“Sicut Cervus”

A New Perspective on Psalm 41

Every song or melody or hymn brings the listener into a unique world with the purpose of teaching, inspiring, and encouraging. Through the numerous fluctuating nuances, the words, and the dynamics, sacred music creates a glorious tapestry that possesses the power to penetrate our very being. The Great Fast of Lent, as it has been called before, has arrived at its conclusion: hence, what is currently at the forefront of the liturgy as well as our own spiritual life is the Resurrection in all its splendor and glory. Thus, while we have previously affirmed the vital role of Lenten chant in preparing our minds and hearts for the mystery of the Redemption, so too we affirm and underline the paramount importance of the hymns which savor of Easter joy and which, in turn, can be seen in aiding us not only to keep in mind the reality of the Lenten season just concluded but also to celebrate with great joy the Resurrection of our Risen Redeemer.

One such hymn which achieves this aforementioned two-fold role, as it were, is that of Sicut Cervus, one which many of us are undoubtedly familiar with. The hymn, composed by Giovanni Pierluigi da Palestrina, is one of his long list of sacred pieces and orchestrations, as underlined by the article “Giovanni Pierluigi da Palestrina” by Denis Stevens, thereby implicating Palestrina’s evident dedication to the Church. ¹ In addition to his abundance of musical talents, Palestrina possessed, one might assert, a unique role in that he was a composer “during the period of the Roman Counter-Reformation and was a primary representative of the 16th-century conservative approach to church music.” ² Yet, though he did much for the Catholic Church by contributing numerous works to her sacred chant treasury, as it were, nevertheless, it could be argued that the aforementioned hymn, Sicut Cervus, is singularly exceptional in its breathtaking implications regarding the Resurrection as well as its heavenly aurora.

Now, Sicut Cervus specifically falls under the category of polyphony, which is defined as “two or more simultaneous melodic lines”, a technique which is said to be “that {which} differentiates Western art music from the music of all other cultures.” ³ Hence, because this particular rendition of chant is singular in its stunning beauty, it is thereby fitting that the sole Ark of Salvation, the Catholic Church, should possess this musical artistry exclusively to Herself.

In regard to the hymn itself, Sicut Cervus commences with the tenor part taking the lead and, in turn, creating a holy anticipation in the listener that is distinctly palpable. (Link to hymn below). Immediately following upon the tenor’s entrance, the alto, soprano, and bass subsequently join in the singing of Psalm 41 which goes as follows: “As the hart panteth after the fountains of water, so my soul panteth after thee, O God,” (Ps 41:1, DRV). ⁴ The intensity of the hymn begins building with the repetition of the second “Sicut” and the heavenly bliss contained in these angelic strains of the words nearly replicates the tearing joy which the Apostles must have experienced when standing before their Risen Master. The listener is brought into a heightened emotional drama when the bass increases in both pitch and speed on the significant word “desiderat”. One is left to wonder if the specific attention this word receives perhaps serves the purpose of re-enforcing the longing with which Christ was anticipated. Immediately following this dramatic crescendo, there is a momentary restfulness primarily on the word “fontes” meaning “fountain”, and our mind launches back to the savings water that fountained Mother Church on Good Friday.

The hymn then channels into more pining and plaintive tones repeating more than once the words “ita desiderat” with a longing that gloriously tugs at the immortality of our souls which are destined to be with God. The fulfillment of this longing is attained upon the climax of the piece: namely, when the chorus utters in an overlap of voices the word “anima mea” which, swelling gloriously and magnificently, blends all voices in a thrilling union calling to mind the Catholic Church who, though she is comprised of many members, is one in Spirit and unity. The swelling of the music with the words “my soul” in the piece also brings to mind the expansiveness that occurs when we surrender our souls over to Love Itself. It is as if the soul is assumed for one brief moment and permitted to touch the majesty of heaven. Finally, the hymn concludes with a mind-blowing convergence upon the word “Deus” recalling to mind the crux of the whole Resurrection i.e., God.

Thus, this hymn is for its listener’s a mini-resurrection of its own in that it arouses us to contemplate the glory of the kingdom of God before setting us back down gently upon the earth. Let the beauty of Sicut Cervus, therefore, serve as a link to the reality of the Resurrection and the ever-approaching reality of our own resurrection: for, “if we have been planted together in the likeness of his death, we shall be also in the likeness of his resurrection,” (Rom 6:5). For, there is present within this hymn, a veritable upward spiraling movement which is indicative of Christ’s words in reference to Himself, as well as, we might add, His salvific work: namely, “And I, if I be lifted up from the earth, will draw all things to myself,” (Jn 12:32).

Here is a beautiful version of the hymn Sicut Cervus!

1. Dennis Williams Stevens, “Giovanni Pierluigi da Palestrina: Italian composer,” ed. The Editors of Encyclopaedia Britannica, last edited by Encyclopaedia Britannica on April 1^st, 2024, (1998), athttps://www.britannica.com/biography/Giovanni-Pierluigi-da-Palestrina.

2.  Stevens, “Giovanni Pierluigi da Palestrina: Italian composer.”

3.  Mark DeVoto, “polyphony: music,” ed. The Editors of Encyclopaedia Britannica, last revised 13 June 2007, (1998), at https://www.britannica.com/art/polyphony-music.

4. The Holy Bible: Douay Rheims, (Post Falls, ID: Lepanto Press).