Official Hymn for Year of Mercy Selected – it’s by Paul Inwood

The Pontifical Council for the Promotion of the New Evangelization yesterday published on its ‘Jubilee of Mercy’ website the winning entry in an international competition for a hymn setting for the Holy Year of Mercy. The music has been written by Pray Tell contributor Paul Inwood, an English Catholic liturgical composer well known on both sides of the Atlantic.

A substantial number of composers from around the world were invited to submit settings of a text by Eugenio Costa SJ to a committee whose members included Monsignor Massimo Palombella, Director of the Sistine Chapel Choir, which has recorded the new hymn with Vatican Radio.

The Pontifical Council’s Italian website has links to the Year of Mercy hymn score and audio recording. There is a YouTube video here.

The hymn is currently available in Italian, English and French, and the author and composer have donated all rights in it to the Pontifical Council to aid its diffusion around the world.

Paul Inwood said:

It is a great honor for me that my setting was selected for the Holy Year of Mercy. The text we were given has a Latin antiphon and Italian verses interspersed with refrains in Latin, like a kind of litany. My music is also a mixture, with elements in the style of a Taizé response and a Gelineau tone. The verses work in any language ― I provided French and English translations ― and I deliberately kept the music very simple so that even the smallest parishes can hopefully make use of it. There is also some more elaborate music: a brass prelude and interludes, and a choral coda which is included in the recording.

The Holy Year begins with the opening of the Holy Door in St Peter’s Basilica, Rome, on December 8th.

Editor

Katharine E. Harmon, Ph.D., edits the blog, Pray Tell: Worship, Wit & Wisdom.

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Comments

48 responses to “Official Hymn for Year of Mercy Selected – it’s by Paul Inwood”

  1. Lee Bacchi

    Congratulations, Paul!!

    Reply
  2. Jimmy Ingram

    Eccelente Paolo !!!

    Reply
  3. Brendan Walls

    Gracias, hermano para anunciar a nos pobres la Buena Nueva en tu musica

    Reply
  4. Anita Fischer

    Congratulations, Paul! It is a beautiful piece of music – I quite enjoyed beginning my workday by listening to it this morning.

    Reply
  5. Linda reid

    You go, Paul!!!! huzzah!!!! I really like the Litanic form!!

    Reply
  6. Clay Zambo

    Congratulations!

    Reply
  7. Gerard Flynn

    Well done, Paul! Heartiest congratulations!

    Reply
  8. Paul Schlachter

    It reminds me also of Heinrich Schutz’s meditative setting for Psalm 136 (SWV 32).

    Reply
  9. Donna Eschenauer

    Beautiful! Peaceful!!
    The prayerful melody has been going through my head all day!

    Reply
  10. Rod Hall

    Congratulations to Paul Inwood!

    Reply
  11. Kevin Vogt

    Paul,

    This is really beautiful. What a gift to the Church!

    I’ve spent a good deal of time since reading this post admiring the inspiration and craft behind the piece.

    As a composer who is definitely still learning, I wonder if you could comment on your decision to make a voice-exchange at the end of the falsobordone, the alto jumping into the 4-3 suspension and the tenor rising from 4 to 5 of V. I sometimes do things like that to avoid voice-leading problems, but you don’t have any such problems there.

    I can hardly wait to introduce this piece to my parish!

    Reply
    1. Paul Inwood

      @Kevin Vogt:

      Kevin, this has partially arisen by a change to the melody in the falsobordone. See the following list of corrections (NB using Euro terminology, so for minim read half note, crotchet = quarter note, etc):

      (1) In the multilingual and Italian scores, the final melody note of the mini-refrain “in aeternum misericordia eius” is the original unrevised version: it should be G not D, as in the English and French scores which are correct, and as on the recording.

      This correction will apply to the assembly part and the soprano part, throughout the verses (bars 8, 12, 16 and 20).

      In the Italian score the final tenor note in bars 8, 12, 16 and 20 should be a D, not a G, as in the English and French versions.

      Additionally, in the multilingual score, the same correction to the final tenor note in bars 8, 12, 16 and 20 in the SATB version.

      Also in the multilingual score, Equal voices and Women/Men, the final soprano note of bars 8, 12, 16 and 20 should be G not D.

      (2) There is an inconsistency in bars 6, 10, 14 and 18. In the multilingual and Italian scores it is a 4/4 bar with the first note/chord a dotted minim. In the English and French scores, it is a 2/4 bar with the first note/chord a crotchet. The recording has the 2/4 bar, so I think we should change the multilingual and Italian scores to that.

      (3) Some engraving issues:

      Bar 10 in all scores: the first right-hand chord of the Organ part should have its stem up, not down

      Multilingual score, bars 8, 12, 16 and 20: under the penultimate right-hand Organ chord there is “hidden” minim rest visible which should be deleted.

      Italian score, bars 8, 12, 16, 20: the same minim rest is visible in the right-hand Organ part, but there is additionally a crotchet “hidden” rest visible under the previous chord (beat 2).

      English and French scores: the same minim and crotchet “hidden” rests are visible in bars 8, 12 and 16, but bar 20 seems to be fine.

      Reply
      1. Doug O'Neill

        @Paul Inwood:
        Paul,

        You don’t seem to actually answer Kevin’s question. Whether or not the tenor drops to a G or stays on the D is unrelated to the voice-leading exchange. In the last two beats of the “mini-refrain,” it would certainly be easier for the alto to sing D-D, and the tenor to sing the suspension C-B, because it would be approached from a C anyway.

        I must say, too, that although I don’t know who is really responsible, it’s a pretty egregious error to have two different versions of the melody in this spot. Although we all make mistakes, that should have been caught before publication on the site. Somebody should fix it pronto – otherwise some people around the world are going to learn the melody incorrectly.

      2. Paul Inwood

        @Doug O’Neill:

        Doug,

        If you will be so kind:

        (1) I and the author of the text made an Act of Donation to the Holy See, which transfers all rights in the hymn to the Pontifical Council for the Promotion of the New Evangelization. This helps others all over the world to see the hymn and to use it.

        (2) Therefore this music now belongs to the PCPNE, and not to me. You will have seen their copyright notice on the scores.

        (3) They have made some minor changes to the original work, including those noted by Kevin. I am not responsible for those, nor for errors in the music notation on the website. I only saw an early proof, not a proof of anything which was published on the website on August 5th. You have seen my list of corrections above, which I hope they will incorporate before making the hymn available in other languages, such as Spanish and German. I did not mention their use of flags instead of the beams on eighth notes which were in my original MS. I think the Italians still use old-style vocal notation.

        (4) Nevertheless, I think the recording by the Cappella Sistina gives a very good idea of how the music is intended to sound — i.e. prayerful and even beautiful. Msgr Massimo Palombella did an excellent job on this at quite short notice.

      3. Kevin Vogt

        @Paul Inwood:
        Paul,
        Just to clarify, in asking my original question about the voice-leading at the end of the falsobordone, I was not necessarily pointing out an error, but wondering what reasons an experienced composer might have for a decision to make the voice exchange in question…where the Alto drops down to complete a 4-3 suspension prepared in the Tenor, while the Tenor abandons the preparation and rises to the 5th scale degree. Avoiding parallel fifths or octaves with other voices might be a motive, in order to keep the texture of four independent voices intact, though, as I noted, there was no danger of this here. I perhaps should have been more explicit in wondering if there was some concern for voicing of the cadential sonority, i.e. the Tenor (in a more efficient tessitura) perhaps taking the 5th rather than the 3rd in order to build an acoustical pyramid (louder root, softer 5th, still softer 3rd), or something like that. Since the more conventional voice leading would have been the more obvious “default,” it seems likely that the voice-leading given would have been a conscious decision. Again, I wasn’t intending to point to any error, simply to probe the mind of a composer to understand the kinds of decisions that go on in the creative process.

      4. Paul Inwood

        @Kevin Vogt:

        Kevin,

        There was no conscious decision — or lapsus — in the mind of the composer. The committee responsible for selecting the hymn made modifications to the end of the mini-refrains. The result, however, is not a million miles away from my original texture.

      5. Paul Inwood

        @Doug O’Neill:

        UPDATE: I have now received proofs of corrected scores, so am hopeful that these will be on the Iubilaeummisericordiae website soon.

      6. Doug O'Neill

        @Paul Inwood:
        Good news – I didn’t mean to demean you or anybody else involved, because none among us is flawless, but it will be good to have the “Urtext” scores available!

  12. Mary Wood

    Splendid, Paul. We’re proud of you and delighted for you

    Reply
  13. Elisabeth Ahn

    Congratulations!

    It’s beautiful (and kinda hauntingly catchy).

    Reply
  14. Frank Agnoli

    I have found a link to the score in English, but is there an audio file available in English as well?

    Reply
  15. Vincent Couling

    Absolutely beautiful! A lasting gift to the church from a blessed soul!

    Reply
  16. Bernie Sans

    Congratulations, Paul. Beautiful (once again) and well done.

    Reply
  17. Bernadette Gasslein

    Paul, it’s gorgeous. Thank you for giving the church this beautiful sung prayer. I see there is a link to the English score (although it must be very busy, because I can’t actually connect), and I’m wondering if that will be the only place it is published. My parish is having a meeting of its music ministry on September 3, and I would like to introduce this piece to the musicians.

    Reply
  18. Philip Spaeth

    Beautiful, Paul! Simple, accessible, and truly holy. Really a blessing to the world for the upcoming Year of Mercy. I will certainly be introducing this in my parish. I can foresee my fellow parishioners singing this with true intentionality of spirit. Love it!

    Reply
  19. Allen F. Corrigan

    Beautiful!

    Reply
  20. Rory Cooney

    Congratulations, Paul! Both notable and notorious, and now, noticed by Rome! We’re proud of you, brother.

    Reply
  21. Rita Ferrone Avatar
    Rita Ferrone

    Congratulations, Paul. This is just beautiful. It will remain in our memory and repertoire long after the year of mercy is over.

    Incidentally, it was fun to read the comments at the YouTube recording. Sort of a Pentecost experience of (mostly) affirmation! Excelsior!

    Reply
  22. Paul Inwood

    Perhaps I could also add a note of thanks to all those who have been so kind about this work. You are generous in your praise and I really appreciate your affirmation.

    Reply
  23. Jeff Rice

    Paul, great job, thanks for providing something both beautiful and usable. Will the choral coda be available at some point? It is lovely. Thank you for this.

    Reply
  24. Scott Pluff

    Congratulations, Paul! A truly worthy piece of music for this great celebration.

    Reply
  25. Brian Palmer

    I just heard it Paul and I want to join the chorus of praise. This is beautiful! Congratulations.

    Reply
  26. Jo Manabat

    Thanks much, PTB, for bringing this news to our attention. Congratulations, Paul, Padre Eugenio, and Mons. Palombella! You all did a great job with the words, the music, and the recording. This is a great gift to the Church… that in all things God may be glorified!

    Reply
  27. Paul Inwood

    I am happy to announce that corrected scores are now available on the English, French and Italian iubilaeummisericordiae websites, along with the YouTube video, the MP3 file and also the score of the choral coda that many have been asking for.

    The only additional corrections which it was not possible to include were a Capo 3 indication at the beginning of the multilingual score and a missing guitar chord on the second beat of each 2/4 bar (Cm, with capo chord Am).

    At this point there is no version in Spanish, but I am hoping that this and other languages will follow after the Roman August vacation.

    Reply
    1. Jeff Rice

      @Paul Inwood:
      Thanks for this. Looking forward to introducing it to several of my choirs this fall.

      Reply
  28. Rick Reed

    Congratulations, Paul! Well-deserved.

    Reply
  29. Ezequiel Menendez

    Dear Mr. Inwood Please let us know where we can get the Brass Prelude and Interludes you referred to above, for Inno dell’Anno Santo della Misericordia.
    Thank you,
    Ezequiel Menendez

    Reply
  30. Ezequiel Menendez

    Any word on where to get the “Brass Prelude and Interlude” parts? We have a mass coming up on September 13, that I would like to use them.

    Thanks again,
    Ezequiel Menendez
    Cathedral of St. Joseph, Hartford, CT

    Reply
  31. Mike Nunan

    Are the lyrics (latin) sung by the Sistine Chapel Choir different from those in the english version?

    Reply
  32. Jonell Stetz

    Wondering if there is a congregation card – as we are preparing to use this hymn throughout the Year of Mercy and desire our congregation to join in this most glorious prayer!
    Beautifully and Prayerfully done Paul!

    Reply
  33. Christopher Berry

    Also wondering if there is a file available for use in service leaflets.
    Many thanks.

    Reply
  34. Rene meldrum

    Beautiful

    Reply
  35. Christopher Julian Akaro

    Mr. Paul
    Congratulation of your best songs of the Jubilee Of the Year of Mercy
    Thank you
    Christopher

    Reply
  36. Judith Angelo Emellius

    Praise the Lord! I am able to sing the Hymm after listening for half hours. Melody and lyrics are beautiful..Soulful Hymm! (Merciful Like the Father).

    Sincerely
    Judith
    Holy Rosary Church, Papar, North Borneo, East Malaysia.

    Reply
  37. Etinosa Julius Odia

    Reminds me of Jacques Berthier- Misercordias Domini- The Catholic church Simply can no longer resist the lure of Taize approach to music ! simple , meditative , peaceful ! we will hopefully be singing it this sunday at Catholic Church of Divine Mercy Lekki Lagos Nigeria
    !!!!!!Yes!Catholic and Im proud- With Love from Lagos Nigeria

    Reply
  38. Raymond Rickard

    Hello Paul,
    I just happened to come across a Youtube clip of Pope Francis, and Pope Emeritus Benedict, entering St. Peter’s at the beginning of the Year of Mercy. I heard this wonderful music and wondered who wrote it. It seemed so fitting in the Youtube clip that the music really started up as Pope E. Benedict enterred the Basilica. He is a great admirer of wonderful liturgical music. Your composition has captured the spirit if the Latin litanies over all the ages, and a litany is something we return to heaven again and again. I am sure it must have been an experience to hear this piece sung in the Vatican with the procession of the Pope, cardinals and bishops. A wonderful piece indeed!

    Reply
  39. Anitra Redlefsen

    The hymn is very beautiful and I want so to share it with others as the Pope intended ~ throughout the Catholic Church. I am not finding any recordings of it for purchase. All I have found is the UTube recordings. I don’t think most people know it exists, any info is greatly appreciated! Thank you!

    Reply
  40. Eileen Jezercak

    Paul, I love this. It takes me back to when you were choir director for St Joseph the Worker in Calif. Thank you very much for a beautiful hymn.

    Reply

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