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Cabeza ensangrentada
Author: Federico Fliedner, 1845-1901; Bernardo de Claraval, 1091-1153; Paul Gerhardt, 1607-1676 Meter: 7.6.7.6.7.6.7.6 Appears in 5 hymnals Lyrics: 1 Cabeza ensangrentada,
Cubierta de sudar,
De espinas coronada,
Y llena de dolor:
¡Oh celestial cabeza,
Tan maltratada aquí
Tu sin igual belleza,
Es gloria para mí!
2 Cubrió tu noble frente
La palidez mortal,
Cual velo transparente
De tu sufrir señal.
Cerróse aquella boca,
La lengua enmudeció:
La fria muerte toca
Al que la vida dio.
3 Señor, lo que has llevado,
Yo solo merecí;
La culpa que has pagado
Al juez yo la debí.
Mas mírame; confío
En tu cruz y Pasíon.
Otórgame, Bien mío,
La gracia del perdón.
4 Agradecido vengo
A Ti, mi Redentor,
Por tu bondad sin cuento,
Tu muerte y tu dolor.
Aquí prometo y juro
Que te obedeceré,
Amigo fiel, seguro
Consumador de fe.
5 En mi última agonía,
Revélame tu faz;
Tu cruz será mi guía,
En paz me llevarás;
Tu imagen contemplando
Entrego mi alma a Ti,
Sólo en tu cruz confiando.
¡Feliz quien muere así!
Amén. Topics: El Año Cristiano Viernes Santo; Christian Year Good Friday Used With Tune: HERZLICH TUT MICH (PASSION CHORAL)
Cabeza ensangrentada
HERZLICH TUT MICH (PASSION CHORAL)
Meter: 7.6.7.6.7.6.7.6 Appears in 513 hymnals Composer and/or Arranger: Hans Leo Hassler, 1564-1612 Incipit: 51765 45233 2121 Used With Text: Cabeza ensangrentada
HERZLICH TUT MICH (PASSION CHORAL)
Cabeza ensangrentada
Author: Bernardo de Clairvaux; Federico Fliedner Hymnal: Libro de Liturgia y Cántico #342 (1998) First Line: Cabeza ensangrentada, cubierta de sudor Lyrics: 1 Cabeza ensangrentada, cubierta de sudar,
de espinas coronada, y llena de dolor:
¡oh celestial cabeza, tan maltratada aquí
tu sin igual belleza es gloria para mí!
2 Cubrió tu noble frente la palidez mortal,
cual velo transparente de tu sufrir señal.
Cerróse aquella boca, la lengua enmudeció:
la fría muerte toca al que la vida dio.
3 Señor, lo que has llevado, yo solo merecí;
la culpa que has pagado al juez yo la debí.
Mas mírame; confío en tu cruz y pasíon.
Otórgame, bien mío, la gracia del perdón.
4 Agradecido vengo a ti, mi redentor,
por tu bondad sin cuento, tu muerte y tu dolor.
Aquí prometo y juro que te obedeceré,
amigo fiel, seguro consumador de fe.
5 En mi última agonía, revélame tu faz;
tu cruz será mi guía, en paz me llevarás;
tu imagen contemplando entrego mi alma a ti,
sólo en tu cruz confiando. ¡Feliz quien muere así!
Topics: Semana Santa. Triduo Pascual Languages: Spanish Tune Title: [Cabeza ensangrentada, cubierta de sudor]
Cabeza ensangrentada
Cabeza ensangrentada
Author: Federico Fliedner, 1845-1901; Bernardo de Claraval, 1091-1153; Paul Gerhardt, 1607-1676 Hymnal: Culto Cristiano #63a (1964) Meter: 7.6.7.6.7.6.7.6 Lyrics: 1 Cabeza ensangrentada,
Cubierta de sudar,
De espinas coronada,
Y llena de dolor:
¡Oh celestial cabeza,
Tan maltratada aquí
Tu sin igual belleza,
Es gloria para mí!
2 Cubrió tu noble frente
La palidez mortal,
Cual velo transparente
De tu sufrir señal.
Cerróse aquella boca,
La lengua enmudeció:
La fria muerte toca
Al que la vida dio.
3 Señor, lo que has llevado,
Yo solo merecí;
La culpa que has pagado
Al juez yo la debí.
Mas mírame; confío
En tu cruz y Pasíon.
Otórgame, Bien mío,
La gracia del perdón.
4 Agradecido vengo
A Ti, mi Redentor,
Por tu bondad sin cuento,
Tu muerte y tu dolor.
Aquí prometo y juro
Que te obedeceré,
Amigo fiel, seguro
Consumador de fe.
5 En mi última agonía,
Revélame tu faz;
Tu cruz será mi guía,
En paz me llevarás;
Tu imagen contemplando
Entrego mi alma a Ti,
Sólo en tu cruz confiando.
¡Feliz quien muere así!
Amén. Topics: El Año Cristiano Viernes Santo; Christian Year Good Friday Languages: Spanish Tune Title: HERZLICH TUT MICH (PASSION CHORAL)
Cabeza ensangrentada
Cabeza ensangrentada
Author: Federico Fliedner, 1845-1901; Bernardo de Claraval, 1091-1153; Paul Gerhardt, 1607-1676 Hymnal: Culto Cristiano #63b (1964) Meter: 7.6.7.6.7.6.7.6 Lyrics: 1 Cabeza ensangrentada,
Cubierta de sudar,
De espinas coronada,
Y llena de dolor:
¡Oh celestial cabeza,
Tan maltratada aquí
Tu sin igual belleza,
Es gloria para mí!
2 Cubrió tu noble frente
La palidez mortal,
Cual velo transparente
De tu sufrir señal.
Cerróse aquella boca,
La lengua enmudeció:
La fria muerte toca
Al que la vida dio.
3 Señor, lo que has llevado,
Yo solo merecí;
La culpa que has pagado
Al juez yo la debí.
Mas mírame; confío
En tu cruz y Pasíon.
Otórgame, Bien mío,
La gracia del perdón.
Amén Topics: El Año Cristiano Viernes Santo; Christian Year Good Friday Languages: Spanish Tune Title: HERZLICH TUT MICH (PASSION CHORAL)
Cabeza ensangrentada
Hans Leo Hassler
1564 - 1612 Composer of "[Cabeza ensangrentada, cubierta de sudor]" in Libro de Liturgia y Cántico Hans Leo Hassler Germany 1564-1612. Born at Nuremberg, Germany, he came from a family of famous musicians and received early education from his father. He then studied in Venice, Italy, with Andrea Gabrieli, uncle of Giovanni Gabrieli, his friend, with whom he composed a wedding motet. The uncle taught him to play the organ. He learned the polychoral style and took it back to Germany after Andrea Gabrieli's death. He served as organist and composer for Octavian Fugger, the princely art patron of Augsburg (1585-1601). He was a prolific composer but found his influence limited, as he was Protestant in a still heavily Catholic region. In 1602 he became director of town music and organist in the Frauenkirche in Nuremberg until 1608. He married Cordula Claus in 1604. He was finally court musician for the Elector of Saxony in Dresden, Germany, evenually becoming Kapellmeister (1608-1612). A Lutheran, he composed both for Roman Catholic liturgy and for Lutheran churches. He produced two volumns of motets, a famous collection of court songs, and a volume of simpler hymn settings. He published both secular and religious music, managing to compose much for the Catholic church that was also usable in Lutheran settings. He was also a consultant to organ builders. In 1596 he, with 53 other organists, had the opportunity to examine a new instrument with 59 stops at the Schlosskirche, Groningen. He was recognized for his expertise in organ design and often was called on to examine new instruments. He entered the world of mechanical instrument construction, developing a clockwork organ that was later sold to Emperor Rudolf II. He died of tuberculosis in Frankfurt, Germany.
John Perry
Hans Leo Hassler
Federico Fliedner
1845 - 1901 Translator of "Cabeza ensangrentada" in Libro de Liturgia y Cántico [Friedrich Ludwig Fliedner, Fritz Fliedner]
Born: June 10, 1845, Kaiserswerth, Düsseldorf, Germany.
Died: April 25, 1901, Madrid, Spain, of typhus.
Buried: Civil cemetery, Madrid, Spain.
Son of Theodor Fliedner, founder of the Kaiserswerth Deaconess Institute, Federico was educated at the Gymnasium in Gütersloh, studied theology at Halle (1864-46) and earned his PhD at Tübingen (1867). He served as a nurse in the Austro-Prussian war of 1866, and taught school for a year in rural Hilden. After ordination in 1870, he left Germany to be a missionary to Spain, settling in Madrid and becoming a chaplain at the German embassy. He learned Spanish, attended a Spanish high school, and studied medicine at the Universidad Central.
Fliedner was instrumental in creating what is now known as the Iglesia Evangélica Española. In 1873, Fliedner founded the Librería Nacional y Extranjera, an extensive collection of text books and periodicals. Among these was The Children’s Friend, published from 1874 to 1939.
Fliedner wrote biographies of John Howard, Elizabeth Fry, missionary-explorer David Livingstone, Martin Luther (1878), and his own parents, Theodore Fliedner of Kaiserswerth (1883) and Caroline Fliedner of Kaiserswerth (1883). He also wrote an autobiography, published first in German in two volumes (Aus meinem Leben, 1901-03), then translated into Spanish and published posthumously in the Christian Magazine (Nos. 513 to 553). He started a Spanish translation of the New Testament with notes from Frenchman Edouard Faivre.
--www.hymntime.com/tch
Federico Fliedner
St. Bernard of Clairvaux
1090 - 1153 Person Name: Bernardo de Clairvaux Author (attributed to) of "Cabeza ensangrentada" in Libro de Liturgia y Cántico Bernard of Clairvaux, saint, abbot, and doctor, fills one of the most conspicuous positions in the history of the middle ages. His father, Tecelin, or Tesselin, a knight of great bravery, was the friend and vassal of the Duke of Burgundy. Bernard was born at his father's castle on the eminence of Les Fontaines, near Dijon, in Burgundy, in 1091. He was educated at Chatillon, where he was distinguished for his studious and meditative habits. The world, it would be thought, would have had overpowering attractions for a youth who, like Bernard, had all the advantages that high birth, great personal beauty, graceful manners, and irresistible influence could give, but, strengthened in the resolve by night visions of his mother (who had died in 1105), he chose a life of asceticism, and became a monk. In company with an uncle and two of his brothers, who had been won over by his entreaties, he entered the monastery of Citeaux, the first Cistercian foundation, in 1113. Two years later he was sent forth, at the head of twelve monks, from the rapidly increasing and overcrowded abbey, to found a daughter institution, which in spite of difficulties and privations which would have daunted less determined men, they succeeded in doing, in the Valley of Wormwood, about four miles from the Abbey of La Ferté—itself an earlier swarm from the same parent hive—on the Aube. On the death of Pope Honorius II., in 1130, the Sacred College was rent by factions, one of which elected Gregory of St. Angelo, who took the title of Innocent II., while another elected Peter Leonis, under that of Anacletua II. Innocent fled to France, and the question as to whom the allegiance of the King, Louie VI., and the French bishops was due was left by them for Bernard to decide. At a council held at Etampes, Bernard gave judgment in favour of Innocent. Throwing himself into the question with all the ardour of a vehement partisan, he won over both Henry I., the English king, and Lothair, the German emperor, to support the same cause, and then, in 1133, accompanied Innocent II., who was supported by Lothair and his army, to Italy and to Rome. When Lothair withdrew, Innocent retired to Pisa, and Bernard for awhile to his abbey of Clairvaux. It was not until after the death of Anacletus, the antipope, in January, 1138, and the resignation of his successor, the cardinal-priest Gregory, Victor II., that Innocent II., who had returned to Rome with Bernard, was universally acknowledged Pope, a result to which no one had so greatly contributed as the Abbot of Clairvaux. The influence of the latter now became paramount in the Church, as was proved at the Lateran Council of 1139, the largest council ever collected together, where the decrees in every line displayed the work of his master-hand. After having devoted four years to the service of the Pope, Bernard, early in 1135, returned to Clairvaux. In 1137 he was again at Rome, impetuous and determined as ever, denouncing the election of a Cluniac instead of a Clairvaux monk to the see of Langres in France, and in high controversy in consequence with Peter, the gentle Abbot of Cluny, and the Archbishop of Lyons. The question was settled by the deposition by the Pope of the Cluniac and the elevation of a Clairvaux monk (Godfrey, a kinsman of St. Bernard) into his place. In 1143, Bernard raised an almost similar question as to the election of St. William to the see of York, which was settled much after the same fashion, the deposition, after a time, if only for a time, of William, and the intrusion of another Clairvaux monk, Henry Murdac, or Murduch, into the archiepiccopal see. Meantime between these two dates—in 1140—the condemnation of Peter Abilaid and his tenets, in which matter Bernard appeared personally as prosecutor, took place at a council held at Sens. Abelard, condemned at Sens, appealed to Rome, and, resting awhile on his way thither, at Cluny, where Peter still presided as Abbot, died there in 1142. St. Bernard was next called upon to exercise his unrivalled powers of persuasion in a very different cause. Controversy over, he preached a crusade. The summer of 1146 was spent by him in traversing France to rouse the people to engage in the second crusade; the autumn with a like object in Germany. In both countries the effect of his appearance and eloquence was marvellous, almost miraculous. The population seemed to rise en masse, and take up the cross. In 1147 the expedition started, a vast horde, of which probably not a tenth ever reached Palestine. It proved a complete failure, and a miserable remnant shared the flight of their leaders, the Emperor Conrad, and Louis, King of France, and returned home, defeated and disgraced. The blame was thrown upon Bernard, and his apology for his part in the matter is extant. He was not, however, for long to bear up against reproach; he died in the 63rd year of his age, in 1153, weary of the world and glad to be at rest.
With the works of St. Bernard, the best ed. of which was pub. by Mabillon at Paris in the early part of the 18th cent. (1719), we are not concerned here, except as regards his contributions, few and far between as they are, to the stores of Latin hymnology. There has been so much doubt thrown upon the authorship of the hymns which usually go by his name,—notably by his editor, Mabillon himself,—that it is impossible to claim any of them as having been certainly written by him; but Archbishop Trench, than whom we have no greater modern authority on such a point, is satisfied that the attribution of them all, except the "Cur mundus militat," to St. Bernard is correct. "If he did not write," the Archbishop says, "it is not easy to guess who could have written them; and indeed they bear profoundly the stamp of his mind, being only inferior in beauty to his prose."
The hymns by which St. Bernard is best known as a writer of sacred poetry are: (1.) "Jesu duicis memoria," a long poem on the " Name of Jesus"—known as the "Jubilus of St. Bernard," and among mediaeval writers as the " Rosy Hymn." It is, perhaps, the best specimen of what Neale describes as the "subjective loveliness " of its author's compositions. (2.) "Salve mundi Salutore," an address to the various limbs of Christ on the cross. It consists of 350 lines, 50 lines being addressed to each. (3.) "Laetabundus, exultet fidelis chorus: Alleluia." This sequence was in use all over Europe. (4.) "Cum sit omnis homo foenum." (5.) " Ut jucundas cervus undas." A poem of 68 lines, and well known, is claimed for St. Bernard by Hommey in his Supplementum Patrum, Paris, 1686, p. 165, but on what Archbishop Trench, who quotes it at length, (Sac. Lat. Poetry, p. 242,) deems " grounds entirely insufficient." (6.) " Eheu, Eheu, mundi vita," or " Heu, Heu, mala mundi vita." A poem of nearly 400 lines, is sometimes claimed for St. Bernard, but according to Trench, “on no authority whatever." (7.) “O miranda vanitas." This is included in Mabillon's ed. of St. Bernard's Works. It is also attributed to him by Rambach, vol. i. p. 279. Many other hymns and sequences are attributed to St. Bernard. Trench speaks of a " general ascription to him of any poems of merit belonging to that period whereof the authorship was uncertain." Hymns, translated from, or founded on, St. Bernard's, will be found in almost every hymnal of the day, details of which, together with many others not in common use, will be found under the foregoing Latin first lines.
-John Julian, Dictionary of Hymnology (1907)
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St. Bernard of Clairvaux
