridges’ translations for the Yattendon Hymnal, of which he was the editor.
The music for the German and English versions of the hymn is by Hans Leo Hassler, written around 1600 for a secular love song, “Mein G’müt ist mir verwirret”, which first appeared in print in 1601. The tune was appropriated and rhythmically simplified for Gerhardt’s German hymn in 1656 by Johann Crüger. Johann Sebastian Bach arranged the melody and used five stanzas of the hymn in his St Matthew Passion, stanza 6 also in his cantata Sehet, wir gehn hinauf gen Jerusalem, BWV 159. Bach used the melody on different words in his Christmas Oratorio, both in the first choral (#5) and the triumphant final chorus. Franz Liszt included an arrangement of this hymn in the sixth station, Saint Veronica, of his Via Crucis (the Way of the Cross), S.504a. The Danish composer Rued Langgaard composed a set of variations for string quartet on this tune.
The melody of “American Tune” by Paul Simon is based on the hymn.
O Sacred Head Now Wounded
Text: Anonymous; trans. by Paul Gerhardt and James W. Alexander
Music: Hans L. Hassler, 1564-1612; harm. by J.S. Bach, 1685-1750
1. O sacred Head, now wounded,
with grief and shame weighed down,
now scornfully surrounded
with thorns, thine only crown:
how pale thou art with anguish,
with sore abuse and scorn!
How does that visage languish
which once was bright as morn!
2. What thou, my Lord, has suffered
was all for sinners' gain;
mine, mine was the transgression,
but thine the deadly pain.
Lo, here I fall, my Savior!
'Tis I deserve thy place;
look on me with thy favor,
vouchsafe to me thy grace.
3. What language shall I borrow
to thank thee, dearest friend,
for this thy dying sorrow,
thy pity without end?
O make me thine forever;
and should I fainting be,
Lord, let me never, never
outlive my love for thee.