The Divine Service, Service of the Word: Part 3 – The Hymn of Praise

The Rite

In Lutheran Service Book, Divine Service Setting Three, the Hymn of Praise is the Gloria In Excelsis (Latin for “Glory To God In The Highest”). Also called “The Greater Doxology,” this is an elaboration of the song of the angels over the fields of Bethlehem, which appears in St. Luke 2:14. The opening refrain is followed by three stanzas of praise:

1. The first to God the Father,
2. the second to God the Son in His relationship to the Father.
3. The third, also addressed to Christ, includes a reference to the Holy Spirit and returns at the end to the theme of the glory of the Father, echoing the opening refrain.

The music of the “Gloria” in Divine Service Setting Three, is an arrangement of the Old Scottish Chant. The ICET texts in Settings One and Two come from the Lutheran Book of Worship (1978). The music in Setting One was composed by Richard Hillert. The music in Setting Two was composed by Robert Nelson.

The Gloria also came into the Western Mass from the Eastern church in about the fourth century. According to tradition, it was first used by the Pope at a Christmas Midnight Mass. This is not unlikely since the hymn is based on the angels’ announcement of the Nativity. From there it’s use on Sundays and Feast days was authorized by Pope Symacchus in the late fifth or early sixth century; though for many centuries using it at Mass was the privilege of Bishops alone (Cobb 183).

In Settings One and Two there is a second option for the Hymn of Praise: “Worthy is Christ.” These two contemporary hymns[1] celebrate the resurrection and are based on Revelation 5:9-13; 19:49. The text, written by John W. Arthur, was released in the 1970 publishing of the Commission on Worship’s Contemporary Worship 2. It is reminiscent of the Dignus Est Agnus in the Canticle section of The Lutheran Hymnal (122). Setting Four provides a new text, written by Stephen P. Starke with a tune that is a German folksong: es flog ein kleins waldvögelein.

In Setting Three the Kyrie and Hymn of Praise are both used. The Gloria is omitted during Advent and Lent due to the preparatory and penitential aspects of these seasons (except for Festivals during these seasons and on Holy Thursday). Since this setting follows Luther’s Formula Missae, this section remains invariable.

However, in Settings One and Two, the Kyrie and Hymn of Praise are optional and seasonal. Some mistakenly and incorrectly use the “Gloria” for non-sacramental services and “Worthy is Christ” for sacramental services. However, the latter is a festival canticle and is to be used during the Easter season and at Festivals and Feasts. The following usage chart may help:

Season                                        Kyrie                    Hymn of Praise

Advent                                         Yes                       —–

Festivals during Advent           Yes                      Gloria in Excelsis

Christmas – Epiphany 2           Yes                       Gloria in Excelsis

Sundays after the Epiphany    —-                        Gloria in Excelsis

Transfiguration                          Yes                       Gloria in Excelsis

Lent                                              Yes                        —–

Festivals during Lent                Yes                       Gloria in Excelsis

Sunday of the Passion              —-                         —–

Holy Thursday                           Yes                        Gloria in Excelsis[2]

Easter Season and Pentecost  Yes                        Worthy is Christ

Trinity Sunday                           Yes                        Worthy is Christ

Pentecost Season                       —-                         Gloria in Excelsis

All Saints                                     —-                         Worthy is Christ

Lesser Festivals                          —-                         Worthy is Christ

Christ the King                           Yes                        Worthy is Christ

 

The Ceremony

During the Gloria in Excelsis, the presiding minister chants the first phrase in the “orans”[3] position, bringing his hand together when the congregation joins singing. The presiding minister and congregation mimic the biblical narrative as the presiding minister alone chants the opening refrain (the solo angel) followed by the congregation joining together in praise (the angelic chorus).

In Setting Three the presiding minister may bow his head at the words “worship Thee,” “give thanks,” “Jesus Christ,” and “receive our prayer.” The sign of the cross may be made at the conclusion at the words “Thou only, O Christ.” In Settings One and Two: the presiding minister may bow his head at the words “we worship you,” “we give You thanks,” “Lord Jesus Christ,” and “receive our prayer.” The sign of the cross may be made at the conclusion at the words “Most High, Jesus Christ.”

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[1] Setting One was composed by Richard Hillert, music professor at Concordia University Chicago; and Setting Two was composed by Ronald Nelson, organist and composer at Westwood Lutheran Church, St. Louis Park, MN. Both settings are from Lutheran Book of Worship (1978).

[2] This is particularly appropriate because of the connection between the Holy Supper and the Incarnation. This is expressed in the Hymn of the Day “O Lord, We Praise Thee” (LSB 617) in the words “May Thy body, Lord, Born of Mary…”

[3] orans – From the Latin “praying” or “pleading” – a prayer posture with elbows to the side, hands outstretched, and palms up.

 

Works Cited

Cobb, Peter J. “The Liturgy of the Word in the Early Church.” The Study of Liturgy. Edited by Cheslyn Jones, Geoffrey Wainwright, and Edward Yarnold, SJ. Oxford University Press, 1978.