Roman Catholic English Hymns Free Download

This is a list of original Roman Catholic hymns. The list does not contain hymns originating from other Christian traditions despite occasional usage in Roman Catholic churches. The list has hymns in Latin and English.

The volume of Catholic hymns that have been produced is massive. There are songs for every occasion and mood, many songs that are perfect for praise and worship opportunities. There are the slow ones, the fast ones, and the in-between ones.

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The cool thing is about all of these hymns, there are so many different ways to play and sing them. You could use the piano, organ, guitar, and all create a different vibe for each version. Choirs could be used, soloists, or just one person leading the congregation.

My parish has used to First Edition of this hymnal for years, and they were slowly falling apart. I had such high hopes for the Second Edition, unfortunately, I was disappointed. The hymns are in different keys, with different chord progressions, and almost without fail, the alto and bass parts are painful to attempt. The alto parts sometimes even have tritones in them. Additionally, some of the hymns are not appropriate for Catholic hymnal, while others are harder than before. The Second Edition added so many hymns and chants, but still have not added the Solemn Tone 'Te Deum.' Overall, the new hymnal was a major disappointment.

In the October issue, I made the case that the sort of performance music we often hear at parish Masses does not fit well with the liturgy. I am working from Glory and Praise (1997), a popular hymnal in the United States and Canada. What I say, however, can apply to other hymnals, too. My purpose is to do more than give the bad hymns a cuffing. Last time I examined why these hymns are bad musically  trite and ugly melodies that are difficult for a congregation to sing. This time I will examine why they are bad poetically and theologically: why they are bad food for the congregation and a lost opportunity for evangelization.

These bad hymns, as I've said, do not fit well with the liturgy. They do, however, fit astonishingly well with the narcissistic lyrics of the songs themselves. This is first of all because our lyricists often write their own poems, and these typically highlight the feelings and wonderfulness of the people who are supposed to be singing them. I grant that many of the lyrics are taken from the Psalms and the prophets. Certainly no one can object to the Scripture! But sometimes the lyricists adapt rather than cite Scripture, and that gives them leeway for mischief (see "Why Hymns Are at the Bottom of the List" page 15). "On Eagle's Wings" saps the refreshingly martial confidence of Isaiah 40:31, "they shall mount up with wings as eagles," leaving us instead the limp and Hallmark-like "[I shall] bear you on the breath of dawn."

I know of no ancient hymn wherein the congregation applaud their goodness, even if acknowledged as a gift of God's grace. Unseemly it is, and unwise: Man needs no encouragement that way. Yet our hymns do this all the time. So likewise they dwell upon our feelings, or rather our sentiments. Narcissus may weep and sniffle, but his feelings are as shallow as the water whereupon he gazes. The psalmist finds words for every human longing, for exuberance, for quiet confidence, for weeping and rage, and the grief that walks nigh unto despair: "Behold, I was shapen in iniquity; and in sin did my mother conceive me" (Ps. 51:5). But the last thing that Narcissus wants is to behold any blot upon his beauty. So, although the former slave trader John Newton, from the depths of his remorse and gratitude, writes:

For narcissism kills: The boy feeds upon a vain image of himself and finally becomes that vain image, a flower drooping its head at the margin of a puddle. The narcissism of our hymns is a slow but deadly poison, coated with a little sickly sweetness, compounded into pills with some bleached and powdered Scripture.

Even under the current General Instruction of the Roman Missal, hymns are listed only as substitutions for the chant Propers in the Roman graduale; indeed, using a hymn for the Entrance, Offertory, and Communion is the fourth option. Why?

Basically, there is an incompatibility between the form of Scripture and the form of hymns. Hymns and songs are metrical and symmetrical; they have a regular rhythm and lines of the same length. Scripture is not usually metrical and symmetrical. That means that Scripture has to be edited, interpreted, or rephrased to fit into verses with a set number of measures. Doing so without changing the meaning of Scripture requires a composer who is both a poetic genius and well-formed biblical scholar.  Mary Ann Carr Wilson

Free rhythm Chant has no fixed meter, so the music can bend to the words of Scripture as it is written, leaving the meaning fully, literally, intact. In this way, Gregorian chant bypasses the narcissistic pitfalls of modern hymns because the music itself obeys the words of Scripture.

Recognized as the definitive Roman Catholic hymnal, the Saint Jean de Brbeuf Hymnal stands out as an elegant, hardcover pew edition that contains more Catholic metrical hymns than any other collection.

Drawn exclusively from the authentic Catholic treasury, the Brbeuf Hymnal stands alone among church hymn books by neither mimicking nor building upon popular Protestant versions. So unlike other Catholic hymnals which simply strive to avoid heresy and eliminate undignified melodies, the Brbeuf Hymnal is Catholic to the core, containing countless traditional hymns

steeped in deep theology.

Created by and for choirmasters and priests working in Catholic parishes around the globe, the melodies in the Brbeuf Hymnal are beautiful and dignified, its hymns timeless and eminently choral for the congregation.

Something that distinguishes the Brebeuf Hymnal is how it usually includes all the verses for each hymn. This was done because when hymns only have 2-3 verses, by the time the congregation locates the hymn it is already almost over! But many hymns have 7-8 verses.

I love hymns. I love singing them and I love listening to them. Hearing the robust Cardiff Festival Choir belt out the stirring hymns of Ralph Vaughan Williams at what my wife regards as an intolerable volume is, for me, a terrific audio experience. It was only when I got to know certain Lutherans, though, that I began to think about hymns theologically.

For classic Lutheran theology, hymns are a theological "source:" not up there with Scripture, of course, but ranking not-so-far below Luther's "Small Catechism." Hymns, in this tradition, are not liturgical filler. Hymns are distinct forms of confessing the Church's faith. Old school Lutherans take their hymns very seriously.

Most Catholics don't. Instead, we settle for hymns musically indistinguishable from "Les Mis" and hymns of saccharine textual sentimentality. Moreover, some hymn texts in today's Catholic "worship resources" are, to put it bluntly, heretical. Yet Catholics once knew how to write great hymns; and there are great hymns to be borrowed, with gratitude, from Anglican, Lutheran, and other Christian sources. There being a finite amount of material that can fit into a hymnal, however, the first thing to do is clean the stables of today's hymnals.

The first hymns to go should be hymns that teach heresy. If hymns are more than liturgical filler, hymns that teach ideas contrary to Christian truth have no business in the liturgy. "Ashes" is the prime example here: "We rise again from ashes to create ourselves anew." No, we don't. Christ creates us anew. (Unless Augustine was wrong and Pelagius right). Then there's "For the Healing of the Nations," which, addressing God, deplores "Dogmas that obscure your plan." Say what? Dogma illuminates God's plan and liberates us in doing so. That, at least, is what the Catholic Church teaches. What's a text that flatly contradicts that teaching doing in hymnals published with official approval?

Next to go should be those "We are Jesus" hymns in which the congregation (for the first time in two millennia of Christian hymnology) pretends that it's Christ. "Love one another as I have loved you/Care for each other, I have cared for you/Bear each other's burdens, bind each other's wounds/and so you will know my return." Who's praying to whom here? And is the Lord's "return" to be confined to our doing of his will? St. John didn't think so. "Be Not Afraid" and "You Are Mine" fit this category, as does the ubiquitous "I Am the Bread of Life," to which I was recently subjected on, of all days, Corpus Christi the one day in the Church year completely devoted to the fact that we are not a self-feeding community giving each other "the bread of life" but a Eucharistic people nourished by the Lord's free gift of himself. "I am the bread of life" inverts that entire imagery, indeed falsifies it.

Then there are hymns that have been flogged to death, to the point where they've lost any evocative power. For one hundred forty years, the fourth movement of Beethoven's Ninth Symphony sent shivers down audiences' spines; does anyone sense its power when it's morphed into the vastly over-used "Joyful, Joyful We Adore You," complete with "chanting bird and flowing fountain"? A fifty-year ban is in order here. As it is for "Gift of Finest Wheat." The late Omer Westendorf did a lot for liturgical renewal, but he was no poet (as his attempt to improve on Luther in his rewrite of "A Mighty Fortress" "the guns and nuclear might/stand withered in his sight" should have demonstrated). Why Mr. Westendorf was commissioned to write the official hymn for the 1976 International Eucharistic Congress in Philadelphia is one of the minor mysteries of recent years. "You satisfy the hungry heart with gift of finest wheat/Come give to us, O saving Lord, the bread of life to eat" isn't heresy. But it's awful poetry, and it can be read in ways that intensify today's confusions over the Real Presence. It, too, goes under the fifty-year ban. 0852c4b9a8

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