Messe des Rameaux

Palm Sunday mass, broadcast in French, from St. Peter's:



If you don't speak French, though, that voice-over narration might be kind of annoying.  Here's the straight-ahead stream, without narration; really beautiful:



Here's another one in French, from (perhaps?) Notre Dame:

"Palm Sunday Liturgy and Procession 03.24.13" from Trinity Wall Street

Here, including the sung Passion - not Gregorian, but their own composition - from Luke's Gospel.

Palm Sunday: Gloria, laus et honor tibi ("All Glory, Laud, and Honor")

Gloria, laus is the Palm Sunday Hymnus ad Christum Regem ("Hymn to Christ the King") sung during the procession of the Liturgy of the Palms. It's a gorgeous chant:



Here's the chant score from the Brazilian Benedictines:

There is of course a more recent hymn that uses the same text - English translation by J.M. Neale - and is  sung on the same occasion: "All Glory, Laud, and Honor." The video below was recorded at St. Bart's in Manhattan, on Palm Sunday 2011. It begins with the blessing of the palms; the choir then sings Hosanna to the Son of David (I think this is Weelkes' setting) and the Gospel for this part of the liturgy is read.   The hymn itself begins after that, at around 8:45.



TPL says about this hymn that:

Composed by Theodulph of Orleans (d. 821), this hymn is often used as a processional hymn for Palm Sunday. According to a pretty little legend surrounding the composition of this hymn, Theodolf had been imprisoned for political reasons in a monastery in Angers. While he was imprisoned he wrote the hymn and sang it from the window of his cell just as Louis the Pious, King of France, was passing beneath the window in the procession on Palm Sunday in 821. The hymn so moved the king that he immediately ordered the holy bishop to be freed and restored to his see. The legend is now generally discredited on historical grounds. For a scriptural background of the hymn, see Matt. 21, 1-16 & Ps. 117, 26.

GLORIA, laus et honor tibi sit, Rex Christe, Redemptor: Cui puerile decus prompsit Hosanna pium. R. Gloria, laus, etc.	ALL glory, praise, and honor to Thee, Redeemer, King, to whom the lips of children made sweet Hosannas ring. R. All glory, etc.
Israel es tu Rex, Davidis et inclyta proles: Nomine qui in Domini, Rex benedicte, venis. R. Gloria, laus, etc.	Thou art the King of Israel, Thou David's royal Son, Who in the Lord's Name comest. the King and blessed One. R. All glory, etc.
Coetus in excelsis te laudat caelicus omnis, Et mortalis homo, et cuncta creata simul. R. Gloria, laus, etc.	The company of Angels are praislng Thee on high, and mortal men and all things created make reply. All glory, etc
Plebs Hebraea tibi cum palmis obvia venit: Cum prece, voto, hymnis, adsumus ecce tibi. R. Gloria, laus, etc.	The people of the Hebrews with palms before Thee went; our pralse and prayer and anthems before Thee we present. R. All glory, etc.
Hi tibi passuro solvebant munia laudis: Nos tibi regnanti pangimus ecce melos R. Gloria, laus, etc.	To Thee before Thy Passion they sang their hymns of praise; to Thee now high exalted our melody we raise. R. All glory, etc.
Hi placuere tibi, placeat devotio nostra: Rex bone, Rex clemens, cui bona cuncta placent. R. Gloria, laus, etc.	Thou didst accept their praises, accept the prayers we bring, Who in all good delightest, Thou good and gracious King. R. All glory, etc.

---

From the Roman Missal. Translation by J. M. Neale (1818-1866).

New Advent adds a bit more information:

Gloria, Laus et honor

A hymn composed by St. Theodulph of Orléans in 810, in Latin elegiacs, of which the Roman Missal takes the first six for the hymn following the procession on Palm Sunday (the use to which the hymn was always dedicated). The first couplet,

Gloria, laus et honor tibi sit Rex Christe, Redemptor,
Cui puerile decus prompsit hosanna pium,

is sung by chanters inside of the church (the door having been closed), and is repeated by the processional chorus outside of the church. The chanters then sing the second couplet, the chorus responding with the refrain of the first couplet, and so on for the remaining couplets until the subdeacon strikes the door with the staff of the cross, whereupon the door is opened, the hymn ceases, and the procession enters the church. The words of the refrain ("puerile decus") suggested the assignment of the hymn in the Middle Ages to boy chanters (thus at Salisbury, York, Hereford, Rouen, etc.). The hymn is founded on Psalm 23:7-10 (Vulgate); Psalm 117:26; Matthew 21:1-16; Luke 19:37-38.

Also from New Advent comes this bit of history, and a description of the Palm Sunday rite:

In the three oldest Roman Sacramentaries no mention is found of either the benediction of the palms or the procession. The earliest notice is in the "Gregorianum" used in France in the ninth and tenth centuries. In it is found among the prayers of the day one that pronounces a blessing on the bearers of the palms but not on the palms. The name Dominica in palmis, De passione Domini occurs in the "Gelasianum", but only as a superscription and Probst ("Sacramentarien und Ordines", Münster, 1892, 202) is probably correct in suspecting the first part to be an addition, and the De passione Domini the original inscription. It seems certain that the bearing of palms during services was the earlier practice, then came the procession, and later the benediction of the palms.

The principal ceremonies of the day are the benediction of the palms, the procession, the Mass, and during it the singing of the Passion. The blessing of the palms follows a ritual similar to that of Mass. On the altar branches of palms are placed between the candlesticks instead of flowers ordinarily used. The palms to be blessed are on a table at the Epistle side or in cathedral churches between the throne and the altar. The bishop performs the ceremony from the throne, the priest at the Epistle side of the altar. An antiphon "Hosanna to the Son of David" is followed by a prayer. The Epistle is read from Exodus 15:27-16:7, narrating the murmuring of the children of Israel in the desert of Sin, and sighing for the fleshpots of Egypt, and gives the promise of the manna to be sent as food from heaven. The Gradual contains the prophetic words uttered by the high-priest Caiphas, "That it was expedient that one man should die for the people"; and another the prayer of Christ in the Garden of Olives that the chalice might pass; also his admonition to the disciples to watch and pray. The Gospel, taken from St. Matthew, xvi, 1-9, describes the triumphant entry of Christ into Jerusalem when the populace cut boughs from the trees and strewed them as He passed, crying, Hosanna to the Son of David; blessed is he that cometh in the name of the Lord. (In private Masses this Gospel is read at the end of Mass instead of that of St. John.) Then follow an oration, a preface, the Sanctus, and Benedictus.

In the five prayers which are then said the bishop or priest asks God to bless the branches of palm or olive, that they may be a protection to all places into which they may be brought, that the right hand of God may expel all adversity, bless and protect all who dwell in them, who have been redeemed by our Lord Jesus Christ. The prayers make reference to the dove bringing back the olive branch to Noah's ark and to the multitude greeting Our Lord; they say that the branches of palms signify victory over the prince of death and the olive the advent of spiritual unction through Christ. The officiating clergyman sprinkles the palms with holy water, incenses them, and, after another prayer, distributes them. During the distribution the choir sings the "Pueri Hebræorum". The Hebrew children spread their garments in the way and cried out saying, "Hosanna to the Son of David; Blessed is he that cometh in the name of the Lord." Then follows the procession, of the clergy and of the people, carrying the blessed palms, the choir in the mean time singing the antiphons "Cum appropinquaret", "Cum audisset", and others. All march out of the church. On the return of the procession two or four chanters enter the church, close the door and sing the hymn "Gloria, laus", which is repeated by those outside. At the end of the hymn the subdeacon knocks at the door with the staff of the cross, the door is opened, and all enter singing "Ingrediente Domino". Mass is celebrated, the principal feature of which is the singing of the Passion according to St. Matthew, during which all hold the palms in their hands.

And in case you were curious, the Wikipedia page for "Latin elegiacs" says:

Elegiac refers either generally to compositions that are like elegies or specifically to Greek and Latin poetry composed in elegiac couplets, in which a line of dactylic hexameter is followed by a line of dactylic pentameter. Because the hexameter line is in the same meter as epic poetry and because the elegiac form was always considered lower style than epic, elegists frequently wrote with epic in mind and positioned themselves in relation to epic.

Classical poets
The first examples of elegiac poetry in writing come from classical Greece. The form dates back nearly as early as epic, with such authors as Archilocus and Simonides of Ceos from early in the history of Greece. The first great elegiac poet of the Hellenistic period was Philitas of Cos: Augustan poets identified his name with great elegiac writing.^[1] One of the most influential elegiac writers was Philitas' rival Callimachus, who had an enormous impact on Roman poets, both elegists and non-elegists alike. He promulgated the idea that elegy, shorter and more compact than epic, could be even more beautiful and worthy of appreciation. Propertius linked him to his rival with the following well-known couplet:

Callimachi Manes et Coi sacra Philetae,
in vestrum, quaeso, me sinite ire nemus.^[2]

Callimachus' spirit, and shrine of Philitas of Cos,
let me enter your sacred grove, I beseech you.

The 1st century AD rhetorician Quintilian ranked Philitas second only to Callimachus among the elegiac poets.^[3]
The foremost elegiac writers of the Roman era were Catullus, Propertius, Tibullus, and Ovid. Catullus, a generation earlier than the other three, influenced his younger counterparts greatly. They all, particularly Propertius, drew influence from Callimachus, and they also clearly read each other and responded to each other's works. Notably, Catullus and Ovid wrote in non-elegiac meters as well, but Propertius and Tibullus did not.

English poets

The "elegy" was originally a classical form with few English examples. However, in 1751, Thomas Gray wrote "Elegy Written in a Country Churchyard". That poem inspired numerous imitators, and soon both the revived Pindaric ode and "elegy" were commonplace. Gray used the term "elegy" for a poem of solitude and mourning, and not just for funereal (eulogy) verse. He also freed the elegy from the classical elegiac meter.
Afterward, Samuel Taylor Coleridge argued that the elegiac is the form "most natural to the reflective mind" and that it may be upon any subject, so long as it reflects on the poet himself. Coleridge was quite aware of the fact that his definition conflated the elegiac with the lyric, but he was emphasizing the recollected and reflective nature of the lyric he favored and referring to the sort of elegy that had been popularized by Gray. Similarly, William Wordsworth had said that poetry should come from "emotions recollected in tranquility" (Preface to Lyrical Ballads, emphasis added). After the Romantics, "elegiac" slowly returned to its narrower meaning of verse composed in memory of the dead.
In other examples of poetry such as Alfred Tennyson's "The Lady of Shalott" an elegiac tone can be used, where the author is praising someone in a sombre tone. J. R. R. Tolkien in his essay, 'Beowulf: the Monsters and the Critics' argues that Beowulf is a heroic elegy.

The Palm Sunday Offertory: Improperium expectavit cor meum

Here's a video of the Palm Sunday Offertory, from last year's Palm Sunday mass at St. Peter's in Rome.  I'm very happy to have a video of the mass itself; it's so much better to be able to see how the chant fits in and works with what's going on in the liturgy.



Palm Sunday may be my favorite of all days on the Church calendar; it's so complex, and contains such an incredible range of events and emotions that it seems to me almost a comprehensive description of human life on earth - all encapsulated in a single day.   The mass begins with the joy of Hosanna, filio David, and the triumphant hymn Gloria, laus, et honor tibi - and then the Tract takes a 180-degree turn with the Psalm 22-based Deus, deus meus.  The rest of the chants for the day are pure mournfulness, the intimation of disaster everywhere.

This text, for instance, comes from the mourning Psalm (68)/69, vv. 20-21; here's my translation (with the help of Google Translate):

My heart hath expected reproach and misery; I looked for someone to grieve together with me, but there was none to comfort me;  I sought him, and found him not.   And they gave me gall for my food, and in my thirst they gave me vinegar to drink.

The Gradual continues the theme of mourning, with Christus factus est - the same Gradual sung on Good Friday.   Finally, the Communio has the very last word on the day, again anticipating the Passion:  "Father, if this cup cannot pass away, unless I drink it: your will be done."

Palestrina set the text of today's Offertory; it's here in the video below.  The YouTube page says it  comes from the same mass - Palm Sunday at St. Peter's, from last year - and it seems to be part of the Offertory rite as well.  I'm not sure why; cups seem to be carried to the altar in both videos, so it would seem that the two pieces were sung back-to-back. I suppose in such a large place and with so many people in attendance, you would need more music - so perhaps that's it.



And of course, Handel used this text in Messiah, as well, as "Thy Rebuke hath broken his heart":



Here are all the chants for the day, from the Brazilian Benedictines:

Hebdomada Sancta
Dominica in Palmis de Passione Domini
Antiphona: Hosanna filio David (34.9s - 548 kb) chant score

Ad processionemProcedamus (8.3s - 133 kb) chant score
Antiphona: Pueri... portantes (2m24.9s - 2266 kb) chant score
Antiphona: Pueri... vestimenta (1m18.4s - 1228 kb) chant score
Hymnus ad Christum Regem: Gloria, laus (2m43.7s - 2558 kb) chant score
Responsorium: Ingrediente Domino (3m34.2s - 3350 kb) chant score

Ad MissamTractus: Ps. 21, 2-9.18.19.22.24.32 Deus, Deus meus (1m54.7s - 1794 kb) chant score
Graduale: Phil. 2, 8. V. 9 Christus factus est (2m19.3s - 2178 kb) chant score
Offertorium: Ps. 68, 21.22 Improperium... et dederunt (2m40.2s - 2504 kb) chant score
Communio: Mt. 26, 42 Pater, si non potest (3m28.0s - 3252 kb) chant score

And here are some Palm Sunday posts on Chantblog:

• Palm Sunday: Hosanna, Filio David (included here are the other Liturgy of the Palms antiphons and the hymn Gloria, laus)
• The Palm Sunday Tract: Deus, Deus Meus
• Christus factus est (The Palm Sunday Gradual)

Here are a couple of files from Trinity Wall Street's Palm Sunday services last year; the first is the complete service, and the second is just the sung passion.  The latter is not Gregorian Chant, but (I believe) their own composition; it's really very beautiful.

• Palm Sunday and sung Passion, from Trinity Wall Street
• The Passion Reading Chanted by the Trinity Choir

I do have a version of the complete Gregorian sung Passion, but it's the one for Good Friday, from the gospel of John:

•  Good Friday: The Passion of Our Lord Jesus Christ, according to St. John

I'm still looking for a complete sung Gregorian Passion of any of the synoptic Gospels; this year it's Luke.  Haven't found anything yet, though.

Here's Duccio di Buoninsegna's Entry into Jerusalem, from sometime around 1310:

The Passion Reading Chanted by the Trinity Choir

Here's that Palm Sunday sung Passion again; Trinity Wall Street has extracted it from the full Palm Sunday video to show it by itself.



The blurb says:

On Palm Sunday, the traditional scripture text from the Gospel of Mark was chanted in an improvisational style by members of the Trinity Choir, with participation by the congregation in a sung refrain.

It's really quite beautiful, isn't it? It might make a really good new version of a sung Passion - although it would have to be nailed down a bit (rather, that is, than "chanted in an improvisational style by members of the Trinity Choir") so that the congregation could get to know the melodies and sing them, either in the service, or on our own time (as happens now, once you get to know the Passion tones!).

This is one place where the Revised Common Lectionary has improved the situation, I think! Prior to this year, I don't think I've ever heard the Passion start out where it does here, at the anointing of Jesus at Bethany, by the woman "with an alabaster jar of very costly ointment of nard."

Ach Herr, mich armen Sünder (Bach Cantata BWV 135)

Heard this premiered last night at Bach Vespers. The Cantata was written for the Third Sunday after Trinity, but works well for Palm Sunday; the final movement is the tune used for the Holy Week hymn "O Sacred Head, Sore Wounded."  And let me again say how great the singing is at Holy Trinity; Lutherans can really rock the joint!



Here's the text and translation from Bach-Cantatas.com:

1. Chorus [Verse 1] (S, A, T, B)

Ach Herr, mich armen Sünder
Straf nicht in deinem Zorn,
Dein' ernsten Grimm doch linder,
Sonst ist's mit mir verlorn.
Ach Herr, wollst mir vergeben
Mein Sünd und gnädig sein,
Dass ich mag ewig leben,
Entfliehn der Höllenpein.

2. Recit. (T)

Ach heile mich, du Arzt der Seelen,
Ich bin sehr krank und schwach;
Man möchte die Gebeine zählen,
So jämmerlich hat mich mein Ungemach,
Mein Kreuz und Leiden zugericht;
Das Angesicht Ist ganz von Tränen aufgeschwollen,
Die, schnellen Fluten gleich, von Wangen abwärts rollen.
Der Seele ist von Schrecken angst und bange;
Ach, du Herr, wie so lange?

3. Aria (T)

Tröste mir, Jesu, mein Gemüte,
Sonst versink ich in den Tod,
Hilf mir, hilf mir durch deine Güte
Aus der großen Seelennot!
Denn im Tod ist alles stille,
Da gedenkt man deiner nicht.
Liebster Jesu, ist's dein Wille,
So erfreu mein Angesicht!

4. Recit. (A)

Ich bin von Seufzen müde,
Mein Geist hat weder Kraft noch Macht,
Weil ich die ganze Nacht
Oft ohne Seelenruh und Friede
In großem Schweiß und Tränen liege.
Ich gräme mich fast tot und bin vor Trauern alt,
Denn meine Angst ist mannigfalt.

5. Aria (B)

Weicht, all ihr Übeltäter,
Mein Jesus tröstet mich!
    Er lässt nach Tränen und nach Weinen
    Die Freudensonne wieder scheinen;
    Das Trübsalswetter ändert sich,
    Die Feinde müssen plötzlich fallen
    Und ihre Pfeile rückwärts prallen.

6. Chorale [Verse 6] (S, A, T, B)

Ehr sei ins Himmels Throne
Mit hohem Ruhm und Preis
Dem Vater und dem Sohne
Und auch zu gleicher Weis
Dem Heilgen Geist mit Ehren
In alle Ewigkeit,
Der woll uns all'n bescheren
Die ewge Seligkeit.

1. Chorus [Verse 1] (S, A, T, B)

Ah Lord, me a poor sinner
Blame not within thy wrath;
Thy solemn rage yet soften,
Else is my hope forlorn.
Ah Lord, may'st thou forgive me
My sin and mercy send,
That I have life eternal
And flee the pain of hell.

2. Recit. (T)

Ah, heal me now, thou soul's physician,
I am so ill and weak;
One could in truth my bones all number,
So grievously have this my toil and woe,
My cross and sorrow dealt with me;
My countenance
Is full of tears and now all swollen;
Like rapid streams they are, which down my cheeks are rolling.
My soul is now with terror torn and anxious;
Ah, thou Lord, why this waiting?

3. Aria (T)

Comfort me, Jesus, in my spirit,
Or I'll sink now into death;
Lift me, lift me through thy dear kindness
From my spirit's great distress.
For in death is nought but stillness,
Where for thee no thought is given.
Dearest Jesus, if it please thee,
Fill with joy my countenance!

4. Recit. (A)

I am from sighing weary,
My soul hath neither strength nor might,
For I the whole night through,
Oft lacking peace of mind and calmness,
In copious sweat and tears am lying.
I fear nigh unto death and am with mourning old,
For my great fear is manifold.

5. Aria (B)

Yield, all ye evildoers,
My Jesus comforts me!

He brings, when past are tears and weeping,
The sun of joy once more its radiance;
The storms of sadness are transformed,
The enemy must sudden perish
And their own darts recoil against them.

6. Chorale [Verse 6] (S, A, T, B)

In heaven's throne be glory
With lofty fame and praise
To Son and to the Father
As well in equal wise
To Holy Ghost with honor
For all eternity,
Who shall us all let share in
Eternal blessedness. 

Palm Sunday and sung Passion, from Trinity Wall Street

This starts with the Procession coming into the church - certainly a good public witness in Manhattan. (Perhaps they begin at St. Paul's Chapel? Not sure.)

And , with procession music and a sung Passion they've composed themselves, it looks like. It's really worth seeing, even though I personally prefer the simple plainchant version of the passion we sang at St. Mary's (the congregation sings the part of Jesus, so we learn to sing that tone, and now I know all the various tones as well). In this video, the Passion narrative is a kind of alternatim, with the choir singing the composed part, and (I think) the whole congregation singing verses, in refrain, of "Ah, Holy Jesus." Here's what the blurb at the site says:

The traditional scripture text from the Gospel of Mark will be used in the reading of the Passion, which will be chanted in an improvisational style by members of the Trinity Choir, with participation by the congregation in a sung refrain.

The Passion starts at around 17:00, right after the singing of another composed version of Christus Factus Est (called here "A song of Christ's humility"). Very interesting, really.



TWS is doing some really interesting things in terms of music these days. For instance, a few years ago they sang a composed (and choral!) version of the Exsultet at Easter Vigil. Again, I prefer the simpler stuff, just because the tunes stick in my head and become part of my psychic world; composed stuff is often too difficult to do this with - but it is dramatic and can be very lovely. It seems to veer off into a kind of interesting "Orthodox chant" style, which I do really like. This passion is very long, because they start it from the story of the woman anointing Jesus' feet; a nice touch, I think. Here's the service bulletin, in PDF.

TWS has some priests with really excellent singing voices!

The Palm Sunday Tract: Deus, Deus Meus

Here's over 9 minutes of plaintive Tract/Psalm-singing from the Choeur Gregorien de Paris:



Here's the translation from "Corpus Christi Watershed" of the text, which comes from the familiar Psalm 22 (vv 2-9, 18, 19, 22, 24, and 32):

Deus, Deus meus, réspice in me: quare me dereliquísti? 2. Longe a salúte mea verba delictórum meórum. 3. Deus meus, clamábo per diem, nec exáudies: in nocte, et non ad insipiéntiam mihi. 4. Tu autem in sancto hábitas, laus Israël. 5. In te speravérunt patres nostri: speravérunt, et liberásti eos. 6. Ad te clamavérunt, et salvi facti sunt: in te speravérunt, et non sunt confusi. 7. Ego autem sum vermis, et non homo: oppróbrium hóminum et abjéctio plebis. 8. Omnes, qui vidébant me, aspernabántur me: locúti sunt lábiis et movérunt caput. 9. Sperávit in Dómino, erípiat eum: salvum fáciat eum, quóniam vult eum. 10. Ipsi vero consideravérunt et conspexérunt me: divisérunt sibi vestiménta mea, et super vestem meam misérunt sortem. 11. Líbera me de ore leónis: et a córnibus unicórnium humilitátem meam. 12. Qui timétis Dóminum, laudáte eum: univérsum semen Jacob, magnificáte eum. 13. Annuntiábitur Dómino generátio ventúra: et annuntiábunt coeli justítiam ejus. 14. Pópulo, qui nascétur, quem fecit Dóminus.

O God, my God, look upon me; why hast Thou forsaken me? 2. Far from my salvation are the words of my sins. 3. O my God, I shall cry by day, and Thou wilt not hear; and by night, and it shall not be reputed as folly in me. 4. But Thou dwellest in the holy place, the praise of Israel. 5. In Thee have our fathers hoped; they have hoped, and Thou hast delivered them. 6. They cried to Thee, and they were saved; they trusted in Thee, and were not confounded. 7. But I am a worm, and no man: the reproach of men and the outcast of the people. 8. All they that saw Me have laughed Me to scorn; they have spoken with the lips and wagged the head. 9. He hoped in the Lord, let Him deliver Him; let Him save Him, seeing He delighteth in Him. 10. But they have looked and stared upon Me; they parted My garments amongst them, and upon My vesture they cast lots. 11. Deliver me from the lion's mouth, and my lowness from the horns of the unicorns. 12. Ye that fear the Lord, praise Him; all ye the seed of Jacob, glorify Him. 13. There shall be declared to the Lord a generation to come; and the heavens shall show forth His justice. 14. To a people that shall be born, which the Lord hath made.

Powerful and beautiful stuff.

Here's the chant propers lineup for Palm Sunday from JoguesChant  - the ordinary form, that is, which I believe St. Mary's will be using in its entirety.  As you can see, the order of the Graduale and Tract has been reversed, probably so that the powerful Christus Factus Est can be sung just before the reading (or singing) of the Passion:

Antiphon:  Hosanna Filio David    
Antiphon:  Pueri Hebraeorum     
Introit:  Ingrediente Domino    
Chant after 1st Reading:  Deus Deus Respice      (another option is also available)
Chant after 2nd Reading:  Christus Factus        
Offertory:  Improperium Exspectavit    
Communion:  Pater Si    

Here's the schedule for Palm Sunday in the Extraordinary Form; as you can see, this is quite a bit simpler, with no introductory antiphons (or procession, evidently), and no Christus Factus Est (that gets sung as the Graduale on Maundy Thursday):

Introit:  Domine Ne Longe
Gradual:  Tenuisti manum        
Tract:  Deus Deus meus respice         
Offertory:  Improperium exspectavit
Communion:  Pater Si Non Potest

And the Brazilian Benedictines go all out:

Antiphona: Hosanna filio David 

Ad processionem
Procedamus 
Antiphona: Pueri Hebraeorum portantes 
Antiphona: Pueri Hebraeorum vestimenta 
Hymnus ad Christum Regem: Gloria, laus 
Responsorium: Ingrediente Domino 

Ad Missam
Tractus:   Deus, Deus meus 
Graduale:  Christus factus est
Offertorium:  Improperium exspectavit et dederunt
Communio:  Pater, si non potest 

Here's some of (well, most of, really!) New Advent's entry on Palm Sunday:

The sixth and last Sunday of Lent and beginning of Holy Week, a Sunday of the highest rank, not even a commemoration of any kind being permitted in the Mass.....The Greeks celebrate the day with great solemnity; they call it kyriake or heorte ton baion or heorte baiophoros or also Lazarus Sunday, because on the day before they have the feast of the resuscitation of Lazarus. The emperors used to distribute branches of palm and small presents among their nobles and domestics. The Latin liturgical books call it Dominica in Palmis, Dominica or Dies Palmarum. From the cry of the people during the procession the day has received the name Dominica Hosanna or simply Hosanna (Ozanna). Because every great feast was in some way a remembrance of the resurrection of Christ and was in consequence called Pascha, we find the names Pascha floridum, in French Pâques fleuries, in Spanish Pascua florida, and it was from this day of 1512 that our State of Florida received its name (Nilles, II, 205). From the custom of also blessing flowers and entwining them among the palms arose the terms Dominica florida and dies floridus. Flower-Sunday was well known in England, in Germany as Blumensonntag or Blumentag, as also among the Serbs, Croats, and Ruthenians, in the Glagolite Breviary and Missal, and among the Armenians. .... Since this Sunday is the beginning of Holy Week, during which sinners were reconciled, it was called Dominica indulgentioe, competentium, and capitilavium from the practice of washing and shaving of the head as a bodily preparation for baptism. During the early centuries of the Church this sacrament was conferred solemnly only in the night of Holy Saturday, the text of the creed had been made known to the catechumens on the preceding Palm Sunday. This practice was followed in Spain (Isidore, "De off. eccl.", I, 27), in Gaul (P.L., LXXII, 265), and in Milan (Ambrose, Ep. xx). In England the day was called Olive or Branch Sunday, Sallow or Willow, Yew or Blossom Sunday, or Sunday of the Willow Boughs. Since the celebration recalled the solemn entry of Christ into Jerusalem people made use of many quaint and realistic representations; thus, a figure of Christ seated on an ass, carved out of wood was carried in the procession and even brought into the church. Such figures may still be seen in the museums of Basle, Zurich, Munich, and Nürnberg (Kellner, 50).

In some places in Germany and France it was customary to strew flowers and green boughs about the cross in the churchyard. After the Passion had been recited at Mass blessed palms were brought and this cross (in consequence sometimes called the Palm cross) was wreathed and decked with them to symbolize Christ's victory. In Lower Bavaria boys went about the streets singing the "Pueri Hebræorum" and other carols, whence they received the name of Pueribuben ("Theologisch-praktische Quartalschrift", 1892, 81). Sometimes an uncovered crucifix, or the gospel-book, and often the Blessed Sacrament, was carried in recession. In many parts of England a large and beautiful tent was prepared in the churchyard. Two priests accompanied by lights brought the Blessed Sacrament in a beautiful cup or pyx hung in a shrine of open work to this tent. A long-drawn procession with palms and flowers came out of the church and made four stations at the Laics' cemetery north of the church, at the south side, at the west door, and before the church-yard cross, which was then uncovered. At each of these stations Gospels were sung. After the singing of the first Gospel the shrine with the Blessed Sacrament was borne forward. On meeting, all prostrated and kissed the ground. The procession then continued. The door of the church was opened, the priests held up on high the shrine with the Blessed Sacrament, so that all who went in had to go under this shrine, and thus the procession came back into the church. The introduction of the Blessed Sacrament into the Palm Sunday procession is generally ascribed to Bl. Lanfranc who ordered the ceremony for his Abbey of Bec.

Liturgical writers differ in assigning a time for the introduction of the benediction of palms and of the procession. Martène, "De antiq. eccl. discipl." xx, 288, finds no mention of them before, the eighth or ninth century. Peliccia, "Christian. eccl. politia", II, 308, is of the same opinion and mentions Amularius, "De div. off.", I, x, as the first to speak of them. Binterim, V, i, 173, on the authority of Severus, Patriarch of Antioch, and of Josue Stylites, states that Peter Bishop of Edessa, about 397 ordered the benediction of the palms for all the churches of Mesopotamia. The ceremonies had their origin most probably in Jerusalem. In the "Peregrinatio Sylviæ", undertaken between 378 and 394, they are thus described: On the Lord's Day which begins the Paschal, or Great, Week, after all the customary exercises from cook-crow till morn had taken place in the Anastasia and at the Cross, they went to the greater church behind the Cross on Golgotha, called the Martyrium, and here the ordinary Sunday services were held. At the seventh hour (one o'clock p. m.) all proceeded to the Mount of Olives, Eleona, the cave in which Our Lord used to teach, and for two hours hymns, anthems, and lessons were recited. About the hour of None (three o'clock p. m.) all went, singing hymns, to the Imbomon, whence Our Lord ascended into heaven. Here two hours more were spent in devotional exercises, until about 5 o'clock, when the passage from the Gospel relating how the children carrying branches and Palms met the Lord, saying "Blessed is He that cometh in the Name of the Lord" is read. At these words all went back to the city, repeating "Blessed is He that cometh in the Name of the Lord." All the children bore branches of palm or olive. The faithful passed through the city to the Anastasia, and there recited Vespers. Then after a prayer in the church of the Holy Cross all returned to their homes.

In the three oldest Roman Sacramentaries no mention is found of either the benediction of the palms or the procession. The earliest notice is in the "Gregorianum" used in France in the ninth and tenth centuries. In it is found among the prayers of the day one that pronounces a blessing on the bearers of the palms but not on the palms. The name Dominica in palmis, De passione Domini occurs in the "Gelasianum", but only as a superscription and Probst ("Sacramentarien und Ordines", Münster, 1892, 202) is probably correct in suspecting the first part to be an addition, and the De passione Domini the original inscription. It seems certain that the bearing of palms during services was the earlier practice, then came the procession, and later the benediction of the palms.

The principal ceremonies of the day are the benediction of the palms, the procession, the Mass, and during it the singing of the Passion. The blessing of the palms follows a ritual similar to that of Mass. On the altar branches of palms are placed between the candlesticks instead of flowers ordinarily used. The palms to be blessed are on a table at the Epistle side or in cathedral churches between the throne and the altar. The bishop performs the ceremony from the throne, the priest at the Epistle side of the altar. An antiphon "Hosanna to the Son of David" is followed by a prayer. The Epistle is read from Exodus 15:27-16:7, narrating the murmuring of the children of Israel in the desert of Sin, and sighing for the fleshpots of Egypt, and gives the promise of the manna to be sent as food from heaven. The Gradual contains the prophetic words uttered by the high-priest Caiphas, "That it was expedient that one man should die for the people"; and another the prayer of Christ in the Garden of Olives that the chalice might pass; also his admonition to the disciples to watch and pray. The Gospel, taken from St. Matthew, xvi, 1-9, describes the triumphant entry of Christ into Jerusalem when the populace cut boughs from the trees and strewed them as He passed, crying, Hosanna to the Son of David; blessed is he that cometh in the name of the Lord. (In private Masses this Gospel is read at the end of Mass instead of that of St. John.) Then follow an oration, a preface, the Sanctus, and Benedictus.

In the five prayers which are then said the bishop or priest asks God to bless the branches of palm or olive, that they may be a protection to all places into which they may be brought, that the right hand of God may expel all adversity, bless and protect all who dwell in them, who have been redeemed by our Lord Jesus Christ. The prayers make reference to the dove bringing back the olive branch to Noah's ark and to the multitude greeting Our Lord; they say that the branches of palms signify victory over the prince of death and the olive the advent of spiritual unction through Christ. The officiating clergyman sprinkles the palms with holy water, incenses them, and, after another prayer, distributes them. During the distribution the choir sings the "Pueri Hebræorum". The Hebrew children spread their garments in the way and cried out saying, "Hosanna to the Son of David; Blessed is he that cometh in the name of the Lord." Then follows the procession, of the clergy and of the people, carrying the blessed palms, the choir in the mean time singing the antiphons "Cum appropinquaret", "Cum audisset", and others. All march out of the church. On the return of the procession two or four chanters enter the church, close the door and sing the hymn "Gloria, laus", which is repeated by those outside. At the end of the hymn the subdeacon knocks at the door with the staff of the cross, the door is opened, and all enter singing "Ingrediente Domino". Mass is celebrated, the principal feature of which is the singing of the Passion according to St. Matthew, during which all hold the palms in their hands.

Palm branches have been used by all nations as an emblem of joy and victory over enemies; in Christianity as a sign of victory over the flesh and the world according to Psalm 91:13, "Justus ut palma florebit"; hence especially associated with the memory of the martyrs. The palms blessed on Palm Sunday were used in the procession of the day, then taken home by the faithful and used as a sacramental. They were preserved in prominent places in the house, in the barns, and in the fields, and thrown into the fire during storms. On the Lower Rhine the custom exists of decorating the grave with blessed palms. From the blessed palms the ashes are procured for Ash Wednesday. In places where palms cannot be found, branches of olive, box elder, spruce or other trees are used and the "Cæremoniale episcoporum", II, xxi, 2 suggests that in such cases at least little flowers or crosses made of palm be attached to the olive boughs. In Rome olive branches are distributed to the people, while the clergy carry palms frequently dried and twisted into various shapes. In parts of Bavaria large swamp willows, with their catkins, and ornamented with flowers and ribbons, were used.

Palm Sunday may be my favorite feast day of the whole year. It's a crazy mash-up of delirium and shock and sorrow - and the frisson that is Holy Week itself. This is a powerful, spooky, awful, shattering, glorious time of the year....

Here's the chant score for Deus, deus meus (gigantic but minimized by Google!):

Palm Sunday: Hosanna, Filio David

Here's Giovanni Vianini singing the entrance song for Palm Sunday:



Here is the chant score:

In English:

Hosanna to the Son of David;
Blessed is he who comes in the name of the Lord.
King of Israel:
Hosanna in the highest.

The text of that refrain is from Matthew 21:9, and when sung, verses from Psalm 118, Confitemini Domino alternate with the refrain, as in this longer video:



[EDIT: I'd originally titled this post "The Introit for Palm Sunday: Hosanna, Filio David."  This prompted Ted K., to write in the comments that '"Hosanna, Filio David" is not the Introit. It is the first of the processional antiphons for Palm Sunday. The introit for the Mass used to be "Domine ne longe facias" but an introit for Palm Sunday was suppressed by the Bugnini reforms of Holy week in 1955.'

So I changed the post to reflect this.  I had seen this piece sung several times exactly in the same place, and with the same ritual, as was usual for an Introit, so I made the assumption it was the Introit - but it really is called something else.  The three pieces at the beginning of the today's rite are called "antiphons," and they are taken from various offices on the day - so perhaps that explains the terminology used here.  And this does explain, in any case, why there are no polyphonic settings of Hosanna, Filio David!  It sounds like this is either a very new or a very old chant, since another text was formerly used as Introit.  Will see what I can find out....]

After the singing of the entrance antiphon, and after the blessing of the palms, two antiphons are sung: Pueri Hebræorum, portantes and Pueri Hebræorum vestimenta, are sung during the Procession, along with the hymn "Gloria, Laus, et Honor" - more famously known today in English, of course, as "All Glory, Laud, and Honor."

Here's Giovanni singing the Gregorian Pueri Hebræorum, portantes:



Here are the words to these antiphons, in Latin and English (translations from two sources, which accounts for the differences between them):

Pueri Hebræorum,
portantes ramos olivarum,
obviaverunt Domino,
clamantes et dicentes: Hosanna in excelsis.

The children of Jerusalem
welcomed Christ the King.
They carried olive branches
and loudly praised the Lord: Hosanna in the highest.


Pueri Hebræorum vestimenta
prosternebant in via
et clamabant dicentes:
Hosanna Filio David,
benedictus qui venit in nomini Domini.

The Hebrew children
spread their garments in the way,
and cried out, saying:
Hosanna to the Son of God:
blessed is He that cometh
in the Name of the Lord.

It seems that these two Pueri Hebræorum antiphons - far more than the Introit itself - have inspired quite a few composers to polyphonic settings. Here's a lovely one on Pueri Hebræorum vestimenta from Tomás Luis de Victoria:



As for Gloria, Laus, et Honor: wow, it's a beautiful chant! Here's a lovely version:



Here's a chant score from the Benedictines, who call it a "Hymn to Christ the King":

The Latin text is just the same as the J.M. Neale translation we're familiar with singing in English on this day:

GLORIA, laus et honor tibi sit, Rex Christe, Redemptor: Cui puerile decus prompsit Hosanna pium. R. Gloria, laus, etc.	ALL glory, praise, and honor to Thee, Redeemer, King, to whom the lips of children made sweet Hosannas ring. R. All glory, etc.
Israel es tu Rex, Davidis et inclyta proles: Nomine qui in Domini, Rex benedicte, venis. R. Gloria, laus, etc.	Thou art the King of Israel, Thou David's royal Son, Who in the Lord's Name comest. the King and blessed One. R. All glory, etc.
Coetus in excelsis te laudat caelicus omnis, Et mortalis homo, et cuncta creata simul. R. Gloria, laus, etc.	The company of Angels are praislng Thee on high, and mortal men and all things created make reply. All glory, etc
Plebs Hebraea tibi cum palmis obvia venit: Cum prece, voto, hymnis, adsumus ecce tibi. R. Gloria, laus, etc.	The people of the Hebrews with palms before Thee went; our pralse and prayer and anthems before Thee we present. R. All glory, etc.
Hi tibi passuro solvebant munia laudis: Nos tibi regnanti pangimus ecce melos R. Gloria, laus, etc.	To Thee before Thy Passion they sang their hymns of praise; to Thee now high exalted our melody we raise. R. All glory, etc.
Hi placuere tibi, placeat devotio nostra: Rex bone, Rex clemens, cui bona cuncta placent. R. Gloria, laus, etc.	Thou didst accept their praises, accept the prayers we bring, Who in all good delightest, Thou good and gracious King. R. All glory, etc.

There are more videos at last year's post.

Here's Giotto di Bondone's "Christ's Entry Into Jerusalem":

Of course, since the service turns in the middle to the Passion itself, it's fitting - after the reading or singing of the story of Christ's crucifixion - to end this post with a video of Vexilla Regis Prodeunt:



The words (English translation by J.M. Neale):

Vexilla regis prodeunt,
fulget crucis mysterium,
quo carne carnis conditor
suspensus est patibulo.

Confixa clavis viscera
tendens manus, vestigia
redemptionis gratia
hic inmolata est hostia.

Quo vulneratus insuper
mucrone diro lanceae,
ut nos lavaret crimine,
manavit unda et sanguine.

Inpleta sunt quae concinit
David fideli carmine,
dicendo nationibus:
regnavit a ligno deus.

Arbor decora et fulgida,
ornata regis purpura,
electa, digno stipite
tam sancta membra tangere!

Beata cuius brachiis
pretium pependit saeculi!
statera facta est corporis
praedam tulitque Tartari.

Fundis aroma cortice,
vincis sapore nectare,
iucunda fructu fertili
plaudis triumpho nobili.

Salve ara, salve victima
de passionis gloria,
qua vita mortem pertulit
et morte vitam reddidit.

O Crux ave, spes unica,
hoc Passionis tempore!
piis adauge gratiam,
reisque dele crimina.

Te, fons salutis Trinitas,
collaudet omnis spiritus:
quos per Crucis mysterium
salvas, fove per saecula. Amen.


The royal banners forward go,
the cross shines forth in mystic glow;
where he in flesh, our flesh who made,
our sentence bore, our ransom paid.

-

Where deep for us the spear was dyed,
life's torrent rushing from his side,
to wash us in that precious flood,
where mingled water flowed, and blood.

Fulfilled is all that David told
in true prophetic song of old,
amidst the nations, God, saith he,
hath reigned and triumphed from the tree.

O tree of beauty, tree of light!
O tree with royal purple dight!
Elect on whose triumphal breast
those holy limbs should find their rest.

Blest tree, whose chosen branches bore
the wealth that did the world restore,
the price of humankind to pay,
and spoil the spoiler of his prey.

Upon its arms, like balance true,
he weighed the price for sinners due,
the price which none but he could pay,
and spoiled the spoiler of his prey.

-

-

O cross, our one reliance, hail!
Still may thy power with us avail
to give new virtue to the saint,
and pardon to the penitent.

To thee, eternal Three in One,
let homage meet by all be done:
whom by the cross thou dost restore,
preserve and govern evermore.

And that is what will happen at St. Mary the Virgin; this is the recessional hymn, sung without accompaniment. After it's over, there is silence.

This day most definitely has some of the most beautiful music of the year.