• Mini-Concert a cappella of Pre-“Gregorian” and “Gregorian” Chant | RMA-Study-Days-2019 | University-of-London-SOAS | Illo Humphrey, PhD-HDR • (original) (raw)
• Illo-Humphrey | PhD-HDR | Mini-Concert | Pre-“Gregorian” and “Gregorian” Chant | RMA-Study-Days | 8 & 9-XI-2019 | University of London (SOAS) | Direction: P. Huang & S. Bagast | Academia.edu | 22-XI-2020 • • (1) Te Deum laudamus • • Hymnus pro gratiarum actione | Officium Vigilarum (Office of the Vigils) | Tonus solemnis | 4th century • • The Te Deum laudamus is an anonymous pre-“Gregorian” Latin hymn, composed at the end of the 4th c., which may very well be of Irish origin. It is a doxology chant (chant of praise) sung « in directum », that is to say from beginning to end without refrain, just as monastic psalmody. According to the Rule of Saint Benedict of Nursia (6th c., 2nd half), the Te Deum laudamus is sung at the end of the Office of the Vigils (Matins); cf. Adalbert de Vogüé et Jean Neufville, La Règle de saint Benoît, édition critique, Paris (Editions du Cerf), 1972, Vol. 2, Ch. XI, p. 514-516. In the modern Benedictine practice, the Te Deum laudamus is sung every Sunday, and on most of the feast days in the liturgical year, at the end of the third and last Nocturnal Lesson of the Office of Matins. Bibliography: Humphrey (I.), « L‘Hymne des Vigiles: ‘Te Deum laudamus’. Une étape importante dans l’histoire de la musique liturgique latine », in Itinéraires de la musique française, théorie, pédagogie et création, Anne Penesco (ed.), Lyon (Presses Universitaires de Lyon), 1996, pages 15-50 (12 Plates): https://u-bordeaux3.academia.edu/IlloHumphrey/Papers • • (2) Tenebrae factae sunt, dum crucifixissent Jesum Judaei | 10th century [?]• • Responsorium | Sacrum Triduum Paschale (Good Friday) | Officium Vigilarum | Tetrardus authenticus (7th Mode) • • The responsorium « Tenebrae factae sunt », whose melody is largely based on the pentatonic formula G-A C (Sol-LA Do), is sung on Good Friday at the Office of the Vigils (i.e. Matins) at the 2nd Nocturnal Lesson; it is based on two biblical texts: Matthew 27 : 45-51 et John 19: 34. There are two principal versions of this chant, namely: « Sankt Gallen version » and « Metz version », each version being at the origin of several variants. This version of the « Tenebrae factae sunt » corresponds to the reading of the « Metz version » in that it permutes - that is to say, it reverses the order of, the two clauses: « et inclinato capite emisit spiritum » and « Tunc unus ex militibus lancea latus eius perforauit », being therefore in direct contradiction with the New Testament rendering of John 19: 34, which indicates clearly that Christ was pierced in the side by the lance of one of the soldiers after bowing his head and after giving up the ghost. The literary structure A-B-A1 of the « Tenebrae factae sunt » is typical of that of responsoria. • • Bibliography: cf. Rome, Bibliothèque Angelica, codex 123 (11th c., f. 103v); Sankt Gallen, Stiftsbibliothek, codices 390-391 (10th c.), p. 218; Metz, codex 83 (10th-11th c.); Officium et Missa ultimi tridui, Paris, Tournai, Rome, 1928, p. 114-115; Hesbert (Dom René-Jean), Le problème de la Transfixion du Christ, dans les traditions : biblique, patristique, iconographique, liturgique et musicale, 12 planches hors-texte, Paris, Tournai, Rome (Desclée et Cie.), 1940, p. 5-50. • (3) Quem quæritis in sepulchro | 10th century • • Tropus | Versus | Protus authenticus (1st Mode ) • • The famous trope or versus « Quem quæritis », composed around the year 930, is attributed to saint Odon (Abbot of Cluny from 927 to 942). Its first known attestation is in the composite manuscript from Saint-Martial of Limoges: Paris, BnF, Fonds latin 1240, f. 30v, dated, according to its different parts, between 900 and 936. This trope, composed in dialog form and based largely on the pentatonic formula E G-A (Mi Sol-La), appears to be the ancestor, or one of the ancestors, of the « liturgical drama » and is sung either at the end of the Office of the Vigils (i.e. Matins), or at the Easter day Mass just before the Introit Resurrexi. Just as the Te Deum laudamus, the text of the « Quem quæritis » is also a “literary patchwork”, that is to say a poetic résumé of the biblical verses taken from Matthew 28: 1-8, Mark 16: 1-8, Luke 24: 1-8, John 20: 1-9, describing the encounter of two angels and three women: Mary of Magdala, Mary (mother of James) et Salomé (cf. Mark 16: 1) standing in front of the sepulchre where Jesus’ body was laid with care by Joseph of Arimathaias (John 19: 38). • Bibliography: Lipphardt (W.), (ed.), Lateinische Osterfeiern und Osterspiele, 9 volumes, Berlin (De Gruyter), 1976–1990 • Rankin (S.), The Music of the Medieval drama in France and England, New York, Londres, 1989, 2 volumes • Drumbl (J.), Quem quæritis, Teatro dell’alto medioevo, Roma, 1981; Sarah Fuller, The European musical Heritage: 800-1750, New York (Alfred A. Knopf : ISBN 0-394-32951-1), 1987, p. 3-4 (n° 1b) • Smoldon (W.), “The Origins of the Quem Quaeritis and the Easter Sepulchre Music-Drama, as Demonstrated by Their Musical Settings”, in The Medieval Drama, ed. Sandro Sticca, (3rd annual Congress of the Center for Medieval and Early Renaissance Studies), State University of New York, Binghamton, 3-4 May, 1969, p. 121-154 • • (4) Alleluia, Pascha nostrum | 8th century • Tetrardus authenticus (7th Mode) | [M-R-B-C-K-S](1) • • Dominica Resurrectionis ad Missam in Die | Easter Day Mass | 8th century • • Alleluia, [Verset]: Pascha nostrum immolatus est, Christus. Alleluia (da capo) • • The Alleluia, Pascha nostrum is taken from the New Testament text 1st Corinthians 5: 7, 8. It is without doubt one of the most magnificent Chants of the Carolingian « Gregorian » repertoire. Based largely on the pentatonic formula G-A C (Sol-LA Do), this chant, also in A-B-A1 form, is sung in the 7th mode: G (Tetrardus authenticus), part B (the verse) being reserved for a soloist. • Nota bene: The second verse: « Epulemur in azimis sinceritatis et veritatis » (1st Corinthians 5: 8), composed in a very high register, is rarely sung. The first known attestation of this chant, dated around the year 800, is found in the Graduals from Rheinau and from Mont-Blandin (ca. a. D. 800). • Bibliography: Graduale Triplex, Solesmes, 1979, p. 197-198; Sarah Fuller, The European musical Heritage: 800-1750, New York (A. A. Knopf, Inc.), 1987, p. 9-10 (n° 1f) • • (5) Sequentia cum Prosa – Victimae Paschali laudes | Protus authenticus (Ist Mode) | 11th century • • Dominica Resurrectionis ad Missam in Die | Easter Day Mass | 11th century • • The sequentiae cum prosa are syllabic Chants. They are generally based on a note for note scheme of the melismatic melodies of the Alleluia chants which precede them. However, this well-known sequence with prose is not based on the melody of Alleluia, Pascha nostrum, but on that of the Alleluia, Christus resurgens ex mortuis taken from the Mass of the 5th Sunday after Easter. Attributed to Wipo the Burgundian (ca. 990-1050, the biographer of Emperor Konrad II, 990-1039), the Victimae Paschali laudes is a short dialog between the disciples of Christ and Mary of Magdala, Mary (mother of James), and Salomé. Just as the Hymn-Psalm Te Deum laudamus and the trope-versus Quem quæritis, the Victimae Pascali laudes is as well a “literary patchwork”, which is based on several New Testament texts, namely: Matthew 28: 1-7, Mark 16: 1-11, John 20: 10-20, Romans 6: 9. The melody of this sequence, based largely on the pentatonic formula E G-A (Mi Sol-La), is sung in the 1st mode: D (Protus authenticus). It is interesting to note that the melody of the Victimae paschali laudes was used by the former Augustian monk and erudite German reformer Martin Luther in 1524 for the composition of the well-known choral « Christ lag in Todesbanden » (« Christ laid in the bonds of death »), which later became the cantus firmus and main theme of the Cantata BWV 4 (1707), as well as that of an ornate organ choral in the Orgelbüchlein (1708-1717) by the J. S. Bach • • Bibliography: Norberg (DAG), Manuel pratique de latin médiéval, Paris (Picard), 1980, p. 59, 162 • Marcusson (Olof), ed. Corpus Troporum II. Prosules de la Messe I. Tropes de l’Alleluia, Acta Universitatis Stockholmiensis, studia Latina Stockholmiensia 22, Stodkholm, 1976 • Crocker (RICHARD), The early medieval Sequence, Berkeley (California), 1977 | Nota bene: In this excellent study by Richard Crocker, it should be noted that the Sequentia cum prosa Victimae Paschali laudes, composed in the 11th century, is not mentioned • Huglo (Michel): Chant grégorien et musique médiévale, Variorum Collected Studies Series 814. Aldershot: Ashgate, 2005 p. IV, 314, p. XII, 7, p. XIX 16 ; Les sources du plain-chant et de la musique médiévale, Abigdon, UK (Taylor Francis Ltd), 2004 p. XVII, 93 • • Die dominico• decimo kalendas decembres• anno Domini intercalario ED• bis millesimo vicesimo • • Festum Sanctae Ceciliae (†ca. 176-180 [?] | ca. 230 [?]) | Sancta Patrona Musicae • • (Sunday, 22-XI-2020) • • IH | ih | PhD-HDR | scripsi et subscripsi •
Liturgical chant bibliography 30
Plainsong and Medieval Music
(a) Davide CROFF, 'Presentation', ix-x. (b) Roberto CALABRETTO, Luisa ZANONCELLI, 'Preface', xi-xii. (c) James BORDERS, 'Foreword to the Meeting', xiii. (d) Nausica MORANDI, 'Opening address', xiv. (e) Andreas PFISTERER, 'Zur Bedeutung von Oxeia/Acutus/Virga in den griechischen und lateinischen Neumenschriften', 3-8. (f) Laura ALBIERO, 'From France to northern Italy: specific features in "Comasca" notation', 9-18. (g) Elsa DE LUCA, 'A methodology for studying Old Hispanic notation: some preliminary thoughts', 19-40. (h) David CATALUNYA, 'The "codification" of new Latin song in early twelfth century: codicological insights into F-Pn fonds latin 1139', 43-7. (i) Marco GOZZI, 'Manuscripts in Cortona: fragments and liturgical books in the Archivio storico diocesano', 49-60. (j) Karin Strinnholm LAGERGREN, 'The Birgittine Abbey of Maria Refugie: Five hundred years of manuscript production', 61-71. (k) Santiago RUIZ TORRES, Juan Pablo RUBIO SADIA, 'Liturgical fragments of the diocese of Sigüenza (eleventh-sixteenth centuries)', 73-82. (l) Rebekka SANDMEIER, 'Imposing European culture on the Cape Colony: medieval manuscripts in the Grey collection', 83-93. (m) James BORDERS, 'A northern Italian intermediary between Avignon and Rome? Oxford, Bodleian Library, MS. Canonici Liturgical 375 and the chants of the 1485 Pontificale Romanum', 95-106. (n) Jurij SNOJ, 'The antiphoner of Izola', 107-16. (o) Réka MIKLÓS, 'Der Seckauer Liber ordinarius von ca. 1595 (A-Gu 1566) als letztes Dokument der mittelalterlichen Salzburger-Seckauer Liturgie und Musik', 117-34. (p) Andreas HAUG, 'Towards a semiotically informed transcription practice', 137-42. (q) Konstantin VOIGT, 'Reconstructing acts of writing. Editorial consequences of writing scenarios assumed for the versus Annus novus in Paris 1139', 143-50. (r) Elaine Stratton HILD, 'Working realities of the New Philology: considering the potential of 157 Liturgical chant bibliography 30 https://www.cambridge.org/core/terms.
Gregorian Chant's Imagined Past, with yet another look at the Roman Lenten repertoire
Liturgy's Imagined Past/s: Methodologies and Materials in the Writing of Liturgical History Today. (Hg. T. Berger / B. Spinks; A Pueblo Book), Collegeville, MN: Liturgical,, 2016
The performance of chant and its scholarly investigation has always gone along with a generous dose of historical imagination: not only were the 19th-century restoration and 20th-century ecclesial legislation guided by quite anachronistic views, but the introduction and propagation – and, to a certain degree, the actual creation – of “Gregorian” chant in the early medieval West made use of a wide variety of strategies to suggest that it had originated in the then already somewhat mythical Rome of the great pope Gregory. Yet even the Roman core repertoire itself seems to display traces of an imagined past no longer prevalent any more at the time of the repertoire’s redaction and certainly did not match later liturgical conditions. The paper discusses the various levels of imagination which can be discerned in the history of chant and is thus intended to contribute to critical reflection upon its past and present, and even perhaps its future.
Devotional Refrains in Medieval Latin Song
Cambridge University Press, 2022
Throughout medieval Europe, male and female religious communities attached to churches, abbeys, and schools participated in devotional music making outside of the chanted liturgy. Newly collating over 400 songs from primary sources, this book reveals the role of Latin refrains and refrain songs in the musical lives of religious communities by employing novel interdisciplinary and analytical approaches to the study of medieval song. Through interpretive frameworks focused on time and temporality, performance, memory, inscription, and language, each chapter offers an original perspective on how refrains were created, transmitted, and performed. Arguing for its significance as a marker of form and meaning, this book identifies the Latin refrain as a tool that communities used to negotiate their lived experiences of liturgical and calendrical time; to confirm their communal identity and belonging to song communities; and to navigate relationships between Latin and vernacular song and dance that emerge within their multilingual contexts.
THE 15TH-CENTURY EDITION OF THE PAULINE MISSAL AS A SOURCE FOR GREGORIAN CHANT HISTORY
SAECULUM CHRISTIANUM, 2023
There exist only few medieval codices containing musical notation for the Mass in the Pauline rite. Missale Eremitarum S. Pauli printed by Johannes Amerbach about 1490 is a significant source for further research of the Pauline liturgical music. The objective of this article is to discuss the blank spaces left especially for the addition of handwritten neumes. The space for musical notation was prepared by the printer for parts of the Ordinarium Missae, in ceremonies of the Palm Sunday and Good Friday. In six remaining copies of the missal the neumes were inscribed in various ways. The study of the provenance shows that these copies were used in the monasteries in several countries.