Many Beneventan antiphons have psalmody, but no specifically Beneventan style can be distinguished from the Gregorian sources in which it survives. Unlike the Ambrosian rite, there is no special service for nightfall, but there are about fifty extant antiphons and five responsories. Only antiphons for Sunday services survive. Much melodic material is shared among the antiphons and among the responsories.
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Jesus appearing to Thomas the Apostle, from the Maestà by Duccio di Buoninsegna Two more antiphons which also relate to the theme of the anticipated birth of Christ accompany the O Antiphons at Lauds on December 21 and 23. The first, due to the Feast of St. Thomas falling on December 21, is traditionally used instead in the commemoration of the feria. With the transference of the Feast of St. Thomas to July 3 in the revised calendar, these are again used in the Liturgy of the Hours as antiphons. The Monday through Saturday which fall on the days of the O Antiphons also have their own antiphons for the psalms of Lauds, rather than the usual weekday antiphons.
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The lyrics included within Christ I selection expand upon antiphons known as the “O Antiphons”, which receive their name because they all begin with the Latin interjection “O”. An antiphon is a verse from the Holy Scripture that is to be sung before and after the reading of a psalm (Otten 1). The verse selected for the antiphon is chosen to reflect the fundamental ideas presented during the psalm. Seven of the antiphons in Christ I have come to be known as the “Seven Greater Antiphons” for their use in the Magnificat. The opening interjections of the “Seven Greater Antiphons” include, "O Sapientia", "O Adonai", "O Radix Jesse", "O Clavis David", "O Oriens", "O Rex Gentium", and "O Emmanuel". The remainder of the antiphons used in Christ I had come to be included with the “Greater Antiphons”: “O Virgo virginum”, “O Gabriel”, “O Rex pacifice”, “O Mundi Domina”, and “O Hierusalem”.
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A number of other antiphons were found in various medieval breviaries.
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The importance of the "O Antiphons" is twofold. First, each one is a title for the Messiah. Secondly, each one refers to the prophecy of Isaiah of the coming of the Messiah. The Latin antiphons are from the Breviarium Romanum.
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They are: psalms (including canticles), antiphons, responsories, hymns, lessons, little chapters, versicles and collects.
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Gregorian chant is sung in the canonical hours of the monastic Office, primarily in antiphons used to sing the Psalms, in the Great Responsories of Matins, and the Short Responsories of the Lesser Hours and Compline. The psalm antiphons of the Office tend to be short and simple, especially compared to the complex Great Responsories. At the close of the Office, one of four Marian antiphons is sung. These songs, Alma Redemptoris Mater (see top of article), Ave Regina caelorum, Regina caeli laetare, and Salve, Regina, are relatively late chants, dating to the 11th century, and considerably more complex than most Office antiphons.
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This five-verse version of the hymn left two of the O Antiphons unused. Possibly under the influence of the Cecilian Movement in Germany, two new verses — "Veni, O Sapientia" (lit. "Come, O Wisdom") and "Veni, Rex Gentium" (lit. "Come, King of Peoples") — were added that adapted the remaining antiphons.
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The items from the Mass are presented here in the appropriate liturgical order. The Antiphons are the largest category of Office chants. Most are moderately syllabic, with simple recitations used for the verses, sung in antiphony. The Alleluiatici are also antiphonal chants, whose text usually involves an alleluia, similar in style to regular antiphons.
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The text of "O Come, O Come, Emmanuel," in all its various versions, is a metrical paraphrase of the O Antiphons, so the intricate theological allusions of the hymn are essentially the same as for the antiphons. One notable difference is that the antiphon "O Radix Jesse" ("root" of Jesse) is generally rendered in meter as "Veni, O Iesse virgula" ("shoot" of Jesse). Both refer to the writings of the prophet Isaiah ( and , respectively), but the hymn's "virgula" precludes the formation of the acrostic "ero cras" from the antiphons.
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The poem of Christ I is broken down into twelve smaller subsections of individual verse. Each subsection is introduced with a selection from a Latin antiphon, followed by lines of poetry in Old English. Sections I, II, III, IV, V, VI, VIII, and IX derive from the “Greater Antiphons”, while sections VII, X, XI, and XII do not. It is unknown if the author intended to use all of the selections from the “Great Antiphons”, but some scholars speculate that the antiphons not used, “O Sapientia”, “O Adonai”, and “O radix Jesse”, have been lost.
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Williamson, Magnus, ed. John Sheppard: III: Hymns, Psalms, Antiphons, and other Latin Polyphony. London: Stainer & Bell, 2012. Print. Early English Church Music. 54.
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In the breviary, York employed a larger number of proper hymns than Sarum. There were also a number of minor variations from what was practised both by Sarum and Rome. A careful comparison of the psalms, antiphons, responsories and lessons prescribed respectively by Rome, Sarum, and York for such a festival as that of St. Lawrence reveals a general and often close resemblance; yet, there were many slight divergences. Thus in the first Vespers the psalms used both at York and Sarum were the ferial psalms (as against the Roman usage), but York retained the ferial antiphons while Sarum had proper antiphons.
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The order of antiphons that the author uses for the lyrics imply that the poet was not concerned about any distinctions between antiphons, or the order that he had found them in his sources. Upon analysis of the position of each poem, no rational order can be found, therefore it appears as though the order of each poem in the sequence is unimportant.
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Their texts came from the Ordinary and the Proprium Missae, from antiphons for the worship service, and pieces from the Liturgy of the Hours.
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To resolve problems of understanding and to avoid sleepiness, boredom and lack of concentration arising during long recitations, Christians added many elements to the Divine Office. A few remained relevant in Latin Christianity. Almost always the psalms are surrounded in contemporary editions of liturgical books by so-called antiphons, short sung sentences preceding and following a particular psalm or an entire psalmody (set of psalms). Antiphons have many sources.
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Anthem is derived from the Greek (antíphōna) via Old English . Both words originally referred to antiphons, a call-and-response style of singing. The adjectival form is "anthemic".
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Polyphonic votive antiphons emerged in England in the 14th century as a setting of a text honouring the Virgin Mary, but separate from the mass and office, often after compline. Towards the end of the 15th century they began to be written by English composers as expanded settings for as many as nine parts with increasing complexity and vocal range. The largest collection of such antiphons is in the late 15th century. Eton choirbook.
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The semidouble feast had two Vespers, nine lessons in Matins, and ended with Compline. The antiphons before the psalms were only intoned. In the Mass, the semidouble had always at least three "orationes" or collects. On a double feast the antiphons were sung in their entirety, before and after the psalms, while in Lauds and Vespers there were no suffragia of the saints, and the Mass had only one "oratio" (if no commemoration was prescribed).
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The Annunciation The Greater Advent or O Antiphons are antiphons used at daily prayer in the evenings of the last days of Advent in various liturgical Christian traditions.A. Nocent and M. J. O'Connell, The Liturgical Year (Liturgical Press, 1977), p. 162. Each antiphon is a name of Christ, one of his attributes mentioned in Scripture. In the Roman Catholic tradition, they are sung or recited at Vespers from December 17 to December 23.
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Ambrose introduced antiphons and composed new O Antiphons. The emergence of the Te Deum falls into this time. As part of the rapid spread of Christianity, the individual archbishoprics and monasteries gained relative independence from Rome. Thus, in addition to the Ambrosian various other liturgies such as the Roman Rite, the Mozarabic Rite, the Gallican Rite, the Celtic Rite, the Byzantine Rite, the East and West Syriac Rites and the Alexandrian Rite.
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Guests often join the monks in prayer in the Archabbey Church. Gregorian chant is sung in the canonical hours of the monastic Office, primarily in antiphons used to sing the Psalms, in the Great Responsories of Matins, and the Short Responsories of the Lesser Hours and Compline. The psalm antiphons of the Office tend to be short and simple, especially compared to the complex Great Responsories. In addition, the monks spend private time reading spiritual and religious materials.
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The responsories are similar in form to the antiphons, but come at the end of the psalm, being originally the reply of the choir or congregation to the precentor who recited the psalm.
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Polyphonic Marian antiphons emerged in England in the 14th century as settings of texts honouring the Virgin Mary, which were sung separately from the mass and office, often after Compline.R. H. Fritze and W. Baxter Robison, Historical Dictionary of Late Medieval England, 1272–1485 (Greenwood, 2002), p. 363. Towards the end of the 15th century, English composers produced expanded settings up to nine parts, with increasing complexity and vocal range. The largest collection of such antiphons is the late-15th-century Eton Choirbook.
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Medieval manuscript of Gregorian chant setting of "Rorate Coeli" Many churches also hold special musical events, such as Nine Lessons and Carols and singing of Handel's Messiah oratorio. Also, the Advent Prose, an antiphonal plainsong, may be sung. The "Late Advent Weekdays", , mark the singing of the Great Advent 'O antiphons'. These are the daily antiphons for the Magnificat at Vespers, or Evening Prayer (in the Roman Catholic and Lutheran churches) and Evensong in Anglican churches, and mark the forthcoming birth of the Messiah.
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The texts of antiphons were frequently used as motet texts. This is the sort of composition that is most familiarly called by the name of "motet," and the Renaissance period marked the flowering of the form.
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The antiphons are short liturgical forms, sometimes of biblical, sometimes of patristic origin, used to introduce a psalm. The term originally signified a chant by alternate choirs, but has quite lost this meaning in the Breviary.
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Polyphonic votive antiphons emerged in England in the fourteenth century as a setting of a text honouring the Virgin Mary, but separate from the mass and office, often performed after compline. Towards the end of the fifteenth century they began to be written by English composers as expanded settings for as many as nine parts with increasing complexity and vocal range. The largest collection of such antiphons is in the late fifteenth century Eton choirbook.H. Benham, John Taverner: His Life and Music (Aldershot: Ashgate, 2003), , pp. 48–9.
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The order the antiphons used by the author in laying out the Advent Lyrics appears to have no predetermined structure and have not followed the pattern of the list used in observed in all other sources containing the list.
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It was printed in 1949 and used for the first recording in 1953. The first recording of the work with added antiphons was conducted in 1966 by Jürgen Jürgens. Recent performances have usually aimed to provide the complete music Monteverdi published.
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Use of the O Antiphons was preserved in Lutheranism at the German Reformation, and they continue to be sung in Lutheran churches.C. B. Brown, Singing the Gospel: Lutheran Hymns and the Success of the Reformation (Harvard University Press, 2005), p. 61.
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In the Roman rite there are seasonal variations in Advent and Christmastide. The Gospel antiphons also change in Eastertide, although there are no other changes during that season. The Little Office was a core text of the medieval book of hours.
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In addition to Offertories and Communions the two volume Venetian publication contains over a dozen other pieces, such as hymns, antiphons, a magnificat, and even three instrumental fantasias. In his compositions Zieleński relies on his own creative invention and does not, in general, make use of the cantus firmi. The few pre-existing melodies which may be traced out in his pieces are based not on plainsong but on the melodies of Polish songs. The sets consist of large-scale double- and triple-choir antiphons, as well as some monodic works typical of the Seconda pratica style of early Monteverdi.
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Other English equivalents for antiphonary are antiphonar (still in reputable use) and antiphoner (considered obsolete by some English lexicographers, but still sometimes used in the early 20th century). In the "Prioress' Tale" of Chaucer it occurs in the form antiphonere: :He Alma Redemptoris herde synge / As children lerned hir antiphonere. The word Antiphonary had in the earlier Middle Ages sometimes a more general, sometimes a more restricted meaning. In its present meaning it has also been variously and insufficiently defined as a "Collection of antiphons in the notation of Plain Chant", and as a liturgical book containing the antiphons "and other chants".
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The series of antiphons in the antiphonary, intended to be sung at the Communion during Lent, are for the most part taken from the Book of Psalms. Their order reveals the idea that governed the choice of them. With certain exceptions, to be referred to presently, the antiphons follow one another in the numerical order of the Psalms from which they are drawn. The series thus obtained begins on Ash Wednesday and ends on the Friday in Passion Week, forming a regular succession of Psalms from 1 to 26, except for the interruptions caused (1) by intercalations and (2) by lacunæ.
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Contrary to the helping tools these prayers were not testified in the Roman Rite until the reform of the Liturgy of the Hours after the Second Vatican Council. TheGeneral Instruction of the Liturgy of the Hours does not give their particular definition, but enumerates them alongside the antiphons and the headings in Chapter 3 The Various parts of the Liturgy of the Hours, Section 2 The Antiphons and Other Parts which Help in Praying the Psalms (paras 110–120).The Divine Office, the Liturgy of the Hours according to the Roman Rite, London 1974. Moreover, there is no consistency in the terminology.
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Only 66 antiphons were recognizably the same, and some 16 of these added words or removed them. Many of the overlapping ones were those for the special seasons (Advent, Lent, Passiontide), not for the per annum ferias. Thus 75 antiphons of the pre-1911 Breviary were removed, and 154 unique to the post-1911 Breviary introduced. Of the 75 unique to the pre-1911 Breviary, 3 paschal antiphons were suppressed, 10 were suppressed because they were associated with repeating psalms at Lauds that no longer occurred multiple times during the week in the Pius X schema, 10 were suppressed because their psalms were moved to the Little Hours under a single antiphon not requiring an antiphon of their own, 5 were replaced at the Little Hours by a new antiphon from that psalm (but drawn from a different division of the psalm), and 47 were completely replaced by another quote from the same psalm/division.
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Night prayer has the character of reflection on the day that is past and preparing the soul for its passage to eternal life. In each office, the psalms and canticle are framed by antiphons, and each concludes with the traditional Catholic doxology.
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This comprises psalms, antiphons, lessons, &c.;, for feasts of various groups or classes (twelve in all); e.g. apostles, martyrs, confessors, virgins, and the Blessed Virgin Mary. These offices are of very ancient date, and many of them were probably in origin proper to individual saints.
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These antiphons form the basis not only of the advent procession, but also of the popular advent hymn, "O come, O come, Emmanuel". The procession is advertised widely in the City of Durham; after the event the college hosts its annual reception for city residents.
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So the capitulum was the same but the responsory following was different. Again the psalms, antiphons, and responsories at Matins were substantially the same, but they do not always occur in the same order. Both at York and Sarum the first six lessons were taken from the legend of the saint of the day, but were differently worded and arranged. The most singular feature, and one common to both Sarum and York on St. Lawrence and one or two other festivals (notably that of the Conversion of St. Paul and the Feast of the Holy Trinity) was the use of antiphons with versicles attached to each.
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Some of the musical features used are reminiscent of L'Orfeo, written slightly earlier for similar instrumental and vocal forces. In this work the "sacred concertos" fulfil the role of the antiphons which divide the psalms in regular Vespers services. Their non-liturgical character has led writers to question whether they should be within the service, or indeed whether this was Monteverdi's intention. In some versions of Monteverdi's Vespers (for example, those of Denis Stevens) the concertos are replaced with antiphons associated with the Virgin, although John Whenham in his analysis of the work argues that the collection as a whole should be regarded as a single liturgical and artistic entity.
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Alternative terms for Antiphonary are Antiphonal or Antiphony. The term comes from the Latin antiphonarium, antiphonarius, antiphonarius liber, antiphonale, which came from the Greek antíphonon "antiphone, anthem". In current usage, Antiphonary refers more narrowly to books containing the chants for the Divine Office in distinction to the Gradual (Graduale or more rarely antiphonarium Missarum), which contains the antiphons used for the Mass. The Antiphonary thus included generically the antiphons and antiphonal chants sung by cantor, congregation, and choir at Mass (antiphonarium Missarum, or graduale) and at the canonical Hours ( antiphonarium officii); but now it refers only to the sung portions of the Divine Office or Breviary.
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M. Jean Frisk, "Antiphons" (University of Dayton)Cori Spezzati: Volume 2: An Anthology of Sacred Polychoral Music by Anthony F. Carver 2009 page 121Choral Repertoire by Dennis Shrock 2009 page 585 The prayer, whose author is unknown, is found in manuscripts from the twelfth century onward.
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The Gospel is . The kontakion is sung, which announces: The megalynarion and irmos from Ode IX of the Canon (also sung at liturgy) is: At the Divine Liturgy, special antiphons are sung in place of Psalms 102 and 145 and the Beatitudes. The Epistle is , and the Gospel is .
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"[T]here is little or no support in the sources that this is anything more than a coincidence. Such a cryptic medium is not a common quality of liturgical practice and theology. Moreover, the number of O Antiphons varied from church to church and religious community to community, and those without ERO CRAS did not fashion their antiphons to construct a cryptic message....[i]n the whole of the liturgical tradition there has been no tradition of such a labyrinthine way of mediating what God communicates to humanity in his Son....The encrypted message that he will 'come tomorrow' is not characteristic of how the church brings its worship traditions to light."Connell, Martin.
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The antiphons of most Introits are taken from Psalms, though many come from other parts of Scripture. In some rare cases the antiphon is not from Scripture: "Salve, sancta parens", from the Christian poet Sedulius, is the antiphon used in the Tridentine form of the Roman Rite for common Masses of the Blessed Virgin Mary; the 1970 revision kept a Mass formula of the Blessed Virgin with that antiphon, but provided several alternatives. The words of the antiphons are related to the theme of the feastday or celebration and most frequently have something in common with the liturgical readings of the Mass. In the Tridentine Mass the Introit is no longer the first text used in the Mass.
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Mr. Gallagher also created a set of "O Antiphons" which were hung in the Upper Church for years during Advent. Unfortunately, they were not thought of as significant at the time of their creation and the materials on which they were painted (rolled paper) have not withstood the test of time very well. They remain in delicate state, but selected Antiphons are carefully displayed during Advent and Christmas seasons. Another parishioner took on the task of restoring and repainting the original statues of The Blessed Mother, St. Joseph, The Sacred Heart and St. Anthony that were from the second Church, along with the Pieta in the main vestibule of the church, all of which date to the 1920's.
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The organum singing style is common in Saint Thomas Christian music. It appears in antiphons, responsories, and hymns. Ross notes that this is found among three other disparate and isolated cultures: the nearby Cochin Jews, the Yemenite Jews, and the Samaritans. Organum may be sung in either duplum or triplum.
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When the place of burial was at the church or nearby, the body was carried to the grave/tomb. Those carrying the coffin were led by others carrying wax candles and incense. The incense signify a sign of honor for the deceased. Psalms and antiphons were also sung along the way.
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Not only does Victoria incorporate intricate parts for the voices, but the organ is almost treated like a soloist in many of his choral pieces.Trend, 164. Victoria did not begin the development of psalm settings or antiphons for two choirs, but he continued and increased the popularity of such repertoire.O'Regan, 283.
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As discussed above, the Latin text of "O Come, O Come Emmanuel" was mostly stable over time. In the versions below, a number at the end of each stanza indicates where it fits into the order of the O Antiphons (e.g. the first verse, "Veni, veni Emmanuel," corresponds with the last antiphon, [7]).
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The psalms at the lesser Hours were to be accompanied by a number of intercessory versicles. In the Bangor book these, somewhat expanded from the list in the Rule, but certainly to be identified with them, are given in the form of one, two, or three antiphons and a collect for each intercession.
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Madonna by Raphael, an example of Marian art "Alma Redemptoris Mater" (; 'Loving Mother of our Saviour') is a Marian hymn, written in Latin hexameter, and one of four seasonal liturgical Marian antiphons sung at the end of the office of Compline (the other three being Ave Regina caelorum, Regina caeli and Salve Regina).
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That the word antiphonarium is, or was, quite elastic in its application, is shown by the remark of Amalarius in his Liber de ordine Antiphonarii, written in the first half of the 9th century. The work which in Metz was called "Antiphonarius" was divided into three in Rome: "What we call 'Graduale' they style 'Cantatorius'; and this, in accordance with their ancient custom, is still bound in a single volume in some of their churches. The remainder they divide into two parts: the one containing the responsories is called 'Responsoriale'; while the other, containing antiphons, is called 'Antiphonarius'. I have followed our custom, and have placed together (mixtim) the responsories and the antiphons according to the order of the seasons in which our feasts are celebrated" (P.
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No precise date or authorship is known for these verses. At present, their first known publication is in Joseph Hermann Mohr's Cantiones Sacrae of 1878, which prints a seven-stanza Latin version in the order of the antiphons (i.e. with "Sapientia" as the first verse and "Emmanuel" as the last verse).Joseph Mohr, SJ, ed.
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121-59, in Migne's Patrologia Latina, LXXII, 579, and in the "Ulster Journal of Archaeology", 1853. It contains a large collection of canticles, hymns, collects, and antiphons, all, with very few exceptions, relating to the Divine Office. All but two of the twenty-one pieces in the Turin fragment are found in this manuscript also.
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The songs from the Symphonia are set to Hildegard's own text and range from antiphons, hymns, and sequences, to responsories.Maddocks, Fiona. Hildegard of Bingen: The Woman of Her Age (New York: Doubleday, 2001), p. 194. Her music is described as monophonic, using soaring melodies that pushed the boundaries of the more traditional Gregorian chant.
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Crowned statue of Our Lady of Sorrows, Warfhuizen, the Netherlands. The four ancient Marian antiphons of the Liturgy of the Hours express the queenship of Mary: the Salve Regina, the Ave Regina caelorum, the Alma Redemptoris Mater, and the Regina Caeli. These are prayed at different times of the year, at the end of Compline.
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In addition to the Ordo Virtutum, Hildegard composed many liturgical songs that were collected into a cycle called the Symphonia armoniae celestium revelationum. The songs from the Symphonia are set to Hildegard's own text and range from antiphons, hymns, and sequences, to responsories.Maddocks, Fiona. Hildegard of Bingen: The Woman of Her Age (New York: Doubleday, 2001), p. 194.
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Nicholas Ludford (c. 1485 – 1557) was an English composer of the Tudor period. He is known for his festal masses, which are preserved in two early-16th- century choirbooks, the Caius Choirbook at Caius College, Cambridge, and the Lambeth Choirbook at Lambeth Palace, London. His surviving antiphons, all incomplete, are copied in the Peterhouse Partbooks (Henrican set).
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A separate Book of the Gospels, with texts extracted from the Lectionary, is recommended, but is not obligatory. The Roman Missal continues to include elaborate rubrics, as well as antiphons etc., which were not in sacramentaries. The first complete official translation of the Roman Missal into English appeared in 1973, based on the text of 1970.
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Printed antiphonary (ca. 1700) open to Vespers of Easter Sunday. (Musée de l'Assistance Publique – Hôpitaux de Paris) An Antiphonary is one of the liturgical books intended for use (i.e. in the liturgical choir), and originally characterized, as its name implies, by the assignment to it principally of the antiphons used in various parts of the Roman liturgy.
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The Troparia, Kontakia, and Antiphons follow in eight different very moving melodic tones. Then, the Rite of Proclamation begins with the Trisagion. The rite of proclamation, the Epistle readings and Gospel are chanted by the Priest, Deacons, and Readers. The service continues with the Litany of Fervent Supplication, Litany of the Departed, and Litany of the Catachumens.
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The text was written in Visigothic minuscule. A marginal gloss indicated that the manuscript was produced in Tarragona, at the church of Saint Fructuosus. The orational contains antiphons and responsories that are not neumed; no music exists in the codex. On folio 3r there is a drawing of the "Rose of the Winds", a precursor of the Compass rose.
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M. Gosman, A. A. MacDonald, A. J. Vanderjagt and A. Vanderjagt, Princes and Princely Culture, 1450–1650 (Leiden: Brill, 2003), , p. 163. The outstanding Scottish composer of the first half of the sixteenth century was Robert Carver (c. 1488–1558), a canon of Scone Abbey. Five masses and two votive antiphons have survived in his choirbook.
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A unique feature of the service is the chanting of the Lamentations or Praises (Enkōmia), which consist of verses chanted by the clergy interspersed between the verses of Psalm 119 (which is, by far, the longest psalm in the Bible). The Enkōmia are the best-loved hymns of Byzantine hymnography, both their poetry and their music being uniquely suited to each other and to the spirit of the day. They consist of 185 tercet antiphons arranged in three parts (stáseis or "stops"), which are interjected with the verses of Psalm 119, and nine short doxastiká ("Gloriae") and Theotókia (invocations to the Virgin Mary). The three stáseis are each set to its own music, and are commonly known by their initial antiphons: , "Life in a grave", , "Worthy it is", and , "All the generations".
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Díaz Bessón "wrote music that was apostrophised as 'celestial'".Ann Livermore A short history of Spanish music 1972 p106 Díaz Bessón composed in all the major genres: masses, requiem, motets, psalms, antiphons, hymns, tonos humanos, villancicos. In all more than 700 compositions were recorded, almost all of which were lost in the 1755 Lisbon earthquake, as well as writing theoretical works.
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St. Gregory the Great (590-604CE) wrote a sermon on the second Sunday of Advent in a collection of his homilies. With this evidence, it is understood that the Advent was celebrated as early as the time of Christ I’s composition and celebrated within the church. The lyrics, playing off the Latin antiphons, are poetry commenting on this period of symbolic preparation.
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Marian antiphons have been sung, since the thirteenth century, at the close of Compline, the last Office of the day. Peter Canisius (d. 1597) noted that one praises God in Mary when one turns to her in song. Liturgically, the Salve Regina is the best known of four prescribed Marian Anthems recited after Compline, and, in some uses, after Lauds or other Hours.
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The Psalms are each sung to a psalm tone, with a simple antiphon between each verse. The system of psalm tones in Ambrosian chant differs in several respects from the Gregorian system of psalm tones. In the Gregorian system, psalm tones are based on the mode of the antiphon. Ambrosian chants, including psalm antiphons, do not conform to the Gregorian system of modes.
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They were translated into Latin as "protus", "deuterus", "tritus", and "tetrardus", but only the tetrachord D—E—F—G was supposed to contain the final notes ("finales") for the eight tones used in the Latin octoechos. Since the 10th century the eight tones were applied to eight simplified models of psalmody, which soon adopted in their terminations the melodic beginnings of the antiphons, which were sung as refrains during psalm recitation. This practice made the transitions smoother, and in the list of the antiphons which can be found since the earliest tonaries, it was enough to refer to the melodic beginnings or incipits of the text. In the earliest tonaries no models of psalmody had been given and incipits from all chant genres were listed, probably just for a modal classification (see the section for the "Autentus protus" of the Saint Riquier tonary).
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In the liturgy of the Roman Catholic Church, a rhythmical office is a section of or a whole religious service, in which not only the hymns are regulated by a certain rhythm, but where, with the exception of the psalms and lessons, practically all the other parts show metre, rhythm, or rhyme. They are also known as versified office or, if appropriate, rhymed office. The usual examples are liturgical horary prayer, the canonical hours of the priest, or an office of the Breviary. The rhythmical parts will be, for instance: the antiphons to each psalm; to the Magnificat, Invitatorium, and Benedictus; likewise the responses and versicles to the prayers, and after each of the nine lessons; quite often also the benedictions before the lessons; and the antiphons to the minor Horœ (Prime, Terce, Sext, and None).
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The parts commemorated are readings, antiphons, and prayers. In the Liturgy of the Hours, all three are or have been used: a reading of the commemorated celebration in Matins (Office of Readings); the antiphons of the Benedictus in Lauds and of the Magnificat in Vespers; and the proper prayer of the celebration being commemorated, the same as the collect of its Mass. In Mass, the prayers used are the collect, the prayer over the offerings and the prayer after Communion. Furthermore, before the decree Cum nostra hac aetate of 1955, in the Liturgy of the Hours the verse of the short responsory in Prime and the doxology of hymns of a commemorated feast that had special ("proper") forms of these were used, as in Mass were the commemorated feast's preface, if "proper", and the Credo, if the commemorated feast required its recitation.
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In addition to Morning and Evening Prayer there is a complete service for Compline. Its psalter—an inclusive- language revision of the psalter from the 1979 American Book of Common Prayer—also includes a collect for each psalm. Antiphons and litanies are provided for the seasons of the church year. A new Book of Common Worship Daily Prayer with expanded content was published in 2018.
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Mawby's music for the English Catholic liturgy is prolific. He composed several masses, motets, antiphons and hymn settings. His Ave verum corpus for choir and a setting of Psalm 23 won fame in the recording by Charlotte Church. His Requiem of Hope for soprano, mixed choir and organ, composed from 1995 to 2002, is based on texts by Henry Vaughan, John Henry Newman and anonymous texts.
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In addition to leading of singing in which the congregation participates, such as hymns and service music, some church choirs sing full liturgies, including propers (introit, gradual, communion antiphons appropriate for the different times of the liturgical year). Chief among these are the Anglican and Roman Catholic churches; far more common however is the performance of anthems or motets at designated times in the service.
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"ii", follows the antiphon. The antiphons of the entrance (introits) have the gradual order of the mass as a rubric at the margin (on a verso page as here: left), i.e. the serial for the day with gradual (R), alleluia (All) or tractus (TR), offertorium (OF), and communio (CO). A conventional tonary with the list of differentiae was also attached to the beginning of the manuscript.
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Marienlexikon, 648 In the 13th century, the custom developed to greet the Queen of Heaven with the Salve Regina, which is considered the oldest of the four Marian antiphons. As a part of the Catholic Reformation, the Salve Regina was prayed every Saturday by members of the Sodality of Our Lady, a Jesuit Marian congregation. The Hail Holy Queen is also the final prayer of the Rosary.
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Structurally, psalm tones in Ambrosian chant consist of an incipit, a recitation formula, and a cadence, lacking the mediant flex found in Gregorian psalm tones. Other Vespers chants include the Psallendae and the Antiphonae in choro. Psallendae comprise the largest category of Ambrosian Office chants. Two Psallendae, similar to the Marian antiphons of Gregorian chant, are performed on the more solemn Vespers, to cover processions.
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When the prince entered the church, a "great orchestra", joined by the boys' choir, began to play. The music was conducted by Nunes Garcia. About it, besides probably his Te Deum in D (CPM 96) written in 1799, there were presented the antiphons O Beatae Sebastiane, and Sub Tuum Praesidium (CPM 2). The prince regent, though enthusiastic about the music, did not have the same opinion about the players.
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Solo instrumental parts are written for violin and cornetto. Antiphons preceding each psalm and the Magnificat, sung in plainchant, would vary with the occasion. Some scholars have argued that the Vespers was not intended as a single work but rather as a collection to choose from. The edition by Redlich was the basis for performances in Zurich in 1935 and of parts in New York in 1937, among others.
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In his works, Rolle provides little explicit evidence about his early life and education. Most, if not all, of our information about him comes from the Office of Lessons and Antiphons that was composed in the 1380s in preparation for his canonisation, although this never came about.Richard Rolle, the English writings, translated, edited, and introduced by Rosamund S. Allen. Classics of Western Spirituality, (New York / London: Paulist Press / SPCK, 1988), p9.
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The antiphons, versicles, responsories, even the lessons are indicated only by their first words. The whole is really a kind of concise index to the Office, but sufficient for people who said it day after day and almost knew it by heart. Such little books are called by various names – Epitomata, Portiforia, and then especially Breviaria divini officii (Abbreviations of the Divine Office). They were used mostly by priests on journeys.
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The musical items not set polyphonically by Vásquez would have been performed using their original plainchant, possibly with improvised polyphony. The items which Vásquez set whose corresponding chants can be found in the Liber Usualis are the Invitatory, Psalm no.5, nine antiphons, five lessons, one Responsorium, the Canticum Zachariae, the Requiescant in pace, Amen and the Missa pro defunctis. Vásquez has written this Agenda defunctorum for four voices (SATB).
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The ensemble has performed in Belgium, France, Hungary, Mexico, Canada, Japan and China. Their repertory includes antiphons and motets, the psalm Nisi Dominus and the Magnificat primi toni. They also perform the Missa pro Defunctis by Mateo Romero, Music for the Corpus of Joan Pau Pujol, and the mass O Gloriosa Virginum by Antonio Rodríguez de Hita. The director Albert Recasens promoted the creation of the recording label Lauda in 2005.
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According to Michel Huglo, there was a prototype tonary which initiated the Carolingian reform.Huglo (1971). But in a later study he mentioned an even earlier tonary which was brought as a present by a Byzantine legacy which celebrated procession antiphons for Epiphany in a Latin translation.Michel Huglo (2000) refers to an episode which was described long ago by Oliver Strunk (1960) in connection with the inaugurated Palatine Chapel, but dated it earlier.
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In 623 or 624, during his time on Cyprus, Paul revised an earlier translation of the complete Discourses of Gregory of Nazianzus and the Commentaries of Pseudo-Nonnos. His edition survives in its entirety. On Cyprus, he also translated a collection of 295 hymns (maʿnyoto, antiphons) by Severus of Antioch, John bar Aphtonia and others. This translation, made between 619 and 629, was revised by Jacob of Edessa in 675 to make it more literal.
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First we hear of Libri nocturnales or matutinales, containing all the lessons and responses for Matins. To these are added later the antiphons and psalms, then the collects and all that is wanted for the other canonical hours too. At the same time epitomes are made for people who recite the Office without the chant. In these the Psalter is often left out; the clergy are supposed to know it by heart.
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What are These Wounds? the Life of a Cistercian Mystic, Saint Lutgarde of Aywieres, Clonmore and Reynolds Ltd., Dublin, 1948 Sources say that Christ came in a visitation to Lutgarde, offering her whatever gift of grace she should desire; she asked for a better grasp of Latin, that she might better understand the word of God and sing God's praise. Christ granted her request and Lutgarde's mind was flooded with the riches of psalms, antiphons, readings, and responsories.
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Jean Gallon (25 June 1878 - 23 June 1959) was a French composer, choir conductor, and music educator. His compositional output consists of six antiphons for strings and organ, one mass, one ballet, and several art songs. Born in Paris, Gallon was the elder brother of composer Noël Gallon. He had a long association with the Paris Conservatoire, first as a student, then as the director of concerts (1906-1914), and then as a faculty member from 1919 to 1949.
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According to Svetlana Kujumdzieva (2012, 14) the composition of the book has many similarities with the contemporary Georgian Iadgari. The Tropologion was expanded upon by St. Cosmas of Maiuma († 773), Theodore the Studite († 826) and his brother Joseph of Thessalonica († 832),Theodore created the Triodion, the Pentecostarion, and the three antiphons of the anavathmoi of the Octoechos (Wolfram 2003). Theophanes the Branded (c. 775-845),Theophanes created the Trinity Canon for the Sunday night service (mesonyktikon).
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It is particularly valuable for the trustworthy notices of the early history of Scotland which are embedded in the lives of the national saints. Though enjoined by royal mandate in 1501 for general use within the realm of Scotland, it was probably never widely adopted. The new Scottish Proprium sanctioned for the Catholic province of St Andrews in 1903 contains many of the old Aberdeen collects and antiphons. The Sarum or Salisbury Breviary itself was very widely used.
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"Ubi caritas" or "Ubi Caritas et Amor" is a hymn of the Western Church, long used as one of the antiphons for the washing of feet on Maundy Thursday. Its text is attributed to Paulinus of Aquileia in 796. The traditional melody probably also stems from the late 8th century. It is now and then sung at Eucharistic Adoration and Benediction of the Blessed Sacrament and has for a long time been part of the Holy Thursday evening liturgy.
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Vaet wrote nine complete masses which have survived, including a setting of the Requiem, one of relatively few from before the mid-16th century. His many surviving motets are both sacred and secular. Furthermore, he wrote eight settings each of the Magnificat and the Marian antiphon Salve Regina; the antiphons were all late works, published in the 1560s. Vaet also wrote a handful of chansons in French, and one setting in German of "Vater unser im Himmelreich".
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Mantras now exist in various schools of Hinduism, Buddhism, Jainism, and Sikhism.Nesbitt, Eleanor M. (2005), Sikhism: a very short introduction, Oxford University Press, In Japanese Shingon tradition, the word Shingon means mantra. Similar hymns, antiphons, chants, compositions, and concepts are found in Zoroastrianism,Boyce, M. (2001), Zoroastrians: their religious beliefs and practices, Psychology Press Taoism, Christianity, and elsewhere. The use, structure, function, importance, and types of mantras vary according to the school and philosophy of Hinduism and Buddhism.
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In addition, at the end of each volume were the Propria Sanctorum, containing prayers and readings to be used only on the feast day of the particular saint. Hymns, responsories, and antiphons were composed for most of the saints in various metres and styles. There are poems as well, although, except for the poem for the office of St. Fiacre, they are not high in quality. All these were to be used as acts of worship.
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It is arranged into ten kirugú-stanzas (Akkadian: šēru) and six ĝešgiĝal-antiphons as lyrical retorts, the numbering of which suggest that the work extends over the two tablets, although the second may not be the actual sequel of the first as the first is an eight column tablet while the second only has six columns and there are apparently subtle differences in late Old Babylonian cursive cuneiform distinguishing them, suggesting tablet A is the younger copy.
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His Mass settings include Missa Spiritus Domini (1994), Missa Spe Salvi (1995, rev. 2012), Missa Brevis à 3 (1997), Missa Hereditas Mihi à 3 (2016), and Missa Honorificentia Populi Nostri (2017). His Seven Mandatum Antiphons (2010) were dedicated to Arvo Pärt on the occasion of his 75th birthday; the maestro personally accepted the dedication. Many of these works can be found in his book Sacred Choral Works, which was highly acclaimed when it first appeared in 2014.
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No two sets are alike, but some antiphons are common to nearly all. There is a resemblance to the Communion responsory, called Ad accedentes, of the Mozarabic rite, and similar forms are found in Eastern liturgies, sometimes with the same words. Possibly the Tricanum of St. Germanus was something of the same sort. At the end of these in the Stowe is the colophon Moel Caich scripsit, with which Moel Caich's corrections and additions to the mass end.
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He ordered the creation of a listing of all benefactions received by Ripon, which was recited at the dedication ceremony. Wilfrid was an advocate for the use of music in ecclesiastical ceremonies. He sent to Kent for a singing master to instruct his clergy in the Roman style of church music, which involved a double choir who sang in antiphons and responses. Bede says that this singing master was named Æddi (or Eddius in Latin) and had the surname Stephen.
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Notker Physicus (died 12 November 975), sometimes called Notker II, was a physician, painter, and composer. Besides physicus ("the physician"), he was also nicknamed piperis granum (pepper grain) on account of his strict discipline. Concerning his life we only know that in 956 or 957 he became cellarius (cellarer), and in 965 hospitarius (hospitaller) at the Abbey of Saint Gall. He made several paintings, which were extolled by Ekkehard IV, who also mentions some antiphons and hymns, including "Rector aeterni metuende secli".
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Little is known about his life, except that he was an Abbot in Arezzo, working under Bishop Donatus of Arezzo. Odo composed a tonary (a book of chants which usually included antiphons and responsories) with a discussion of modes, which survives in twenty manuscripts, four of which contain attributions to Odo. In several of the manuscripts a prologue ascribed in three out of six to Odo is entitled "Formulas quas vobis".Brockett A ' has been mistakenly attributed to Odo of Arezzo.
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In a responsorial chant, the verse and refrain are often comparable in style and melodic content. Visigothic/Mozarabic chants used a different system of psalm tones for psalm antiphons than Gregorian chant. Unlike the standardized Gregorian classification of chants into eight modes, Visigothic/Mozarabic chant used between four and seven, depending on the local tradition. Many Visigothic/Mozarabic chants are recorded with no musical notation at all, or just the incipit, suggesting that the psalm tones followed simple and frequently used formulas.
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For example, the first antiphon of the first nocturn: :Gregorius ortus Romæ :E senatorum sanguine :Fulsit mundo velut gemma :Auro superaddita, :Dum præclarior præclaris :Hic accessit atavis. This transitional author does not make use of pure rhyme, only of assonance, the precursor of rhyme. A prominent example is the Office of the Trinity by Archbishop Pecham of Canterbury. The first Vespers begins with the antiphons: :Sedenti super solium :Congratulans trishagium :Seraphici clamoris :Cum patre laudat filium :Indifferens principium :Reciproci amoris.
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A. Nocent and M. J. O'Connell (1977), Liturgical Year, pp. 163-80. In the Church of England they have traditionally been used as antiphons to the Magnificat at Evening Prayer.J. H. Blunt, The Annotated Book of Common Prayer: Being an Historical, Ritual, and Theological Commentary on the Devotional System of the Church of England (Rivingtons, 1866), p. 76. More recently they have found a place in primary liturgical documents throughout the Anglican Communion, including the Church of England's Common Worship liturgy.
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Certain classes of Gregorian chant have a separate musical formula for each mode, allowing one section of the chant to transition smoothly into the next section, such as the psalm verses that are sung between the repetition of antiphons, or the Gloria Patri. Thus we find models for the recitation of psalmverses, Alleluia and Gloria Patri for all eight modes.Hoppin, Medieval Music p. 82. Not every Gregorian chant fits neatly into Guido's hexachords or into the system of eight modes.
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It opened with the Calendar of the Church Year used in Anglican Use, followed by the Daily Office lectionary arranged in a two-year cycle. Three readings from Old and New Testaments were provided for each Sunday and weekday in both cycles. The psalms were arranged on a seven-week pattern throughout the year and sung in Anglican Chant. Antiphons—drawn from the psalms, from the opening sentences in the Offices or from scriptural passages—were used with the psalms or canticles.
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Illustration from a manuscript on the Sarum Rite, c. 1400 The ceremonies of the Sarum Rite are elaborate when compared not only to the post-1969 Roman Rite Mass, but even to the Tridentine Mass. The Mass of Sundays and great feasts involved up to four sacred ministers: priest, deacon, subdeacon, and acolyte. It was customary for them to visit in procession all the altars of the church and cense them, ending at the great rood screen, where antiphons and collects would be sung.
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These include his setting of the Easter responsory Christus resurgens (a4) which was not published until 1605, but which as part of the Sarum liturgy could also have been composed during Mary's reign, as well as Alleluia confitemini (a3) which combines two liturgical items for Easter week. Some of the hymns and antiphons for keyboard and for consort may also date from this period, though it is also possible that the consort pieces may have been composed in Lincoln for the musical training of choirboys.
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Tribue Domine (a6) is a large- scale sectional composition setting from a medieval collection of Meditationes which was commonly attributed to St Augustine, composed in a style which owes much to earlier Tudor settings of votive antiphons as a mosaic of full and semichoir passages. Byrd sets it in three sections, each beginning with a semichoir passage in archaic style. Byrd's contribution to the Cantiones also includes compositions in a more forward-looking manner which point the way to his motets of the 1580s.
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Deggwa, Ethiopian antiphons, in particular are of much later origin, dating from the second half of the 16th century. Most of the Ethiopian Highlands had been Miaphysite Christian since the fourth century. Ancient chanted liturgy with congregation participating with clapping, ululation and rhythmic movements has been retained from that era. Ethiopian liturgical chants are based on both written and oral sources, but the isolation of Ethiopia and the lack of source material make it difficult to reconstruct the exact history of Ethiopian church music.
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Unlike the Gregorian repertory, these are sung at Matins and Vespers even on penitential days, when "alleluia" is omitted from the liturgy. Matins features a musical form called the missa, which consists of an Alleluiaticus framed by two Antiphons and a Responsory. Later missae show common musical material thematically uniting the missa. The Responsories, which are primarily found at the end of a missa, are generally neumatic, consisting of melodic formulas that adjust to fit the lengths of different phrases, ending in a fixed cadence.
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The Royal Hours are followed by the Divine Liturgy of St. Basil which combines Vespers with the Divine Liturgy. During the Vespers, fifteen Old Testament lections which foreshadow the Baptism of Christ are read, and special antiphons are chanted. If the Feast of the Theophany falls on a Sunday or Monday, the Royal Hours are chanted on the previous Friday, and on the Paramony the Vesperal Divine Liturgy of St. John Chrysostom is celebrated and the fasting is lessened to some degree. Theophany Crucession in Bulgaria.
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An example of an old metrical office, intermixed with Prose Responses, is that of St. Lambert (Anal. Hymn., XXVII, no. 79), where all the antiphons are borrowed from that saint's Vitœ metricœ, presumably the work of Hucbald of St. Amand; the office itself was composed by Bishop Stephen of Liège about the end of the ninth century: ;Antiphona I: :Orbita solaris præsentia gaudia confert Præsulis eximii Lantberti gesta revolvens. ;Antiphona II: :Hic fuit ad tempus Hildrici regis in aula, :Dilectus cunctis et vocis famine dulcis.
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The Eastern Eucharists of whatever rite are marked by the invariability of the priest's part. There are, it is true, alternative anaphoras which are used either ad libitum, as in the Syro-Jacobite Rite, or on certain days, as in Byzantine and East Syrian, but they are complete in themselves and do not contain passages appropriate to the day. The lections of course vary with the day in all rites, and varying antiphons, troparia, etc., are sung by the choir; but the priest's part remains fixed.
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Psalms 103 and 104 were sung, and people were reminded of the curses the Bible ascribed to those who violated agricultural boundaries. The processions were not mandatory, but were at the discretion of the local minister, and were also ascribed more importance when a public right of way needed to be protected from agricultural or other expansion. The marches would follow prescribed routes, with York and Coventry being unique in their following royal entries. On other routes, altars were erected at certain locations where antiphons were sung.
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For over a half-century, the college has conducted an Advent procession in Durham Cathedral. The candle-lit choral service is unusual in not solely anticipating Christmas, but in anticipating the Second Coming, which is the traditional theological focus of the Advent season itself. The choir splits into two, with one group seated in the choir and the other processing from the entrance to the cathedral. The two groups call back and forth to each other, using chants based on the Great Advent Antiphons.
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Hansell was born in New York City and grew up in Philadelphia. He received his bachelor's degree from the University of Pennsylvania in 1956 and a Master's Degree from Harvard University in 1958. He then studied composition with Nadia Boulanger in France as well as undertaking further studies at the University of Copenhagen, the Musikhochschule in Berlin, and Indiana University. He received his PhD from the University of Illinois in 1966 with a dissertation on the cantatas, motets, and antiphons of Johann Adolf Hasse.
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Sheppard was probably born around 1515, judging from his statement in 1554 that he had been composing music for twenty years.Magnus Williamson (ed.) "John Sheppard: Hymns, Psalms, Antiphons and other Latin Polyphony", Early English Church Music 54 (London: Stainer & Bell Ltd, 2012), p.xi. Nothing certain is known about his early life. The first undoubted sighting of him occurs when he was probably in his later twenties, as informator choristarum at Magdalen College, Oxford. He served in this capacity during 1541-2 and again from 1544-8.
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At the early period in question, oral tradition may have sufficed to hand down a certain number of musical formulas. When, later on, the ecclesiastical chants had been co- ordinated, it was found necessary to provide them with a notation. The attribution to Pope Gregory I (590-604) of an official codification of the collection of antiphons occurring in the Divine Office has at frequent intervals, exercised the wit of the learned. At the end of the ninth century John the Deacon (d. c.
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On ferias and "Memorials" Ps. cxlvi is said after Ps. cxlviii, and on ferias Ps. 1, 1–18, comes at the end of the psalms. The rest of the services consist of prayers, antiphons, litanies, and verses (giyura) inserted, like the Greek stichera, but more extensively, between verses of psalms. On Sundays the Gloria in Excelsis and Benedicte are said instead of Ps. cxlvi. Both morning and evening services end with several prayers, a blessing, (Khuthama, "Sealing" ), the kiss of peace, and the Creed.
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"Archbishop escaped poverty to become leading liberal Catholic voice", Pittsburgh Post-Gazette, May 25, 2002 On December 21, 1999, Weakland defended and received a Doctorate in Musicology – "with distinction" – from Columbia University, New York, for his research and thesis on "The Office Antiphons of the Ambrosian Chant"."Rembert Weakland", The Department of Music, Columbia university Weakland retired as archbishop in 2002. In July 2009, he published his memoirs under the title of A Pilgrim in a Pilgrim Church: Memoirs of a Catholic Archbishop dealing with the issues of ongoing Church reform.
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The start of the 5th chapter, and the end of the 4th chapter are not in the same verse in all versions of the Bible: the Vulgate version starts with the end of the Woman's text (which starts in ): The phrase, and variant texts such as antiphons based on it, have been set to music, for instance in Gregorian chant, and by composers including Alessandro Grandi and Pietro Torri.Veniat dilectus meus in hortum at Alessandro Grandi: Celesti fiori – Motetti at .Veniat dilectus meus from Mus.ms. 30299 at Berlin State Library website.
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The Beneventan rite appears to have been less complete, less systematic, and more liturgically flexible than the Roman rite. Characteristic of this rite was the Beneventan chant, a Lombard-influenced chant that bore similarities to the Ambrosian chant of Milan. The Beneventan chant is largely defined by its role in the liturgy of the Beneventan rite; many Beneventan chants were assigned multiple roles when inserted into Gregorian chantbooks, appearing variously as antiphons, offertories, and communions, for example. It was eventually supplanted by the Gregorian chant in the 11th century.
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This psalm book is the very backbone of the Breviary, the groundwork of the Catholic prayer-book; out of it have grown the antiphons, responsories and versicles. Until the 1911 reform, the psalms were arranged according to a disposition dating from the 8th century, as follows: Psalms 1-108, with some omissions, were recited at Matins, twelve each day from Monday to Saturday, and eighteen on Sunday. The omissions were said at Lauds, Prime and Compline. Psalms 109-147 (except 117, 118, and 142) were said at Vespers, five each day.
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Lauds, Prime, Terce, Sext, None, Vespers and Compline. It comprised in one volume what in some editions had been distributed in several, such as the "Antiphonarium" (in a very restricted sense), the "Psalterium", the "Hymnarium", the "Responsoriale". The Office of Matins was divided into the other two volumes, one of which contained the invitatories, antiphons, hymns, etc., of Matins for the Proprium de Tempore (Proper of the Season), and the other, for the Commune Sanctorum (Common Office of the Saints) and the Proprium Sanctorum (Proper Office of the Saints).
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Between 1751 and 1754 he stayed in Rome as an assistant to the Procurator General of the order, from where he returned to Wiener Neustadt. In 1755 he was sent again to the Maria Trost monastery, where he died in 1758, at the young age of 31. Despite his early passing, Ivanschiz left behind a remarkable number of compositions. His output comprises about 20 symphonies, 15 string trios, 17 masses, 13 litanies, 7 short cantatas (each named "Oratorium"), 9 settings of Marian antiphons, 8 arias and duets to non-liturgical texts, vespers and Te Deum.
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Anerio was a prolific composer, and he wrote motets, litanies, antiphons, "sacred concertos," responsories, psalms, madrigals, much miscellaneous sacred and secular music, as well as a handful of instrumental pieces. Most were published in Rome; many fewer works from his Polish period seem to have been preserved, although two polychoral Masses found in manuscript (one for three choirs) can be attributed to this last phase of his career.Daniele V. Filippi, Introduction to Giovanni Francesco Anerio, Selva Armonica (Rome, 1617) (Middleton, WI: A-R Editions, 2006), xix, n.37.
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Often, a Gregorian chant (sometimes in modified form) would be used as a cantus firmus, so that the consecutive notes of the chant determined the harmonic progression. The Marian antiphons, especially Alma Redemptoris Mater, were frequently arranged by Renaissance composers. The use of chant as a cantus firmus was the predominant practice until the Baroque period, when the stronger harmonic progressions made possible by an independent bass line became standard. The Catholic Church later allowed polyphonic arrangements to replace the Gregorian chant of the Ordinary of the Mass.
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Before the high Middle Ages, several books were used at Mass: a Sacramentary with the prayers, one or more books for the Scriptural readings, and one or more books for the antiphons and other chants. Gradually, manuscripts came into being that incorporated parts of more than one of these books, leading finally to versions that were complete in themselves. Such a book was referred to as a Missale Plenum (). In 1223 Saint Francis of Assisi instructed his friars to adopt the form that was in use at the Papal Court (Rule, chapter 3).
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The > same contained the modulation of the tones [during their intonation]. The practice of using abstract syllables for the intonation, as it was common for the use of enechemata among Byzantine psaltes, was obviously not familiar to Aurelian of Réôme.It was a coincidence that Carolingian cantors used more syllables for the Autentus protus, like the enechema of the echos protos as it was used by Greek psaltes (see Octoechos). It was probably imported by a Byzantine legacy, when they introduced the Greek Octoechos by a series of procession antiphons used for the feast of Epiphany.
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Marian devotions such as the Rosary, Angelus, and Regina Coeli are most commonly associated with the Anglo-Catholic and High Church movements within Anglicanism. An Anglo-Catholic manual, Saint Augustine's Prayer Book: A Book of Devotion for members of the Episcopal Church, first published in 1947, includes a section containing devotions to the Blessed Virgin Mary. This includes the Rosary, the four seasonal Marian antiphons, the Memorare, and litanies of the Blessed Virgin and Our Lady of Sorrows. A Revised Edition was published in 1967, and the book remains in print with Holy Cross Publications.
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The exact date of this is not known, but he was buried on 17 November 1558 in the parish church for the Southgates Ward, St Margaret's. On 15 November 2008 a 450th anniversary Commemorative Service was held in St Margaret's, featuring two of Aston’s surviving antiphons, the two known keyboard pieces and much of the Sarum Rite plainsong music for the Requiem Mass of the pre-Reformation Sarum liturgy, which had been restored by Queen Mary.Hugh Aston (c. 1485–1558): Composer and Mayor of Leicester, Patrick J Boylan.
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They belonged to a new type of chant book which was no longer simply a liturgical book, but rather collected new poetry based on liturgical forms (in music as well as in poetry). This new form of chant book consisted of several books ("libelli") - the "proser" or "troper" for verses and tropes, the "sequentiary" for prosulae and sequences (troped elaborated alleluia refrains), the processional with processional antiphons, the offertorial for offertories etc. and the tonary.See Helmut Spanke (1930-1933) who studied the poetic innovations of the manuscripts of the Abbey of Saint Martial.
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Following his ordination, Nunes Garcia enjoyed a period of great productivity. From this period are known 32 pieces of music, among them graduals, antiphons, various psalms, a Magnificat (CPM 16) for voices and organ, the vespers Vésperas das Dores de N. Srª. (CPM 177), Vésperas de N. Srª. (CPM 178), and several works for Holy Week: two Miserere, one for Maundy Thursday (CPM 194), and the other for Good Friday (CPM 195), and, in 1797, his first mass, Missa para os pontificiais da Sé – Pontifical mass of the See. On July 4 (or 5th), 1798, deacon Lopes Ferreira died.
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W. Lovelock, A Concise History of Music (Frederick Ungar, 1953), p. 57. Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons and the carol in the medieval era and English madrigals, lute ayres and masques in the Renaissance era, which led particularly to English language opera developed in the early Baroque period.R. H. Fritze and W. Baxter Robison, Historical dictionary of late medieval England, 1272-1485 (Greenwood, 2002), p. 363; G. H. Cowling, Music on the Shakespearian Stage (Cambridge University Press, 2008), p. 6.
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From October 1634 he served for two years at the chapel of St. Mary in Trastevere; from December 1646 to 1661 he was Kapellmeister of the Patriarchal Basilica of St. John Lateran. In 1667, while music director of the Basilica of San Lorenzo in Damaso, he published a collection, Psalmodia Vespertina, containing psalms, Magnificats, and Marian antiphons. From 1677 until his death, he was chapel master at the papal basilica of Santa Maria Maggiore in Rome, and while there published his valedictory Offertoria (1681). That publication has been linked to Palestrina's of about a century before.
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The libretto is compiled from several Latin Biblical and liturgical texts. The thirteen movements include the introductory Deus in adiutorium, five Psalms, four concertato motets and a vocal sonata on the "Sancta Maria" litany, several differently scored stanzas of the hymn "Ave maris stella", and a choice of two Magnificats. A church performance would have included antiphons in Gregorian chant for the specific feast day. The composition demonstrates Monteverdi's ability to assimilate both the new seconda pratica, such as in the emerging opera, and the old style of the prima pratica, building psalms and Magnificat on the traditional plainchant as a cantus firmus.
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The Antiphonary of Bangor was probably written by the monks of Bangor Abbey between 602 and 691. It was housed at Bobbio in Italy for over 1000 years. The manuscript, which contains a collection of Latin hymns, prayers and antiphons is one of the earliest surviving dateable monastic manuscripts from Ireland and has been described as one of the most precious surviving witnesses to the early Irish church. The manuscript provides an important insight into monastic life in Ireland and is also testament to the artistic and literary standard of the work attributed to the monks of Bangor in the seventh century.
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For all other feasts and for ferias in Eastertide the psalms were those of the new Psalter, while the rest of the office was from the Proper or Common. When a feast has special antiphons for any of the major hours, it retained them with its own psalms. Except for certain feasts, the lessons of the first nocturn were to be the current lessons from Scripture, though the responsories were to be taken from the Common or Proper. Any feast that had its own proper lessons retained them; for feasts with their own responsories, those with the common lessons were to be read.
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Ambrosian liturgy of the hours in latin: Introduction Its structure is similar to that of the Roman Liturgy of the Hours, with variations such as having on Sundays three canticles, on Saturdays a canticle and two psalms, in place of the three psalms of the other days in the Ambrosian Rite and of every day in the Roman Rite.Ambrosian Liturgy of the Hours in latin: chapter II, IV. De Officio Lectionis In the Mozarabic liturgy, on the contrary, Matins is a system of antiphons, collects, and versicles which make them quite a departure from the Roman system.
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The Roman Missal contains the prayers, antiphons and rubrics of the Mass. The Lectionary presents passages from the Bible arranged in the order for reading at each day's Mass. Compared with the scripture readings in the pre-1970 Missal, the modern Lectionary contains a much wider variety of passages, too many to include in the Missal. A Book of the Gospels, also called the Evangeliary,General Instruction of the Roman Missal (GIRM), paragraph 44 is recommended for the reading from the Gospels, but where this book is not available the Lectionary is used in its place.
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Copies of some of the operas also exist in other locations. In addition, two last operas (Coriolano and Masenzio), which are clearly attributed to him, are lost, as well as twelve other operas that have been attributed to him, though the music is lost and attribution impossible to prove. In addition to operas, Cavalli wrote settings of the Magnificat in the grand Venetian polychoral style, settings of the Marian antiphons, other sacred music in a more conservative manner – notably a Requiem Mass in eight parts (SSAATTBB), probably intended for his own funeral – and some instrumental music.
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166–78, and Hiley, Western Plainchant p. 454. The great need for a system of organizing chants lies in the need to link antiphons with standard tones, as in for example, the psalmody at the Office. Using Psalm Tone i with an antiphon in Mode 1 makes for a smooth transition between the end of the antiphon and the intonation of the tone, and the ending of the tone can then be chosen to provide a smooth transition back to the antiphon. As the modal system gained acceptance, Gregorian chants were edited to conform to the modes, especially during 12th-century Cistercian reforms.
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Of the works attributed to him only about fifty survive, among which are two complete masses, three connected mass sections, fourteen individual mass sections, twelve complete isorhythmic motets and seven settings of Marian antiphons, such as Alma redemptoris Mater and Salve Regina, Mater misericordiae. Dunstaple was one of the first to compose masses using a single melody as cantus firmus. A good example of this technique is his Missa Rex seculorum. He is believed to have written secular (non-religious) music, but no songs in the vernacular can be attributed to him with any degree of certainty.
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The Liturgy of the Hours includes several offices to be sung, including Compline. At the close of this office, one of four Marian antiphons is sung. These songs, Alma redemptoris mater, Ave Regina caelorum, Regina caeli, and Salve Regina, have been described as "among the most beautiful creations of the late Middle Ages".Willi Apel, Gregorian Chant 1958 p. 404.Music In Western Civilisation by Craig M. Wright, Bryan R. Simm 2005 page 137 One of the earliest Marian compositions is the popular Salve Regina in Latin from a Benedictine monk, which exists in several Gregorian versions.
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The verses inserted before the tonary of Reichenau are obviously a later addition: This version has very elaborated neumae after each verse. But since the 10th century, also biblical verses were used. They were composed together in one antiphon with each verse changing the tone and referring to the number of the tonus according to the system of Hucbald (Tonus primus, secundus, terius etc.), similar to Guido of Arezzo's use of the solmization hymn "Ut queant laxis". They were several different antiphons as they can be found in the Hartker-Antiphonary or the treatise collection of Montecassino (Ms.
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Opening verse of matins Nocturns (Latin: nocturni or nocturna) in the liturgy of the Roman Rite are the sections into which the canonical hour of matins was divided from the fourth or fifth century until after the Second Vatican Council.Merriam-Webster DictionaryCollins English Dictionary A nocturn consisted of psalms accompanied by antiphons and followed by readings, which were taken either from Scripture or from the Church Fathers or similar writings. Matins was composed of one to three nocturns. Originating in a prayer service celebrated by early Christians at night, the liturgical office of matins was originally in Latin called vigilia (vigil, watch).
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Often it is just a verse taken from a psalm as a kind of key-verse to interpret the whole poem. Usually in solemnities, feasts and special seasons of the liturgical year, like the Advent, Lent or Eastertide, antiphons render passages from the remaining books of the Bible or Patristic writings, casting light on psalms in the context of the particular liturgical time. Moreover, each psalm has a set of texts, almost always printed alongside the poem. Right after the number of a psalm, editors print the heading (Latin titulus) which is a brief summary of the psalm.
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At Matins on Sundays and feast days throughout the year, special hymns called anabathmoi (, from βαθμός, 'step'; Slavonic: stepénny) are chanted immediately before the prokeimenon and Matins Gospel. These anabathmoi are compositions based upon the Songs of Ascents, and are written in the eight tones of Byzantine chant. The Anabathmoi for each tone consists of three stases or sets of verses (sometimes called antiphons), except for Tone 8 which has four stases. On Sundays, the anabathmoi are chanted according to the tone of the week; on feast days which do not fall on Sunday, the Anabathmoi almost always consist of the first stasis in Tone 4 (based on Psalm 128).
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The Ruthwell Cross A part of The Dream of the Rood can be found on the eighth-century Ruthwell Cross, which is an , free-standing Anglo-Saxon cross that was perhaps intended as a 'conversion tool'. At each side of the vine-tracery are carved runes. There is an excerpt on the cross that was written in runes along with scenes from the Gospels, lives of saints, images of Jesus healing the blind, the Annunciation, and the story of Egypt, as well as Latin antiphons and decorative scroll-work. Although it was torn down after the Scottish Reformation, it was possible to mostly reconstruct it in the 19th century.
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They have discussed whether it is a planned composition in a modern sense or a collection of music suitable for Vespers, and have debated the role of the added movements, instrumentation, keys and other issues of historically informed performance. The first recording of excerpts from the Vespers was released in 1953; many recordings that followed presented all the music printed in 1610. In some recordings and performances, antiphons for a given occasion of the church year are added to create a liturgical vespers service, while others strictly present only the printed music. Monteverdi's Vespers are regarded as a unique milestone of music history, at the transition from Renaissance to Baroque.
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Beneventan chant is largely defined by its role in the liturgy of the Beneventan rite, which is more closely related to the liturgy of the Ambrosian rite than the Roman rite. The Beneventan rite has not survived in its complete form, although most of the principal feasts and several feasts of local significance are extant. The Beneventan rite appears to have been less complete, less systematic, and more liturgically flexible than the Roman rite; many Beneventan chants were assigned multiple roles when inserted into Gregorian chantbooks, appearing variously as antiphons, offertories, and communions, for example. Like all plainchant, Beneventan chant is monophonic and a cappella.
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Curâ et auctoritate S. Rituum Congregationis digestum Romæ, (edited by Friedrich Pustet, 1879)Antiphonary and Psaltery according to the order of the Roman Breviary, with the chant as reformed under the auspices of Pope Pius IX and Leo XIII. Arranged at Rome under the supervision of the Sacred Congregation of Rites. was most widely used in the late nineteenth century, and commended for use in all the churches of the Catholic world by Pius IX and Leo XIII. The first of these volumes to be issued, entitled: Tomus II. continens Horus Diurnus Breviarii Romani (Vesperale), contained the antiphons, psalms, hymns and versicles of the Canonical Hours styled Horæ Diurnæ, i. e.
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The practice of saying the Preface of the Trinity on Sundays outside Christmastide, Lent, Passiontide, and Eastertide was retained; however, the prefaces for non-Sunday Masses were restricted to the Common Preface, seasonal prefaces, or prefaces proper to specific feasts. In practice, this rubrical change eliminated such traditional practices as the use of the Preface of the Nativity at the Masses of Corpus Christi and of the Transfiguration. Finally, the supplementary prayers that had been recited in connection with the breviary were also suppressed. Thus, for example, the various seasonal Marian antiphons that had been recited at the end of the liturgical hours were retained only after Compline.
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Gregorian setting of the Improperia, with rubric, as found in the Liber Usualis The Improperia are a series of antiphons and responses, expressing the remonstrance of Jesus Christ with his people. Also known as the Reproaches, they are sung In the Catholic liturgy as part of the observance of the Passion, usually on the afternoon of Good Friday. In the Byzantine Rite, they are found in various hymns of Good Friday and Holy Saturday. The Improperia appear in the Pontificale of Prudentius (846–61) and gradually came into use throughout Europe in the eleventh and twelfth centuries, finally being incorporated into the Roman Ordo in the fourteenth century.
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The cascading, passing chords created by the interplay between multiple voices, and the absence of a strong or obvious beat, are the features that distinguish medieval and renaissance motet styles. Instead, the Renaissance motet is a polyphonic musical setting, sometimes in imitative counterpoint, for chorus, of a Latin text, usually sacred, not specifically connected to the liturgy of a given day, and therefore suitable for use in any service. The texts of antiphons were frequently used as motet texts. This is the sort of composition that is most familiarly designated by the term "motet", and the Renaissance period marked the flowering of the form.
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William of Volpiano followed also here the shape of another tonary type and used classifications like "P TE" for "Plagi tetrardi" as they were already used in the 9th-century Gradual-Sacramentary of Saint-Denis (Paris, Bibliothèque Nationale, fonds lat., Ms. 118). The last leaf was added from another book to use the blank versoside for additions on the last pages written by other hands, chant notated in adiastematic neumes but without alphabetic notation and even diastematic neumes with alphabetic notation (ff. 160r-163r).See folio 161 recto. The gradual itself with proper mass chant is divided into six parts: The first are antiphons (introits and communions) (ff. 13r-53r).
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Registration of the musical antiphon Chant notation of the Regina caeli antiphon in simple toneThe Regina caeli sung "Regina caeli" (; ) is a musical antiphon addressed to the Blessed Virgin Mary that is used in the liturgy of the Roman Rite of the Catholic Church during the Easter season, from Easter Sunday until Pentecost. During this season, it is the Marian antiphon that ends Compline (Night Prayer)"Finally one of the antiphons of the Blessed Virgin Mary is said. In Eastertide this is always the Regina caeli" (General Instruction of the Liturgy of the Hours, 92). and it takes the place of the traditional thrice-daily Angelus prayer.
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Though predominantly a composer of frottolas, a light secular form and ancestor of the madrigal, he also wrote a few sacred pieces, including a three-voice Salve Regina (one of the Marian Antiphons) as well as seven laude spirituali. His frottolas are for the most part homophonic, with short passages of imitation only at the beginnings of phrases; they are catchy, singable, and often use dance-like rhythms. The poetry for most of his 100 frottolas is anonymous, though the authors of 16 poems have been identified. Most of the poems are in the form of the barzellette, but there are also strambotti, sonnets, capitoli and ode.
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Traditionally, the daily life of the Benedictine revolved around the eight canonical hours. The monastic timetable, or Horarium, would begin at midnight with the service, or "office", of Matins (today also called the Office of Readings), followed by the morning office of Lauds at 3am. Before the advent of wax candles in the 14th century, this office was said in the dark or with minimal lighting; and monks were expected to memorise everything. These services could be very long, sometimes lasting till dawn, but usually consisted of a chant, three antiphons, three psalms, and three lessons, along with celebrations of any local saints' days.
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Madonna by Raphael, an example of Marian art Salve Regina attributed to Hermann von Reichenau (1013–1054), sung by Les Petits Chanteurs de Passy. (Gregorian notation below.) The Salve Regina in solemn tone, Gregorian chant notation The "Salve Regina" ( , ; meaning 'Hail Queen'), also known as the "Hail Holy Queen", is a Marian hymn and one of four Marian antiphons sung at different seasons within the Christian liturgical calendar of the Catholic Church. The Salve Regina is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. The Hail Holy Queen is also the final prayer of the Rosary.
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The Office of the Blessed Virgin is said on all days on which feasts of the rank of duplex or "totum duplex" were not celebrated. The Gradual Psalms are said on all Saturdays on which the votive Office of the Blessed Virgin is said and were added to the psalms of Prime during Lent. The Office of the Dead is said once a week except during the week following Easter and the week following Pentecost. Other minor points of difference are the manner of making the commemorations, the text of the hymns, the Antiphons, the lessons of the common Offices and the insertions of special feasts of the order.
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Example of a more affordable en thus more common book of hours: Excerpt from a "simple" Middle Dutch book of hours. Made in the 2nd half of the fifteenth century in Brabant. Even this level of decoration is richer than those of most books, though less than the lavish amounts of illumination in luxury books, which are the ones most often seen reproduced. The book of hours has its ultimate origin in the Psalter, which monks and nuns were required to recite. By the 12th century this had developed into the breviary, with weekly cycles of psalms, prayers, hymns, antiphons, and readings which changed with the liturgical season.
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The earliest surviving works by Tallis are Salve intemerata virgo, Ave rosa sine spinis and Ave Dei patris filia, both devotional antiphons to the Virgin Mary which were sung in the evening after the last service of the day; they were cultivated in England at least until the early 1540s. Henry VIII's break from the Roman Catholic church in 1534 and the rise of Thomas Cranmer noticeably influenced the style of music being written. Cranmer recommended a syllabic style of music where each syllable is sung to one pitch, as his instructions make clear for the setting of the 1544 English Litany.Willis, Jonathan P. Church Music and Protestantism in Post-Reformation England, Ashgate, 2010, p. 52.
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Given the English origins of this alternative, it has traditionally been the version used in the Church of England (including Canterbury Cathedral) until recent times, and is the version printed in traditional Church of England liturgical sources including the English Hymnal and New English Hymnal. From 2000, however, the Church of England appears to have taken an official step away from English medieval practice towards the more widely spread custom, as Common Worship makes provision for the sevenfold version of the antiphons, and not the eightfold version.Common Worship: DailyPrayer, Church House Publishing, 2005, , page 211. This additional antiphon also appears in the Graduale of the Premonstratensian Order and it is still used by those monasteries.
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The pre-history of the text stretches back to the origins of the O Antiphons themselves, which were in existence by, at the latest, the eighth century. However, to speak meaningfully of the text of the hymn per se, they would need to be paraphrased in strophic, metrical form. It is certainly within the realm of possibility that efforts along those lines could have been made quite early; we know, for instance, that they were paraphrased extensively by the English poet Cynewulf in a poem written before the year 800. However, despite popular imagination of an early origin for "O Come, O Come, Emmanuel," the hymn's history is first substantiated only much later.
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71v), was omitted in the edition by Gushee (1975). There was usually no exact resemblance of the Latin syllables to the names of the Greek intonations or enechemata which were identified with the diatonic kyrioi and plagioi echoi, but Aurelian's question made it obvious that the practice was taken from Greek singers. Unlike the Hagiopolitan octoechos, which used two additional phthorai with the syllables Nana and Nenano for changes into the enharmonic and chromatic genus, the enharmonic and chromatic genus was excluded from the Latin octoechos, at least according to Carolingian theorists. Since the 10th century tonaries also include the mnemic verses of certain model antiphons which memorise each tone by one verse.
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" Within the fixed structure outlined below, which is specific to the Ordinary Form of the Roman Rite, the Scripture readings, the antiphons sung or recited during the entrance procession or at Communion, and certain other prayers vary each day according to the liturgical calendar. For many variations and options not mentioned here, see the complete Order of the Mass. As regards those of other Christian faiths receiving Communion from a Catholic priest, Canon 844 allows that the sacrament may be shared with those "who cannot approach a minister of their own community", provided they believe in the real presence and are in the state of grace". This is frequently the case with the incarcerated.
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19, etc. With the rise of Cenobitic monasticism (i.e., living in a community under an Abbot, rather than as solitary hermits), the cycle of prayer became more fixed and complex, with different ritual practices in different places. Egeria, a pilgrim who visited the Holy Land about 381–384, recorded the following: > But among all things it is a special feature that they arrange that suitable > psalms and antiphons are said on every occasion, both those said by night, > or in the morning, as well as those throughout the day, at the sixth hour, > the ninth hour, or at lucernare, all being so appropriate and so reasonable > as to bear on the matter in hand.
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Among his writings are: a commentary on the Moralia of Pope Gregory I, a biography of Saint Gerald of Aurillac, three books of Collationes (moral essays, severe and forceful), a few sermons, an epic poem on the Redemption (Occupatio) in several books, three hymns (Rex Christe Martini decus, Martine par apostolis and Martine iam consul poliand), and twelve choral antiphons in honour of Saint Martin of Tours. Some scholars have attributed the Musica Enchiriadis to him. A story holds that one time Odo was writing a glossary to the life of St Martin written by Postumianus and Gallus. The book, however, was left in a cellar which was flooded with water during a rainstorm at night.
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The central figure in the Burgundian School, he was regarded by his contemporaries as the leading composer in Europe in the mid-15th century. Du Fay composed in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music. None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal. Instruments may have been used to reinforce the voices in actual performance for almost any of his works.
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The work was composed during the Middle Ages and originally appeared in Latin, the prevalent language of Western Christianity until modern times. Though traditionally ascribed to the eleventh-century German monk Hermann of Reichenau, it is regarded as anonymous by most musicologists.Lawrence Gushee, "Hermannus Contractus [Hermann der Lahme, Hermann von Reichenau]," in The New Grove Dictionary of Music and Musicians, 2nd edition (2001): "Although the most venerable ascriptions to Hermannus – the Marian antiphons Alma Redemptoris mater and Salve regina – have been taken away by most recent scholarship, the true authorship is still, and possibly will be for ever, the subject of controversy." Traditionally it has been sung in Latin, though many translations exist.
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The parts of the Mass sung by the choir (Introit, Gradual, Offertory, Communion) were arranged in the Liber Antiphonarius or Gradualis (Antiphonary or Gradual), while the Antiphons and Responsories in the Office formed the Liber Responsalis (Responsory Book) or Antiphonarius Officii (Antiphonary of the Office), as distinct from the Antiphonarius Missae (Antiphonary of the Mass). Hymns (in our sense) were introduced into the Roman Rite about the fifth or sixth century. Those of the Mass were written in the Gradual, those of the Divine Office at first in the Psalter or Antiphonary. But there were also separate collections of hymns, called Hymnaria, and Libri Sequentiales or Troponarii containing the sequences and additions (farcing) to the Kyrie and Gloria, etc.
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Rathgeber-Memorial, Banz Abbey Rathgeber was a very versatile and productive composer and was one of the most popular and respected composers in southern Germany. He composed both secular and sacred works, the majority of his output being sacred vocal works. He wrote several hundred works, mainly masses (43), hymns, arias, litanies, requiems, magnificats, offertories (164), Marian antiphons (44) and also instrumental concertos (24) and songs. His Augsburger Tafel-Confect, short for Ohren-vergnügendes und Gemüth-ergötzendes Tafel- Confect (Augsburg Table Confectionery, short for Table Confectionery, Pleasuring the Ears and Delightful to the Soul) is a collection of songs meant to be performed for dessert, whereas a Tafelmusik was performed during a main course.
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It has not the Little Hours, the Second Vespers, or the Compline. In this respect it resembles the ancient vigils, which began at eventide (First Vespers), continued during the night (Matins), and ended at the dawn (Lauds); Mass followed and terminated the vigil of the feast. The absence of the introduction, "Deus in adjutorium", of the hymns, absolution, blessings, and of the doxology in the psalms also recall ancient times, when these additions had not yet been made. The psalms are chosen not in their serial order, as in the Sunday Office or the Roman ferial Office, but because certain verses, which serve as antiphons, seem to allude to the state of the dead.
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In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant, the separate development of British Christianity until the eighth century, led to the development of a distinct form of liturgical Celtic chant. This was superseded, from the eleventh century by Gregorian chant. England retained unique forms of music and of instrumentation, but English music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music. English musicians also developed some distinctive forms of music, including the Contenance Angloise, the rota, polyphonic votive antiphons and the carol and the ballad.
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The proprium de tempore or temporal contains the prayers for the liturgical year, according to the calendar ant starting with the Advent. The temporal specifies the prayers to be recited for the daily hours of the Divine Office: Matins, Lauds, Prime, Terce, Sext, None, Vespers and Compline. The prayers consist of psalms, antiphons, versicles, responses, hymns, readings from the Old and New Testaments, sermons of the Fathers and the like. The recurring prayers like the hymns, psalms and canticles are normally not repeated in the breviary but are identified by a reference to the section of the book where the prayer in question can be found, but in the Isabella Breviary the hymns were integrated in the temporal and the Sanctoral, the manuscript has no separate hymnarium.
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In the 17th and 18th centuries a movement of revision took place in France, and succeeded in modifying about half the Breviaries of that country. Historically, this proceeded from the labours of Jean de Launoy (1603–1678), "le dénicheur des saints", and Louis Sébastien le Nain de Tillemont, who had shown the falsity of numerous lives of the saints; theologically it was produced by the Port Royal school, which led men to dwell more on communion with God as contrasted with the invocation of the saints. This was mainly carried out by the adoption of a rule that all antiphons and responses should be in the exact words of Scripture, which, of course, cut out the whole class of appeals to created beings.
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Skinner, 1993. In 1913, scholar H. B. Collins drew attention to Ludford, whose unpublished masses were then being sung by the choir of Westminster Cathedral under Sir Richard Terry. In the 1960s and 1970s, scholar John Bergsagel published Ludford's complete masses and wrote commentaries on his work.Skinner, 1993. The first recordings of Ludford's works, in editions by David Skinner, were made in 1993–95 by The Cardinall's Musick under Andrew Carwood. Significant recorded additions since include the Gramophone-award winning disc by New College Choir, Oxford, which includes the Missa Benedicta and the votive antiphons Ave Cuius Conceptio and Domine Jesu Christe. This is the only recording to feature trebles and is a wonderful recreation of how Ludford's music might have sounded.
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In the same way as Church documents are referred to by their incipit (their first words in Latin),Examples are the papal encyclical Humanae vitae and the Second Vatican Council's dogmatic constitution Lumen gentium Mass formulas are known by the incipit of their Introit, which is the first text in the formula. Thus a Mass for the dead is referred to a Requiem Mass, and the three Christmas Day Masses have been called Dominus dixit, Lux fulgebit and Puer natus. So too, Gaudete Sunday is a name for the third Sunday in Advent, Laetare Sunday for the fourth Sunday in Lent, and Quasimodo Sunday for the Octave or Second Sunday of Easter, because of the incipit of the Entrance antiphons of those Sundays.
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He had travelled in the East, and his knowledge of the classical languages Latin, Greek and Hebrew (as cited 100 years later by the chronicler of Eichstätt's history, Anonymous of Herrieden) enabled him to create religious works that found widespread popularity. In particular, his Historia of Saint Nicholas (a collection of anthems, antiphons, responsories, lections and prayers designed to be recited throughout the day on the saint's feast day, in a Liturgy of the Hours) was 'artistically exceptional' and 'swept the world like a catchy new tune',Jones, Charles W. (1988) St Nicholas of Bari, Myra and Manhattan: Biography of a Legend. University of Chicago Press. as innovation had been subdued under Charlemagne but was just beginning to take off once again.
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Two complete masses of Escobar have survived, including a Requiem setting (Missa pro defunctis), the earliest by a composer from the Iberian peninsula. His known work also includes a setting of the Magnificat, 7 motets (including one Stabat Mater), 4 antiphons, 8 hymns, and 18 villancicos, but it is highly probable that his authorship is hidden among the many anonymous works of the Portuguese and Spanish renaissance manuscripts. His music was popular, as attested by the appearance of copies in far-off places; for example native scribes copied two of his manuscripts in Guatemala. His motet Clamabat autem mulier Cananea was particularly praised by his contemporaries, and served as the source for instrumental pieces by later composers, namely Alonso Mudarra.
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Joan Pau Pujol sheet music Pujol wrote much of his music for the patron saint of Catalonia, St. George, and most of his compositions are based on Gregorian chant. He was a prolific composer, writing 13 masses, 8 settings of the Magnificat, 6 settings of the Nunc dimittis, 12 antiphons, 12 responsories, 9 complete settings of the Passion, litanies, lamentations, sequences, motets, hymns, and no less than 74 psalm settings. In addition he wrote 19 sacred villancicos, a form unique to the Iberian peninsula. Surviving secular music includes romances, letrillas, liras, novenas, tonos, a folia, and 16 other works, some of which were collected in groups of madrigals of the time; they were evidently popular in Spain in the early part of the 17th century.
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Eucharistic elements prepared for the Divine Liturgy Within Eastern Christianity, the Eucharistic service is called the Divine Liturgy (Byzantine Rite) or similar names in other rites. It comprises two main divisions: the first is the Liturgy of the Catechumens which consists of introductory litanies, antiphons and scripture readings, culminating in a reading from one of the Gospels and, often, a homily; the second is the Liturgy of the Faithful in which the Eucharist is offered, consecrated, and received as Holy Communion. Within the latter, the actual Eucharistic prayer is called the anaphora, literally: "offering" or "carrying up" (). In the Rite of Constantinople, two different anaphoras are currently used: one is attributed to Saint John Chrysostom, the other to Saint Basil the Great.
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Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons and the carol in the medieval era. Church music and religious music were profoundly affected by the Protestant Reformation which affected Britain from the 16th century, which curtailed events associated with British music and forced the development of distinctive national music, worship and belief. English madrigals, lute ayres and masques in the Renaissance era led particularly to English language opera developed in the early Baroque period of the later seventeenth century.R. H. Fritze and W. Baxter Robison, Historical dictionary of late medieval England, 1272-1485 (Greenwood, 2002), p. 363; G. H. Cowling, Music on the Shakespearian Stage (Cambridge University Press, 2008), p. 6.
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Examples of spatiality include more than seventy works by Giovanni Pierluigi da Palestrina (canticles, litanies, masses, Marian antiphons, psalm- and sequence-motets),Lewis Lockwood, Noel O’Regan, and Jessie Ann Owens, "Palestrina [Prenestino, etc.], Giovanni Pierluigi da [‘Giannetto’]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). the five-choir, forty- and sixty-voice Missa sopra Ecco sì beato giorno by Alessandro Striggio and the possibly related eight-choir, forty-voice motet Spem in alium by Thomas Tallis, as well as a number of other Italian—mainly Florentine—works dating between 1557 and 1601.Davitt Moroney, "Alessandro Striggio's Mass in Forty and Sixty Parts", Journal of the American Musicological Society 60, no.
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A tonary is a liturgical book in the Western Christian Church which lists by incipit various items of Gregorian chant according to the Gregorian mode (tonus) of their melodies within the eight-mode system. Tonaries often include Office antiphons, the mode of which determines the recitation formula for the accompanying text (the psalm tone if the antiphon is sung with a psalm, or canticle tone if the antiphon is sung with a canticle), but a tonary may also or instead list responsories or Mass chants not associated with formulaic recitation. Although some tonaries are stand-alone works, they were frequently used as an appendix to other liturgical books such as antiphonaries, graduals, tropers, and prosers, and are often included in collections of musical treatises.
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The minimum form of Dialogue Mass introduced in 1922 allowed the people to join with the servers in reciting the responses in the Ordinary of the Mass. In addition, the people were allowed to recite those parts of the Ordinary of the Mass that are sung by all at a Missa Cantata, the Gloria, Creed, Sanctus and Agnus Dei, and to recite with the priest the triple "Domine non sum dignus" that he said as part of the rite of Communion of the faithful. Rarely, the people were also allowed to recite the Introit, Offertory and Communion Antiphons sung by the choir at a Solemn or High Mass. The form to be used in a particular diocese was left to the discretion of the bishop.
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At a gig with the Guillemots in 2005.Dangerfield composed a choral piece performed at The Lichfield Festival in 2000 – a setting of Christina Rossetti's "A Better Resurrection". This led to a commission from Ex Cathedra Chamber Choir to write a choral setting of one of the 'O Antiphons' for Ex Cathedra's Christmas Music by Candlelight concert in 2000. This has been performed many times since, was included on Ex Cathedra's Christmas Music by Candlelight CD which received some glowing reviews, and has been broadcast on BBC Radio 3 and Classic FM. In 2002, Dangerfield was commissioned to write "A Stray Dog for Congratulations" – for three children's choirs, four percussionists, two pianists and keyboard – for The Lichfield Festival (the only commission that year).
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In addition to being a teacher and writer, Kwasniewski has enjoyed a parallel career as a choirmaster, cantor, and composer of about 150 works of music. After studying composition and conducting with Roy Horton and voice with Carol Horton at Delbarton School in Morristown, New Jersey, Kwasniewski became assistant choir director at Thomas Aquinas College in Santa Paula, California (1990–1994). He served as director of the Schola Cantorum at Old St. John's Catholic Church in Silver Spring, Maryland (1994–1998), director of music at the International Theological Institute in Gaming, Austria (1999–2006), and founding choirmaster and schola director at Wyoming Catholic College (2007–2018). Kwasniewski's Mass settings, motets, hymns, carols, antiphons, and acclamations have received numerous performances from 1990 to the present.
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Apart from two secular eclogues which were performed respectively in 1786 and 1787 at the Lisbon Academy of Sciences (Academia das Ciências de Lisboa) for its celebrations of the Feast of the Immaculate Conception, the remainder of Santos' known works were written for liturgical use and performed in Portugal and Brazil. These include 5 settings of the Mass, 2 of the Te Deum, a Credo, a complete Vespers, 25 individual Psalms, 21 Anthems, Motets and Antiphons, 4 of the Miserere, 1 of Holy Week Matins and 1 of the Holy Week Responsories. The vocal forces vary from 4 to 8 voices plus soloists in some works, and always with accompaniment by organ, orchestra, organ and orchestra, or various smaller combinations of solo instruments.
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Choir of the Cathedral of La Laguna The musical production of Miguel Jurado Bustamante covers all genres of religious music in Latin (masses, motets, psalms, Magnificats, hymns, litanies, lamentations, responses and antiphons dedicated to the Virgin Mary) and Castilian (carols). Some 140 works have been located thus far by this composer, representing a large output. Miguel Jurado trained other local musicians, the most important of whom was Domingo Crisanto Delgado Gómez, one of the most famous composers from the Canaries in the nineteenth century, who in 1836 would become the first organist of the Cathedral of San Juan Bautista of Puerto Rico. Crisanto's production is predominantly vocal and choral, not only a cappella but also with accompaniment of organ, piano or instrumental group.
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The term precentor described sometimes an ecclesiastical dignitary, sometimes an administrative or ceremonial officer. Anciently, the precentor had various duties such as being the first or leading chanter, who on Sundays and greater feasts intoned certain antiphons, psalms, hymns, responsories etc.; gave the pitch or tone to the bishop and dean at Mass (the succentor performing a similar office to the canons and clerks); recruited and taught the choir, directed its rehearsals and supervised its official functions; interpreted the rubrics and explained the ceremonies, ordered in a general way the Divine Office and sometimes composed desired hymns, sequences, and lessons of saints. He was variously styled capiscol (from the Latin caput scholæ, head of the choir-school), prior scholæ, magister scholæ, and primicerius (a word of widely different implications).
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Navarro's compositions include two hymn cycles, one written in Avila (1565) and preserved in manuscript there, the second published posthumously in Rome (1590) as part of the 350-page collection of "Psalmi, Hymni ac Magnificat totius anni ... , for four, five, and six voices."Gómez Pintor, Maria Asunción, Los himnos de Juan Navarro, Ph.D. Dissertation, Universidade de Santiago de Compostela, 1992 This contained 12 vesper psalms, 18 vesper hymns, and a set of Magnificats in each of the eight tones (plus a ninth setting), plus 4 Marian antiphons - a formula closely following that of Guerrero's similar 1584 Liber vesperarum. The only works printed in his lifetime were a villancico and two villanescas, in Daza's 1576 El Parnaso. His works include a number of motets preserved in manuscript, but no mass settings.
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Originally, the entrance of the priest who was to celebrate Mass was accompanied by the singing of a whole psalm, with Gloria Patri (doxology). While the psalm was at first sung responsorially, with an antiphon repeated by all at intervals, while a solo singer chanted the words of the psalm, it was soon sung directly by two groups of singers alternating with each other, and with the antiphon sung only at the beginning and the end, as is the usual way of chanting the psalms in the Liturgy of the Hours. The change to this manner of singing the psalm has been attributed to Pope Celestine I (422–432). Pope Gregory I (590–604), after whom Gregorian chant is named, composed several antiphons for singing with the Entrance psalm.
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This practice was continued after William's death, Fécamp and Saint-Bénigne were controlled by one abbot between 1052 and 1054: Abbot John of Ravenna. When the new founded monasteries became abbeys, the abbots were usually chosen among the monks of Fécamp. Only few writings by William have survived in the Abbey of Fécamp, but it is not always easy to decide, if the collection of Montpellier which belonged obviously to the library of the Abbey St. Benignus of Dijon, had this Abbey as destination. Michel Huglo remarked that the last part of the manuscript H.159, the real Antiphonary with antiphons and responsories for the Matins, was continued by the 13th-century copy of the Antiphonary of the Abbey of Fécamp (Rouen, Bibliothèque municipale, Ms. 254, olim A.190).
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The Mass is begun with the first part of the Angelical Salutation, and in the Confiteor the words Septem beatis patribus nostris 'our seven blessed fathers' are inserted. At the conclusion of Mass the Salve Regina and the oration Omnipotens sempiterne Deus are recited. In the recitation of the Divine Office each canonical hour is begun with the Ave Maria down to the words ventris tui, Jesus. The custom of reciting daily, immediately before Vespers, a special prayer called Vigilia, composed of the three psalms and three antiphons of the first nocturn of the Office of the Blessed Virgin, followed by three lessons and responses, comes down from the thirteenth century, when they were offered in thanksgiving for a special favour bestowed upon the order by Pope Alexander IV (13 May 1259).
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Pevernage was a fairly prolific composer of both sacred and secular vocal music; of his output, about 235 pieces (115 sacred, 120 secular) remain. No specifically instrumental music has survived. His output of sacred includes six masses, published in Antwerp after his death (1602), for from five to seven voices; a collection of motets entitled Cantiones sacrae (1578), which also includes some secular works, many of which are occasional pieces written in honor of local nobility, including Margaret of Parma; and a group of 14 Marian antiphons, like the masses published posthumously. Stylistically they are typical of late-16th-century practice, alternating homophonic and polyphonic textures, and using groups of voices in alternation in a cori spezzati style; the influence of the Venetian school was felt even as far away as the Netherlands.
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Its existence prior to his time is proved by the intercalation of the Thursdays which interrupt the continuity of an harmonious arrangement, to which Gregory II paid no attention, though possibly he may rather have wished to respect it as a work thenceforward irreformable, as a traditional deposit which he refused to disturb and re-order. It is not easy to say, or even to convey an idea of, what this primitive edition of the antiphonary may have contained; but there can be no doubt that it contained in their actual order the Lenten communion-antiphons, and is certainly anterior to Gregory III and to Gregory II. This fact alone proves the existence of an antiphonal collection, known as the Gregorian antiphonary, prior to the time of Pope Gregory II.
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The creativity of Aquitanian cantors played a key role concerning the Cluniac needs for an extravagant liturgy. Hence, it is hardly surprising that they were more productive concerning tonaries than any other local school in Europe. These tonaries usually had sections dedicated to the antiphonary and the gradual, within the gradual and the antiphonary there were subsections like the antiphons which were sung as refrains during psalm recitation (introits and communions), responsories (the introduction of epistle readings), but also other genres of the proper mass chant as alleluia verses (the introduction of gospels), and offertories (a soloistic processional antiphon for the procession of the gifts). Several Aquitanian troper-sequentiaries had a libellum structure which sorted the genres in separate books like alleluia verses (as the first part of sequentiaries and tractus collections), offertorials, and tropers.
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Unlike the current Orthodox custom Old Testament readings were particular important during Orthros and Hesperinos in Constantinople since the 5th century, while there was no one during the divine liturgy.About Taft's theory about three readings (prophetic, apostolic, Gospel) of the eucharist, see: The Great Vespers according to Studite and post-Studite custom (reserved for just a few feasts like the Sunday of Orthodoxy) were quite ambitious. The evening psalm 140 (kekragarion) was based on simple psalmody, but followed by florid coda of a soloist (monophonaris). A melismatic prokeimenon was sung by him from the ambo, it was followed by three antiphons (Ps 114–116) sung by the choirs, the third used the trisagion or the usual anti-trisagion as a refrain, and an Old Testament reading concluded the prokeimenon.
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He adopted the polychoral style, while retaining the smooth polyphonic treatment of Palestrina, and he had a liking for homophonic textures, which generally made it easier to understand sung text. He wrote masses, motets (some for eight voices), psalms (one collection, published in Venice in 1616, is for 12 voices and basso continuo), settings of the Passion according to each of the four gospels (Matthew, Mark, Luke, and John), Marian antiphons, and several books of madrigals. His Passion settings are significant predecessors of the more famous settings from the Baroque era, for instance those by J.S. Bach; they are set in a restrained but dramatic style, with some attempt at characterization. In some ways they are a predecessor of the oratorio, mixing solo voice, chorus, and non-acted character roles, but in a style more related to Palestrina than to anything Baroque.
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The 1605 set also contains a number of miscellaneous items which fall outside the liturgical scheme of the main body of the set. As Philip Brett has pointed out, most of the items from the four- and three-part sections were taken from the Primer (the English name for the Book of hours), thus falling within the sphere of private devotions rather than public worship. These include, inter alia, settings of the four Marian antiphons from the Roman Rite, four Marian hymns set a3, a version of the Litany, the gem-like setting of the Eucharistic hymn Ave verum Corpus, and the Turbarum voces from the St John Passion, as well as a series of miscellaneous items. In stylistic terms the motets of the Gradualia form a sharp contrast to those of the Cantiones sacrae publications.
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Thanks to this manuscript, even cantors who do not know the chant, can memorize the melody together with its tonus. As an example might serve the Introitus "Repleatur os meum" used as a refrain for psalm 70 during the procession into the church, at the beginning of the morning mass on Saturday before Pentecost. The introit was written in the first part of the antiphons and is quite at the beginning of the deuterus section (written as heading on each page), hence an introit in the 3rd tone or "autentus deuterus": The introit "Repleatur os meum" of the authentic deuterus mode with the psalm 70 "In te domine speravi" and its differentia "ii" notated with "amen" (Montpellier, Bibliothèque interuniversitaire de Médecine, Ms. H159, f. 25v) The beginning with the psalm incipit and the ending of the psalmody, here called differentia no.
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Seven complete masses, 28 individual mass movements, 15 settings of chant used in mass propers, three Magnificats, two Benedicamus Domino settings, 15 antiphon settings (six of them Marian antiphons), 27 hymns, 22 motets (13 of these isorhythmic in the more angular, austere 14th-century style which gave way to more melodic, sensuous treble- dominated part-writing with phrases ending in the "under-third" cadence in Du Fay's youth) and 87 chansons definitely by him have survived. Portion of Du Fay's setting of Ave maris stella, in fauxbourdon. The top line is a paraphrase of the chant; the middle line, designated "fauxbourdon", (not written) follows the top line but exactly a perfect fourth below. The bottom line is often, but not always, a sixth below the top line; it is embellished, and reaches cadences on the octave.
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It is generally thought that the Benedictine form of compline is the earliest western order, although some scholars, such as Dom Plaine, have maintained that the hour of compline as found in the Roman Breviary at his time, antedated the Benedictine Office. These debates apart, Benedict's arrangement probably invested the hour of compline with the liturgical character and arrangement which were preserved in the Benedictine Order, and largely adopted by the Roman Church. The original form of the Benedictine Office, lacking even an antiphon for the psalms, is much simpler than its Roman counterpart, resembling more closely the Minor Hours of the day. Saint Benedict first gave the Office the basic structure by which it has come to be celebrated in the West: three psalms (4, 90, and 133) (Vulgate numbering) said without antiphons, the hymn, the lesson, the versicle Kyrie eleison, the benediction, and the dismissal (RB, Chaps.
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At that time he did not repeat at the altar the parts that were chanted by the ministers or choir, as became the custom in the period of the Tridentine Mass Thus Sacramentaries contain no Readings, Introits, Graduals, Communion Antiphons and the like, but only the Collects, the Eucharistic Prayer with its Prefaces, all that is strictly the priest's part at Mass. On the other hand, they provide for occasions other than Mass, with prayers for use at ordinations and at the consecration of a church and altar, and many exorcisms, blessings, and consecrations that were later inserted in the Roman Pontifical and the Roman Ritual. Many Sacramentaries now extant are more or less fragmentary, and do not contain all of these elements. Another name for the Sacramentary (in Latin Sacramentarium) was Liber Sacramentorum (Book of Sacraments), but "Sacrament" in this case means the Mass.
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The rite compiled by Humbert contained fourteen books: (1) the Ordinary, a sort of an index to the Divine Office, the Psalms, Lessons, Antiphons and Chapters being indicated by their first words. (2) The Martyrology, an amplified calendar of martyrs and other saints. (3) The Collectarium, a book for the use of the hebdomidarian, which contained the texts and the notes for the prayers, chapters, and blessings. (4) The Processional, containing the hymns (text and music) for the processions. (5) The Psalterium, containing merely the Psalter. (6) The Lectionary, which contained the Sunday homilies, the lessons from Sacred Scripture and the lives of the saints. (7) The Antiphonary, giving the text and music for the parts of the Office sung outside of the Mass. (8) The Gradual, which contained the words and the music for the parts of the Mass sung by the choir.
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This took so much time that the monks began to spread it over a week, dividing each day into hours, and allotting to each hour its portion of the Psalter. St Benedict in the 6th century drew up such an arrangement, probably, though not certainly, on the basis of an older Roman division which, though not so skilful, is the one in general use. Gradually there were added to these psalter choir-books additions in the form of antiphons, responses, collects or short prayers, for the use of those not skilful at improvisation and metrical compositions. Jean Beleth, a 12th-century liturgical author, gives the following list of books necessary for the right conduct of the canonical office: the Antiphonarium, the Old and New Testaments, the Passionarius (liber) and the Legendarius (dealing respectively with martyrs and saints), the Homiliarius (homilies on the Gospels), the Sermologus (collection of sermons) and the works of the Fathers, besides, of course, the Psalterium and the Collectarium.
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The Second Vatican Council stated: "Clearly from earliest times the Blessed Virgin is honoured under the title of Mother of God."Pope Paul VI, Lumen gentium, 66 and at an early stage the Church in Rome celebrated on 1 January a feast that it called the anniversary (Natale) of the Mother of God. When this was overshadowed by the feasts of the Annunciation and the Assumption, adopted from Constantinople at the start of the 7th century, 1 January began to be celebrated simply as the octave day of Christmas, the "eighth day" on which, according to , the child was circumcised and given the name Jesus. In the 13th or 14th century, 1 January began to be celebrated in Rome, as already in Spain and Gaul, as the feast of the Circumcision of the Lord and the Octave of the Nativity, while still oriented towards Mary and Christmas, with many prayers, antiphons and responsories glorifying the maternity of Mary.
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Several sets of draperies were made for Easter and Christmas, in addition to other special events, so that a rotation could be had for 3–4 years without seeing the same thing each year. Each set was designed for the Upper Church, but could easily be adapted for use in the Lower Church. Many of these hand sewn projects can still be seen hanging in the church during these occasions, such as the dark blue drapes that hang in the photographs to the right of the Upper Church and Baldachin, with the individually sewn on silver stars, which is joined by ten panels on which navy blue, light blue and silver fabric was sewn to use as a backdrop for each of the O Antiphons mentioned above that would hang from Advent through Christmas. Of other noteworthy sewing is the set of ten panels of Tulips that are hung at Easter Time in the Nave of the Upper Church as well.
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After a number of chapters in which he is confused with St. William of Gellone, Duke of Aquitaine, we are told that he went to Rome, where he had an interview with pope Eugene III, who ordered him to make a pilgrimage to Jerusalem in penance for his sins. Though Theodobald's account of his interview with the pope does not carry conviction, the fact of this visit and his subsequent pilgrimage to Jerusalem is supported by excerpts from the older life, which are preserved by responsories and antiphons in his liturgical feast Office. He seems to have remained at Jerusalem for one or two years, not nine as Theodobald relates. About 1153 he returned to Italy and led a hermit's life in a wood near Pisa, then on Monte Pruno, and finally in 1155 in the desert valley of Stabulum Rodis, later known as Maleval, in the territory of Castiglione della Pescaia, Diocese of Grosseto, where he was joined by Albert.
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2002 edition of the Missale Romanum The Roman Missal () is the liturgical book that contains the texts and rubrics for the celebration of the Mass in the Roman Rite of the Catholic Church. Before the high Middle Ages, several books were used at Mass: a Sacramentary with the prayers, one or more books for the Scriptural readings, and one or more books for the antiphons and other chants. Gradually, manuscripts came into being that incorporated parts of more than one of these books, leading finally to versions that were complete in themselves. Such a book was referred to as a Missale Plenum (). In response to reforms called for in the Council of Trent, Pope Pius V promulgated, in the Apostolic Constitution Quo primum of 14 July 1570, an edition of the Roman Missal that was to be in obligatory use throughout the Latin Church except where there was a traditional liturgical rite that could be proved to be of at least two centuries’ antiquity.
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Michel Huglo developed in his dissertation the hypothesis about an original tonary which preceded the Metz tonary and the tonary of St. Riquier.Huglo (1971). It was probably a coincidence, that Pope Adrian I supported the Eastern Octoechos reform, but it is also evident that Carolingian diplomates present at the synode did not get interest in the communication of the modes by intonations called enechemata for the first time.In a long essay dedicated to the Latin treatises and the knowledge that Latin cantors had about music theory, Michel Huglo (2000) referred to an episode of a Byzantine legacy in Aachen, who celebrated troparia (processional antiphons) for the feast of Epiphany. Oliver Strunk (1960) had already published about this visit, but through Walter Berschin's essays about the Carolingian visits of Byzantine legacies Michel Huglo became convinced that this exchange could already have happened before his self-nomination as an Emperor of both Roman Empires.
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There are 59 religious works, of which there are 17 larger choral works (seven masses, two requiems, one religious cantata, five psalm settings, one Te Deum hymn and one Magnificat hymn), 40 smaller choral works (16 hymns, six antiphons, six graduals, three settings of the offertorium, two chorale, two religious elegies, two Libera me, one litany and two other motets), of which a few are in two or three versions, and two aequali for three trombones. In addition, Bruckner made sketches for two other masses and another requiem. Bruckner also composed 44 Weltliche Chorwerke (secular choral works), seven secular cantatas, of which two are in three versions, and about 20 Lieder for voice and piano. Bruckner's chamber music includes one theme and variations and six scherzos for string quartet, one string quartet with alternative rondo, one string quintet with additional intermezzo, one duo for violin and piano, and about 50 small piano works.
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Vasseur's one-act operettas are: Un fi, deux fi, trois figurants (1872); Mon mouchoir (1872); Le grelot (1873); L’Opoponax (1877); Royal amour (1884); Au premier hussard (1883); Le royaume d'Hercule (1896); Au chat qui pelote (1897); and Dans la plume (1898). His three-act operettas are: La timbale d'argent (1872); La petite reine (1873); Le roi d'Yvetot (1873); La famille Trouillat ou La rosière d'Honfleur (1874); La blanchisseuse de Berg-op-Zoom (1875 ); La cruche cassée (1875); La Sorrentine (1876); Le droit du seigneur (1878); Le billet de logement (1879); Le petit Parisien (1882); Le mariage au tambour (1886); Madame Cartouche (1886); Ninon de Lenclos (1887); Mam’zelle Crénom (1888); Le voyage de Suzette (1889); La famille Vénus (1891); Le pays de l'or (1892); and La souris blanche (1897). Other stage works, including ballet-pantomimes are: Les parisiennes (1874); Le prince soleil (1889); La prétentaine (1893); La brasserie (1886); and Le commandant Laripète (1892) Vasseur's church works include, L'Office divin (a collection of masses, offertories, antiphons, etc.); Hymne à Ste Cécile, for soprano, organ and orchestra; 2 masses; Magnificat.
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The Verona Sacramentary () or Leonine Sacramentary (Sacramentarium Leonianum) is the oldest surviving liturgical book of the Roman rite. It is not a sacramentary in the strict sense, but rather a private collection of libelli missarum (missal booklets) containing only the prayers for certain Masses and not the scriptures, the canon or the antiphons.. It is named after the sole surviving manuscript, Codex Veronensis LXXXV, which was found in the chapter library of the cathedral of Verona by Giuseppe Bianchini and published in his four-volume Anastasii bibliothecarii vitae Romanorum pontificum in 1735. It is sometimes called "Leonine" because it has been attributed to Pope Leo I (died 461), but while some of the prayers may be his compositions the entire work certainly is not.. The Codex Veronensis LXXXV was copied in the early seventh century outside of Rome, but some of its material is clearly derived from Roman pamphlets (libelli missarum) and dates to the fifth and sixth centuries. Its contents are arranged according to the civil calendar, but the three quires containing the period 1 January – 14 April are lost.
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Evidence as to the nature and origin of the Irish office is found in the Rule of St. Columbanus, which gives directions as to the number of psalms to be recited at each hour, in the Turin fragment and the Antiphonary of Bangor, which gives the text of canticles, hymns, collects, and antiphons, in the 8th century tract in Cott. MS. Nero A. II., which gives what was held in the 8th century to be the origin of the "Cursus Scottorum" (Cursus psalmorum and Synaxis are terms used for the Divine Office in the Rule of St. Columbanus) and in allusions in the Catalogus Sanctorum Hiberniae, which differentiates between the Cursus Gallorum, which it derives imaginatively from Ephesus and St. John, through St. Polycarp and St. Irenaeus, and this Cursus Scottorum which, according to this writer, probably an Irish monk in France, originated with St. Mark at Alexandria. With St. Mark it came to Italy. St. Gregory of Nazianzus, St. Basil, and the hermits St. Anthony, St. Paul, St. Macarius, St. John, and St. Malchus used it.
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English Miniature from a manuscript of the Roman de la Rose Early music of the British Isles, from the earliest recorded times until the beginnings of the Baroque in the 17th century, was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite. Each of the major nations of England, Ireland, Scotland and Wales retained unique forms of music and of instrumentation, but British music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music. Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons and the carol in the medieval era and English madrigals, lute ayres and masques in the Renaissance era, which would lead to the development of English language opera at the height of the Baroque in the 18th century.
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Fux's sacred works include masses (Missa canonica, Missa Corporis Christi,), requiems, oratorios (Santa Dimpna, Infanta d'Irlanda, K 300a (1702) Il fonte della salute, K 293 (1716) ), litanies, Vespers settings, motets, graduals, offertories, Marian antiphons (21 settings of Alma Redemptoris mater, 22 settings of Ave Regina, 9 of Regina coeli, and 17 of Salve regina), settings of the text "Sub Tuum Praesidium", Hymns (many are lost), Sequences, Introits, Communion hymns, German sacred songs (all lost), and other sacred works. Some of Fux's masses (along with Caldara and others) utilized the canon (imitative counterpoint in its strictest form) as a compositional technique, one of the telltale signs of the stile antico. Other indications of the stile antico include large note values (whole, half, or quarter notes). However, while most associate Fux with composing in the stile antico, referring to him as the "Austrian Palestrina", due to his treatise Gradus ad Parnassum, he also had the ability to compose in the stile moderno as well, evident in his oratorios, such as Santa Dimpna, Infanta d’Irlandia.
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The Antiphonary tonary missal of St. Benigne (also called Antiphonarium Codex Montpellier or Tonary of Saint-Bénigne of Dijon) was supposed to be written in the last years of the 10th century, when the Abbot William of Volpiano at St. Benignus of Dijon reformed the liturgy of several monasteries in Burgundy. The chant manuscript records mainly Western plainchant of the Roman-Frankish proper mass and part of the chant sung during the matins ("Gregorian chant"), but unlike the common form of the Gradual and of the Antiphonary, William organized his manuscript according to the chant genre (antiphons with psalmody, alleluia verses, graduals, offertories, and proses for the missal part), and these sections were subdivided into eight parts according to the octoechos. This disposition followed the order of a tonary, but William of Volpiano wrote not only the incipits of the classified chant, he wrote the complete chant text with the music in central French neumes which were still written in campo aperto, and added a second alphabetic notation of his own invention for the melodic structure of the codified chant.
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The Eucharistic celebration is "one single act of worship" but consists of different elements, which always include "the proclamation of the Word of God; thanksgiving to God the Father for all his benefits, above all the gift of his Son; the consecration of bread and wine, which signifies also our own transformation into the body of Christ;1 Corinthians 10:17 and participation in the liturgical banquet by receiving the Lord's body and blood". Within the fixed structure of the Roman-Rite Mass outlined below, the "proper" or daily- varying parts are the Scripture readings and responsorial psalm, the antiphons at the entrance and communion processions, and the texts of the three prayers known as the collect, the prayer over the gifts, and the prayer after communion. These convey themes from the liturgical season, the feast days of titles or events in the life of Christ, the feast days and commemorations of the saints, or for Masses for particular circumstances (e.g., funeral Masses, Masses for the celebration of Confirmation, Masses for peace, to begin the academic year, etc.).
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The books of the Church of the East, all in Syriac, are the Liturgy (containing their three liturgies), the Gospel (Evangelion), Apostle (Shlicha) and Lessons (Kariane), the "Turgama" (Interpretation), containing hymns sung by deacons at the liturgy (our Graduals and Sequences), the David (Dawidha = Psalter), "Khudhra" (= "cycle", containing antiphons, responsories, hymns, and collects for all Sundays), "Kash Kõl" (= "Collection of all"; the same chants for week-days), "Kdham u-Wathar" (= "Before and after"; certain prayers, psalms, and collects most often used, from the other books), "Gezza" ("Treasury", services for feast-days), Abu-Halim (the name of the compiler, containing collects for the end of the Nocturns on Sundays), "Bautha d'Ninwaie" (= "Prayer of the Ninevites", a collection of hymns ascribed to St. Ephrem the Syrian, used in Lent). The Baptism Office ("Taksa d'Amadha") is generally bound up with the Liturgies. The "Taksa d'Siamidha" has the ordination services. The "Taksa d'Husaia" contains the office for Penance, the "Kthawa d'Burrakha" is the marriage service, the "Kahneita", the burial of clergy, the "Annidha" that of laymen.
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And he arranged Psalms and hymns for them to sing, as St. Augustine says, "after the manner of the Orientals, lest the people should languish in cheerless monotony"; and of this Paulinus the deacon says: "Now for the first time antiphons, hymns, and vigils began to be part of the observance of the Church in Milan, which devout observance lasts to our day not only in that church but in nearly every province of the West". From the time of St. Ambrose, whose hymns are well-known and whose liturgical allusions may certainly be explained as referring to a rite which possessed the characteristics of that which is called by his name, until the period of Charlemagne (circ AD 800), there is a gap in the history of the Milanese Rite. However, St. Simplician, the successor of St. Ambrose, added much to the rite and St. Lazarus (438-451) introduced the three days of the litanies (Cantù, Milano e il suo territorio, I, 116). The Church of Milan underwent various vicissitudes and for a period of some eighty years (570-649), during the Lombard conquests, the see was moved to Genoa in Liguria.
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