A Dictionary of Music and Musicians/O Salutaris Hostia

by William Smyth Rockstro

O SALUTARIS HOSTIA, a Hymn sung during the Office called Benediction,^[1] at the moment when the Tabernacle is opened, in order that the Consecrated Host may be removed and placed in the Monstrance prepared for its solemn Exposition.

Sometimes also, though less frequently, 'O salutaris hostia' is sung at High Mass, immediately after the 'Benedictus': not indeed as an integral part of the Mass itself, to which it does not properly belong, but in order to prevent the long and distracting pause which would otherwise ensue, when—as is so frequently the case in Plain Chaunt Masses—the 'Benedictus' is too short to fill up the time which must necessarily elapse between the Elevation of the Host and the 'Pater noster.'

The Plain Chant Melody of 'O salutaris hostia' is a very beautiful one, in the Eighth Mode, and introduces some ligatures, which, when carefully sung, add greatly to its effect. It needs, however, an experienced Choir to do it full justice.

Pierre de la Rue has treated the theme of 'O salutaris' with marvellous ingenuity, in a very celebrated Mass, wherein he seems to have deliberately sacrificed all higher aims to the desire of exhibiting his stupendous learning to the utmost possible advantage, the result of his labours being a series of infinitely complicated Canons, of which one—the Kyrie eleison—will be found at page 229 of the present volume. Happily, Pierre de la Rue did not always write in this ultra-pedantic style. In another of his Masses—the 'Missa de S. Anna'—he has substituted for the Benedictus a Polyphonic setting of 'O salutaris' of surpassing beauty, full of rich harmony, and, so far as its style is concerned, very much in advance of the age in which he lived. We are the more indebted to him for this, because, in the first place, the position of the Hymn, between the Sanctus and Agnus Dei, proves the custom of introducing it at High Mass to be at least as old as the 15th century; and secondly, because, in consequence of the comparatively late date of the Office of 'Benediction,' the number of genuine polyphonic settings of the Music needed for it is exceedingly small.

In modern times 'O salutaris' is treated in a very different spirit. Most Composers of the present century have adapted it for a Solo Voice, with & highly elaborate accompaniment, and a not always very moderate amount of fioritura. Cherubini has written many settings of it, one of which is almost as popular as his celebrated 'Ave Maria'; and Rossini has introduced it into his Messe Solennelle, in company with a Melody of ravishing beauty. Both these inspirations—for we can call them nothing less—are all that can be wished, so far as Music is concerned, but utterly unfit for their intended position, either in the Office of Benediction or the Mass.

[ W. S. R. ]

1. Fr. Salut.