Kathy,
Thanks for posting the hymn text--I was wondering as I watched this morning. I recognized the tune as "Faith of our Fathers," but the feed I was watching had commentary, so I couldn't make out the words. Given my comment yesterday, I today observed clergy of the Roman Church singing multiple verses of this hymn without seeming to read the words.

There are a number of extensive video clips at NLM (without commentary).
As far as propers, here are my observations: The processional was a choir piece, followed by the chant Introit, Dignus est Agnus, during the incensation. There was a responsorial psalm, followed by the proper Allleluia chant and verse, Caro mea vere est cibus. The Offertory motet, was I think, Christus factus est, which was the proper text for the Gradual. The first Communion chant was the proper, Unus militum (also the Communio for Sacred Heart), with Psalm verses, followed by a motet, O Sacrum Convivium, and the hymn noted by Kathy. The propers for the Votive Mass of the Most Precious Blood are listed in your 1979 Graduale Romanum, page 659, a very fitting choice, as it is the title of the Cathedral.

A couple of non-musical comments. It was edifying to hear some of the British clergy (presumably bishops) pray parts of the Roman Canon in Latin, as is customary in concelebration. There were also notable silences observed, after the homily and after Communion. It seemed the Holy Father was trying to say "Here's how you do this, my children."

From the First Things blog, http://www.firstthings.com/blogs/firstthoughts/2010/09/18/‘to-sing-for-jesus’-celebrating-‘the-new-beatus’/
some thoughts about singing at the beatification Mass (don't miss the bus!):

Leonie Caldecott, an English Catholic friend of mine, is singing tomorrow at Cardinal Newman’s beatification Mass. We e-mailed tonight about her thoughts the night before in anticipation. At first, in the spirit of truth, she was thoroughly human and admitted: “I am worrying I won’t sleep for excitement, and then mess up tomorrow because I am tired! (we got up very early this morning too, to go and rehearse in Birmingham).”

But she also emailed:

I am also very aware of how close God is to us as we gather around His new Beatus. . . . So there is a feeling of delight, almost humour, at the busy human dimension of our preparations, the ups and downs; the background each of us brings to this momentous day, so long awaited by those who love John Henry Newman, not to mention his twenty-first-century pope, so influenced by him.

We are singing in a choir of 2000 people (with a Schola of 200, of which I am, unbelievably, one). There is something very beautiful about all these people—children, young people, and every age up from that, as well as some in wheel-chairs. We have come from all over Great Britain to be here. To sing for Jesus, to surround the Holy Father with our voices. In a fanciful moment I think of the Wilton Diptych, with its group of Angels clustering around Our Lady and Jesus as she offers His foot for adoration to King Richard. I think of our country: the Dowry of Mary. I hope we can offer a small addition to that Dowry when we sing tomorrow, celebrating the first English Beatus since the Reformation. A very English Saint, but a man relevant to the Universal Church, to the Church in this specific moment of history. I think—I hope—I will feel proud of my country, as well as my faith, tomorrow morning.

But, in good humor—or humour, and some genuine worry—Leoni finishes: “If I wake up in time and don’t miss the bus!”

The most moving moment for me was hearing the Deacon (Jake Sullivan) who was healed through the intercession of Blessed John Neumann proclaim the Gospel. I thought the Massed Choir at the Mass was wonderful. I also loved the singing of the English congregations. Its always embarrassing when I'm watching a Mass from a place like the National Shrine and when the camera pans the mute congregation.

It's rather amusing to see the liberal liturgical establishment twisting and angling to provide a negative spin on this glorious event.