Hosanna filio David (Latin for "Hosanna to the Son of David") is a traditionalantiphon sung during theChristian liturgy ofPalm Sunday, specifically at the Blessing of Palms. This antiphon is part of theRoman Rite and is one of several chants associated with the commemoration ofJesus Christ's triumphal entry into Jerusalem, an event celebrated on Palm Sunday, the beginning ofHoly Week in theChristian calendar.[1] It is traditionally followed by the antiphon"Pueri Hebraeorum" (at the Distribution of Palms) and the hymn"Gloria laus" (during the Palm Sunday Procession), forming a sequence of liturgical music integral to the day's rites.[2]
The text of "Hosanna filio David" is derived from the Gospel accounts of Christ's entry into Jerusalem (e.g., Matthew 21:9), where the crowds greeted Him with shouts of "Hosanna." The antiphon is brief and jubilant, reflecting the exultation of the moment. The Latin text is as follows:
Hosanna filio David: benedictus qui venit in nomine Domini. Rex Israel: Hosanna in excelsis.[3]
Translated to English, it reads:
"Hosanna to the Son of David: Blessed is He who comes in the name of the Lord. King of Israel: Hosanna in the highest."[4]
The phrase "Son of David" underscores Jesus’ messianic identity, while "Hosanna" (originally a Hebrew cry for salvation, meaning "Save, we pray") had evolved by this time into an expression of praise.
In the Roman Rite, "Hosanna filio David" is sung during the Blessing of Palms, and serves as anIntroit or initial part of the Palm Sunday liturgy.[4] This ritual involves the blessing of palm branches (or other local substitutes, such as olive branches), which are then distributed to the faithful. The antiphon sets a tone of triumph and adoration, recalling the biblical scene where Jesus was hailed as king by the crowds waving palm branches.[2]
Following the Blessing of Palms, the antiphon "Pueri Hebraeorum" is chanted during the Distribution of Palms. Its text highlights the children of the Hebrews who spread garments and branches before Jesus, further emphasizing the festive welcome. The sequence concludes with the hymn "Gloria laus et honor" (commonly abbreviated as "Gloria laus"), sung during the procession that follows, where the faithful walk with palms in hand, symbolizing their participation in Christ's entry into Jerusalem. Together, they form a cohesive musical and thematic progression, reenacting the Gospel narrative through music and movement.
"Hosanna filio David" is traditionally performed in Gregorian chant, characterized by its monophonic melody and free rhythm. The chant is simple yet solemn, designed to enhance the liturgical action without overshadowing it. Scholars have noted the close relationship of this melody with the melody of theSeikilos epitaph, the oldest surviving piece of music, but where the long notes are resolved by groups of simple beats.
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Only one explanation is plausible: the Greek melody will have given rise to a citharodic variation, where this resolution of long values was the rule; preserved in the repertoire of instrumentalists, with its title alone, it was used by the centonisator of theHosanna antiphon, to whom the rapprochement ofHoson andHosanna will have given the idea of using the ancient theme.[5] Its melody, preserved in medieval manuscripts such as theGraduale Romanum, reflects the jubilant yet reverent spirit of Palm Sunday. In modern celebrations, it may also be adapted into polyphonic settings or vernacular hymns, though the Latin chant remains a staple in traditional liturgies.
Schubert composed theSechs Antiphonen zum Palmsonntag in 1820, a set of short choral works for mixed voices (SATB) intended fora cappella performance of which his first piece is the setting ofHosanna filio David in C major, which bridges the Gregorian chant tradition with Schubert's earlyRomantic harmonic language. More contemporary authors such asJeanne Demessieux orNicolas Flagello have also been inspired to put these lyrics to more modern music.
"Hosanna filio David" encapsulates the dual themes of Palm Sunday: triumph and impending sacrifice. The acclamation of Jesus as "Son of David" and "King of Israel" affirms His royal and messianic role, while the procession with palms foreshadows HisPassion, as the same crowds would soon call for Hiscrucifixion. The antiphon thus serves as both a celebration and a theological pivot into the events of Holy Week.[6]
In the post-Vatican II liturgy, "Hosanna filio David" remains part of theTridentine Mass (Extraordinary Form) and is optionally retained in theOrdinary Form when celebrated in Latin. In vernacular Masses, its themes are often echoed in hymns like "All Glory, Laud, and Honor" (an English adaptation of "Gloria laus"). The antiphon continues to resonate in Christian worship, symbolizing the faithful's recognition of Christ's kingship.
In thePhilippines, especially in provinces whereTagalog is spoken, the termOsanahan denotes a procession involving the faithful and a priest, moving from a prayer station—locally calledkuból orGalilea in some areas—following the blessing of palms, to the local church for the Palm Sunday liturgy. At each station along the route, children dressed as angels perform the antiphonHosanna Filio David, sung in either Filipino or Latin, accompanied by traditional music from arondalla or brass band.[7]