Ambrosian chant
Encyclopedia
Ambrosian chant is the liturgical plainchant
repertory of the Ambrosian rite
of the Roman Catholic Church, related to but distinct from Gregorian chant
. It is primarily associated with the Archdiocese of Milan, and named after St. Ambrose
much as Gregorian chant is named after Gregory the Great. It is the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church.
. Ambrose is not known to have composed any of the Ambrosian chant repertory, much as Gregory the Great is not known to have composed any Gregorian chant. However, during his fourth-century tenure as Bishop of Milan, he is credited with introducing hymnody from the Eastern Church into the West. Ambrose composed original hymns as well, four of which still survive, along with music which may not have changed too much from the original melodies. In his writings, Ambrose refers only to the performance of antiphon
al psalms
, in which solo singing of psalm verses alternated with a congregational refrain called an antiphon.
Over time, the Milanese liturgy developed into the Ambrosian rite
, which shares more in common with the Gallican
and Mozarabic rite
s than with the Roman. Ambrosian chant developed to meet the particular needs of the Ambrosian liturgy. Although the Ambrosian rite is liturgically related to other rites and Ambrosian chant is musically related to other plainchant traditions, different categories of chant, different chant texts, and different musical styles make Ambrosian chant a distinct musical repertory. By the 8th century, this chant was attested to be normative across northern Italy, perhaps reaching into southern Italy as well.
Between the 8th and 13th centuries, however, the Carolingian chant commissioned by Charlemagne
developed into what we now know as Gregorian chant
, which began to influence and eventually replace most of the other Western plainchant traditions. By the 12th century, the Mozarabic
, Gallican
, Celtic
, Old Roman
, and Beneventan chant
traditions had all been effectively superseded by Gregorian chant. Ambrosian chant alone survived, despite the efforts of several Pope
s over a period of several centuries to establish Gregorian hegemony. A chronicle by the Milanese historian Landolphus from around the year 1000 recounts a legend that two Sacramentaries, one Gregorian and one Ambrosian, were placed on an altar to see which chant had divine acceptance; miraculously, both books opened simultaneously, showing both were equally acceptable.
Ambrosian chant did not wholly escape Gregorian influence. The earliest 8th-century fragments, and the more complete chantbooks from the 11th and 12th centuries that preserve the first recorded musical notation, show marked differences between the Gregorian and Ambrosian repertories. Later additions to the Ambrosian repertory, whose style differs from the earlier chants, may reflect Gregorian influence. Although St. Charles Borromeo
fought to keep the Ambrosian rite intact during Spanish occupation, a contemporary edition of Ambrosian chant, published by Perego in 1622, attempts to categorize the Ambrosian chants into the eight Gregorian mode
s, which is not generally accepted as an accurate reflection of the actual musical practice of the time.
Ambrosian chant has survived to the present day, although its use is now limited primarily to the greater part of the Archdiocese of Milan
and environs, parts of Lombardy
, and parts of the Swiss Diocese of Lugano. Most recently, it survived the changes to the liturgy established by Vatican II, in part due to the prior tenure of Pope Paul VI
as Archbishop of Milan.
, which is more closely related to the northern "Gallic" liturgies such as the Gallican rite
and the Mozarabic rite
than the Roman rite
. Musically, however, Ambrosian chant is closely related to the Gregorian
and Old Roman chant
traditions. Many chants are common to all three, with musical variation.
Like all plainchant
, Ambrosian chant is monophonic
and a cappella
. In accordance with Roman Catholic tradition, it is primarily intended to be sung by males, and many Ambrosian chants specify who is to sing them, using phrases such as cum Pueris (by a boys' choir) and a Subdiaconis (by the subdeacon
s).
Stylistically, the Ambrosian chant repertoire is not generally as musically uniform as the Gregorian. Ambrosian chants are more varied in length, ambitus
, and structure. Even within individual categories of chant, Ambrosian chants vary from short and formulaic to prolix and melisma
tic, and may be freely composed or show significant internal melodic
structure. Its most distinctive feature compared with other plainchant repertories is a significantly higher amount of stepwise motion, which gives Ambrosian melodies a smoother, almost undulating feel. In manuscripts with musical notation, the neume
called the climacus dominates, contributing to the stepwise motion. More ornamental neumes such as the quilisma are nearly absent from the notated scores, although it is unclear whether this reflects actual performance practice, or is simply a consequence of the relatively late musical transcription.
The Gregorian system of modes
does not apply to Ambrosian chant. Although there are no b-flats indicated in the musical notation, it seems likely that they were understood, based on Guido d'Arezzo's description of the "more perdulcis Ambrosii."
Nearly all of the texts used in Ambrosian chant are biblical prose, not metrical poetry, despite Ambrose having introduced Eastern hymnody to the West. Ambrosian chant serves two main functions in the Ambrosian liturgy: to provide music for the chanting of the Psalms
in the monastic Office
s, and to cover various actions in the celebration of the Mass
.
The Office
chants of the Ambrosian repertoire are still largely unresearched, so only preliminary evaluations have been made.
The minor hours have little of musical interest: some hymn
s, and the simplest of reciting tone
s only. The main chants of the Office are those of Matins
, Vespers
and the Vigil
s.
The Psalms are sung at Matins and Vespers in a rotating schedule so that all 150 Psalms are chanted every two weeks. 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. Each Ambrosian psalm antiphon belongs to one of four different series depending on its final pitch. Within each series, there are several possible psalm tones corresponding to the predominant pitch of the antiphon, which may or may not correspond to the "dominant" pitch of Gregorian modes. Finally, each psalm tone is given a cadential formula that lets the tone segue smoothly back into the antiphon. This system results in a much larger number of possible psalm tones in Ambrosian chant than exists in Gregorian chant. 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. They conclude with one of several recitation tones that segue into the Gloria Patri. Antiphonae in choro are similar in style, but have no psalm or verse.
Responsoria occur in both Matins and Vespers. Their names often identify who is to sing them: the boys' choir, the deacon
, the subdeacons, and so on. A Responsorium usually consists of a refrain called a respond, a verse, and a repetition of an expanded part of the respond. These expansions contain some of the longest melisma
s of the Ambrosian chant repertoire, which often contain complex repeat structures.
Vespers begin with a chant called the Lucernarium and end with the Completorium. The word Lucernarium hearkens back to the original function of Vespers as a time of lighting lamps, and the texts of Lucernaria usually contain some reference to light, such as Quoniam tu illuminas, Paravi lucernam, and Dominus illuminatio. Stylistically, Lucernaria and Completaria vary. Some are proper, specific to certain feasts, while others are ordinary and can be used throughout the year. They range from highly elaborate chants to simple reciting tones. There are relatively few Lucernaria and Completaria; four Completaria are used for all but three days of the year.
. Plainchant occurs prominently in the Mass for several reasons: to communally affirm the faith, to expand on the scriptural lessons, and to accompany certain actions. The chants of the Mass divide into the ordinary, whose texts are invariable, and the proper, whose texts change depending on the feast. There are several differences between the Ambrosian rite
and the Roman rite
, which are reflected in the Ambrosian and Gregorian chant traditions.
, the Symbolum, and the Sanctus
. The Symbolum corresponds to the Credo
in the Roman rite. Unlike Gregorian chant, there is no Agnus Dei nor Ite missa est
, and the Kyrie
does not exist as a separate category of chant.
Only a small number of each of these ordinary chants exist: four Gloria melodies, four Sanctus melodies, and just one melody for the Symbolum. The Symbolum melody is quite simple, just a slightly ornamented reciting tone
. Of the four Gloria melodies, one is simple like the Symbolum melody, one is an expanded version of the simple melody, and one is a freely composed syllabic and neumatic melody consisting of only one or just a few pitches per syllable. The fourth melody is elaborately melisma
tic. All four melodies segue into a very simple threefold Kyrie chant.
Only two of the few Sanctus melodies are regularly used, both fairly simple.
in the Roman rite. Unlike the Introit, the Ingressa has no psalm verse or doxology. While the Introit fills in the time that the celebrant processes to the altar, the Ingressa is sung during the censing
of the altar.
The next three proper chants follow and amplify three readings from Scripture. The Psalmellus follows the Prophecy
, the Old Testament
reading, and corresponds to the Gregorian Gradual
. The Post Epistolam or Alleluia follows the reading of the Epistle
, and corresponds to the Gregorian Alleluia
. Ambrosian Alleluias show an even higher degree of adaptation, reusing melodies for the texts of different feasts, than do the Gregorian Alleluias. Unlike the Gregorian Alleluia, the Ambrosian Alleluia kept an extended repeat called the jubilus
. During penitential periods, the Post Epistolam is replaced by the Cantus, which corresponds to the Gregorian Tract
. The Cantus melodies belong to a common type, related to the Old Roman
and Beneventan chant
traditions. The chant following the final lesson, from the Gospel
, is the Post Evangelium, which has no counterpart in the Roman Rite.
The Offertorium is sung during the bringing of gifts to the altar, corresponding to the Gregorian Offertory
. While the Gregorian Offertories had lost their verses by the 12th century, some Ambrosian Offertoria retained their verses, every bit as complex as their defunct Gregorian counterparts.
The Confractorium is sung during the breaking of the bread, which has no counterpart in Gregorian chant. Finally, the Transitorium, so called because it originally involved the transfer of a book to the opposite side of the altar, corresponds to the Gregorian Communion
. Many Transitorium texts are direct translations of Greek originals, although the melodies are not demonstably Byzantine.
The Ingressa, Post Evangelium, Confractorium, and Transitorium never have verses, while the other chants may have responds and verses, up to three verses for some Cantus melodies. The Psalmellus, Post Evangelium, Offertoria, and Transitoria sometimes show complex repeat structures.
Plainsong
Plainsong is a body of chants used in the liturgies of the Catholic Church. Though the Eastern Orthodox churches and the Catholic Church did not split until long after the origin of plainchant, Byzantine chants are generally not classified as plainsong.Plainsong is monophonic, consisting of a...
repertory of the Ambrosian rite
Ambrosian Rite
Ambrosian Rite, also called the Milanese Rite, is a Catholic liturgical Western Rite. The rite is named after Saint Ambrose, a bishop of Milan in the fourth century...
of the Roman Catholic Church, related to but distinct from Gregorian chant
Gregorian chant
Gregorian chant is the central tradition of Western plainchant, a form of monophonic liturgical music within Western Christianity that accompanied the celebration of Mass and other ritual services...
. It is primarily associated with the Archdiocese of Milan, and named after St. Ambrose
Ambrose
Aurelius Ambrosius, better known in English as Saint Ambrose , was a bishop of Milan who became one of the most influential ecclesiastical figures of the 4th century. He was one of the four original doctors of the Church.-Political career:Ambrose was born into a Roman Christian family between about...
much as Gregorian chant is named after Gregory the Great. It is the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church.
History
The history of Milan as a center for religious music goes back to St. AmbroseAmbrose
Aurelius Ambrosius, better known in English as Saint Ambrose , was a bishop of Milan who became one of the most influential ecclesiastical figures of the 4th century. He was one of the four original doctors of the Church.-Political career:Ambrose was born into a Roman Christian family between about...
. Ambrose is not known to have composed any of the Ambrosian chant repertory, much as Gregory the Great is not known to have composed any Gregorian chant. However, during his fourth-century tenure as Bishop of Milan, he is credited with introducing hymnody from the Eastern Church into the West. Ambrose composed original hymns as well, four of which still survive, along with music which may not have changed too much from the original melodies. In his writings, Ambrose refers only to the performance of antiphon
Antiphon
An antiphon in Christian music and ritual, is a "responsory" by a choir or congregation, usually in Gregorian chant, to a psalm or other text in a religious service or musical work....
al psalms
Psalms
The Book of Psalms , commonly referred to simply as Psalms, is a book of the Hebrew Bible and the Christian Bible...
, in which solo singing of psalm verses alternated with a congregational refrain called an antiphon.
Over time, the Milanese liturgy developed into the Ambrosian rite
Ambrosian Rite
Ambrosian Rite, also called the Milanese Rite, is a Catholic liturgical Western Rite. The rite is named after Saint Ambrose, a bishop of Milan in the fourth century...
, which shares more in common with the Gallican
Gallican rite
The Gallican Rite is a historical sub-grouping of the Roman Catholic liturgy in western Europe; it is not a single rite but actually a family of rites within the Western Rite which comprised the majority use of most of Christianity in western Europe for the greater part of the 1st millennium AD...
and Mozarabic rite
Mozarabic Rite
The Mozarabic, Visigothic, or Hispanic Rite is a form of Catholic worship within the Latin Rite of the Catholic Church, and in the Spanish Reformed Episcopal Church . Its beginning dates to the 7th century, and is localized in the Iberian Peninsula...
s than with the Roman. Ambrosian chant developed to meet the particular needs of the Ambrosian liturgy. Although the Ambrosian rite is liturgically related to other rites and Ambrosian chant is musically related to other plainchant traditions, different categories of chant, different chant texts, and different musical styles make Ambrosian chant a distinct musical repertory. By the 8th century, this chant was attested to be normative across northern Italy, perhaps reaching into southern Italy as well.
Between the 8th and 13th centuries, however, the Carolingian chant commissioned by Charlemagne
Charlemagne
Charlemagne was King of the Franks from 768 and Emperor of the Romans from 800 to his death in 814. He expanded the Frankish kingdom into an empire that incorporated much of Western and Central Europe. During his reign, he conquered Italy and was crowned by Pope Leo III on 25 December 800...
developed into what we now know as Gregorian chant
Gregorian chant
Gregorian chant is the central tradition of Western plainchant, a form of monophonic liturgical music within Western Christianity that accompanied the celebration of Mass and other ritual services...
, which began to influence and eventually replace most of the other Western plainchant traditions. By the 12th century, the Mozarabic
Mozarabic chant
Mozarabic chant is the liturgical plainchant repertory of the Mozarabic rite of the Roman Catholic Church, related to the Gregorian chant...
, Gallican
Gallican chant
Gallican chant refers to the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction and development of elements of the Roman rite from which Gregorian chant evolved...
, Celtic
Celtic chant
Celtic chant is the liturgical plainchant repertory of the Celtic rite of the Roman Catholic Church performed in Great Britain, Ireland and Brittany, related to but distinct from the Gregorian chant of the Sarum use of the Roman rite which officially supplanted it by the 12th century...
, Old Roman
Old Roman chant
Old Roman chant is the liturgical plainchant repertory of the Roman rite of the Roman Catholic Church formerly performed in Rome, closely related to but distinct from the Gregorian chant, which gradually supplanted it between the 11th century and the 13th century...
, and Beneventan chant
Beneventan chant
Beneventan chant is a liturgical plainchant repertory of the Roman Catholic Church, used primarily in the orbit of the southern Italian ecclesiastical centers of Benevento and Montecassino, distinct from Gregorian chant and related to Ambrosian chant...
traditions had all been effectively superseded by Gregorian chant. Ambrosian chant alone survived, despite the efforts of several Pope
Pope
The Pope is the Bishop of Rome, a position that makes him the leader of the worldwide Catholic Church . In the Catholic Church, the Pope is regarded as the successor of Saint Peter, the Apostle...
s over a period of several centuries to establish Gregorian hegemony. A chronicle by the Milanese historian Landolphus from around the year 1000 recounts a legend that two Sacramentaries, one Gregorian and one Ambrosian, were placed on an altar to see which chant had divine acceptance; miraculously, both books opened simultaneously, showing both were equally acceptable.
Ambrosian chant did not wholly escape Gregorian influence. The earliest 8th-century fragments, and the more complete chantbooks from the 11th and 12th centuries that preserve the first recorded musical notation, show marked differences between the Gregorian and Ambrosian repertories. Later additions to the Ambrosian repertory, whose style differs from the earlier chants, may reflect Gregorian influence. Although St. Charles Borromeo
Charles Borromeo
Charles Borromeo was the cardinal archbishop of the Catholic Archdiocese of Milan from 1564 to 1584. He was a leading figure during the Counter-Reformation and was responsible for significant reforms in the Catholic Church, including the founding of seminaries for the education of priests...
fought to keep the Ambrosian rite intact during Spanish occupation, a contemporary edition of Ambrosian chant, published by Perego in 1622, attempts to categorize the Ambrosian chants into the eight Gregorian mode
Musical mode
In the theory of Western music since the ninth century, mode generally refers to a type of scale. This usage, still the most common in recent years, reflects a tradition dating to the middle ages, itself inspired by the theory of ancient Greek music.The word encompasses several additional...
s, which is not generally accepted as an accurate reflection of the actual musical practice of the time.
Ambrosian chant has survived to the present day, although its use is now limited primarily to the greater part of the Archdiocese of Milan
Milan
Milan is the second-largest city in Italy and the capital city of the region of Lombardy and of the province of Milan. The city proper has a population of about 1.3 million, while its urban area, roughly coinciding with its administrative province and the bordering Province of Monza and Brianza ,...
and environs, parts of Lombardy
Lombardy
Lombardy is one of the 20 regions of Italy. The capital is Milan. One-sixth of Italy's population lives in Lombardy and about one fifth of Italy's GDP is produced in this region, making it the most populous and richest region in the country and one of the richest in the whole of Europe...
, and parts of the Swiss Diocese of Lugano. Most recently, it survived the changes to the liturgy established by Vatican II, in part due to the prior tenure of Pope Paul VI
Pope Paul VI
Paul VI , born Giovanni Battista Enrico Antonio Maria Montini , reigned as Pope of the Catholic Church from 21 June 1963 until his death on 6 August 1978. Succeeding Pope John XXIII, who had convened the Second Vatican Council, he decided to continue it...
as Archbishop of Milan.
General characteristics
Ambrosian chant is largely defined by its role in the liturgy of the Ambrosian riteAmbrosian Rite
Ambrosian Rite, also called the Milanese Rite, is a Catholic liturgical Western Rite. The rite is named after Saint Ambrose, a bishop of Milan in the fourth century...
, which is more closely related to the northern "Gallic" liturgies such as the Gallican rite
Gallican rite
The Gallican Rite is a historical sub-grouping of the Roman Catholic liturgy in western Europe; it is not a single rite but actually a family of rites within the Western Rite which comprised the majority use of most of Christianity in western Europe for the greater part of the 1st millennium AD...
and the Mozarabic rite
Mozarabic Rite
The Mozarabic, Visigothic, or Hispanic Rite is a form of Catholic worship within the Latin Rite of the Catholic Church, and in the Spanish Reformed Episcopal Church . Its beginning dates to the 7th century, and is localized in the Iberian Peninsula...
than the Roman rite
Roman Rite
The Roman Rite is the liturgical rite used in the Diocese of Rome in the Catholic Church. It is by far the most widespread of the Latin liturgical rites used within the Western or Latin autonomous particular Church, the particular Church that itself is also called the Latin Rite, and that is one of...
. Musically, however, Ambrosian chant is closely related to the Gregorian
Gregorian chant
Gregorian chant is the central tradition of Western plainchant, a form of monophonic liturgical music within Western Christianity that accompanied the celebration of Mass and other ritual services...
and Old Roman chant
Old Roman chant
Old Roman chant is the liturgical plainchant repertory of the Roman rite of the Roman Catholic Church formerly performed in Rome, closely related to but distinct from the Gregorian chant, which gradually supplanted it between the 11th century and the 13th century...
traditions. Many chants are common to all three, with musical variation.
Like all plainchant
Plainsong
Plainsong is a body of chants used in the liturgies of the Catholic Church. Though the Eastern Orthodox churches and the Catholic Church did not split until long after the origin of plainchant, Byzantine chants are generally not classified as plainsong.Plainsong is monophonic, consisting of a...
, Ambrosian chant is monophonic
Monophony
In music, monophony is the simplest of textures, consisting of melody without accompanying harmony. This may be realized as just one note at a time, or with the same note duplicated at the octave . If the entire melody is sung by two voices or a choir with an interval between the notes or in...
and a cappella
A cappella
A cappella music is specifically solo or group singing without instrumental sound, or a piece intended to be performed in this way. It is the opposite of cantata, which is accompanied singing. A cappella was originally intended to differentiate between Renaissance polyphony and Baroque concertato...
. In accordance with Roman Catholic tradition, it is primarily intended to be sung by males, and many Ambrosian chants specify who is to sing them, using phrases such as cum Pueris (by a boys' choir) and a Subdiaconis (by the subdeacon
Subdeacon
-Subdeacons in the Orthodox Church:A subdeacon or hypodeacon is the highest of the minor orders of clergy in the Orthodox Church. This order is higher than the reader and lower than the deacon.-Canonical Discipline:...
s).
Stylistically, the Ambrosian chant repertoire is not generally as musically uniform as the Gregorian. Ambrosian chants are more varied in length, ambitus
Ambitus (music)
Ambitus is a Latin term literally meaning "the going round", and in Medieval Latin means the "course" of a melodic line, most usually referring to the range of scale degrees attributed to a given mode, particularly in Gregorian chant. It may also refer to the range of a voice, instrument, or piece...
, and structure. Even within individual categories of chant, Ambrosian chants vary from short and formulaic to prolix and melisma
Melisma
Melisma, in music, is the singing of a single syllable of text while moving between several different notes in succession. Music sung in this style is referred to as melismatic, as opposed to syllabic, where each syllable of text is matched to a single note.-History:Music of ancient cultures used...
tic, and may be freely composed or show significant internal melodic
Melody
A melody , also tune, voice, or line, is a linear succession of musical tones which is perceived as a single entity...
structure. Its most distinctive feature compared with other plainchant repertories is a significantly higher amount of stepwise motion, which gives Ambrosian melodies a smoother, almost undulating feel. In manuscripts with musical notation, the neume
Neume
A neume is the basic element of Western and Eastern systems of musical notation prior to the invention of five-line staff notation. The word is a Middle English corruption of the ultimately Ancient Greek word for breath ....
called the climacus dominates, contributing to the stepwise motion. More ornamental neumes such as the quilisma are nearly absent from the notated scores, although it is unclear whether this reflects actual performance practice, or is simply a consequence of the relatively late musical transcription.
The Gregorian system of modes
Musical mode
In the theory of Western music since the ninth century, mode generally refers to a type of scale. This usage, still the most common in recent years, reflects a tradition dating to the middle ages, itself inspired by the theory of ancient Greek music.The word encompasses several additional...
does not apply to Ambrosian chant. Although there are no b-flats indicated in the musical notation, it seems likely that they were understood, based on Guido d'Arezzo's description of the "more perdulcis Ambrosii."
Nearly all of the texts used in Ambrosian chant are biblical prose, not metrical poetry, despite Ambrose having introduced Eastern hymnody to the West. Ambrosian chant serves two main functions in the Ambrosian liturgy: to provide music for the chanting of the Psalms
Psalms
The Book of Psalms , commonly referred to simply as Psalms, is a book of the Hebrew Bible and the Christian Bible...
in the monastic Office
Canonical hours
Canonical hours are divisions of time which serve as increments between the prescribed prayers of the daily round. A Book of Hours contains such a set of prayers....
s, and to cover various actions in the celebration of the Mass
Eucharist
The Eucharist , also called Holy Communion, the Sacrament of the Altar, the Blessed Sacrament, the Lord's Supper, and other names, is a Christian sacrament or ordinance...
.
Chants of the Office
Canonical hours
Canonical hours are divisions of time which serve as increments between the prescribed prayers of the daily round. A Book of Hours contains such a set of prayers....
chants of the Ambrosian repertoire are still largely unresearched, so only preliminary evaluations have been made.
The minor hours have little of musical interest: some hymn
Hymn
A hymn is a type of song, usually religious, specifically written for the purpose of praise, adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification...
s, and the simplest of reciting tone
Reciting tone
In chant, a reciting tone is a repeated musical pitch around which the other pitches of the chant gravitate, or by extension, the entire melodic formula that centers on one or two such pitches. In Gregorian chant, reciting tones are used for a number of contexts, including the chanting of psalm...
s only. The main chants of the Office are those of Matins
Matins
Matins is the early morning or night prayer service in the Roman Catholic, Anglican, Lutheran and Eastern Orthodox liturgies of the canonical hours. The term is also used in some Protestant denominations to describe morning services.The name "Matins" originally referred to the morning office also...
, Vespers
Vespers
Vespers is the evening prayer service in the Western Catholic, Eastern Catholic, and Eastern Orthodox, Anglican, and Lutheran liturgies of the canonical hours...
and the Vigil
Vigil
A vigil is a period of purposeful sleeplessness, an occasion for devotional watching, or an observance...
s.
The Psalms are sung at Matins and Vespers in a rotating schedule so that all 150 Psalms are chanted every two weeks. 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. Each Ambrosian psalm antiphon belongs to one of four different series depending on its final pitch. Within each series, there are several possible psalm tones corresponding to the predominant pitch of the antiphon, which may or may not correspond to the "dominant" pitch of Gregorian modes. Finally, each psalm tone is given a cadential formula that lets the tone segue smoothly back into the antiphon. This system results in a much larger number of possible psalm tones in Ambrosian chant than exists in Gregorian chant. 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. They conclude with one of several recitation tones that segue into the Gloria Patri. Antiphonae in choro are similar in style, but have no psalm or verse.
Responsoria occur in both Matins and Vespers. Their names often identify who is to sing them: the boys' choir, the deacon
Deacon
Deacon is a ministry in the Christian Church that is generally associated with service of some kind, but which varies among theological and denominational traditions...
, the subdeacons, and so on. A Responsorium usually consists of a refrain called a respond, a verse, and a repetition of an expanded part of the respond. These expansions contain some of the longest melisma
Melisma
Melisma, in music, is the singing of a single syllable of text while moving between several different notes in succession. Music sung in this style is referred to as melismatic, as opposed to syllabic, where each syllable of text is matched to a single note.-History:Music of ancient cultures used...
s of the Ambrosian chant repertoire, which often contain complex repeat structures.
Vespers begin with a chant called the Lucernarium and end with the Completorium. The word Lucernarium hearkens back to the original function of Vespers as a time of lighting lamps, and the texts of Lucernaria usually contain some reference to light, such as Quoniam tu illuminas, Paravi lucernam, and Dominus illuminatio. Stylistically, Lucernaria and Completaria vary. Some are proper, specific to certain feasts, while others are ordinary and can be used throughout the year. They range from highly elaborate chants to simple reciting tones. There are relatively few Lucernaria and Completaria; four Completaria are used for all but three days of the year.
Chants of the Mass
The Mass is the Christian celebration of the EucharistEucharist
The Eucharist , also called Holy Communion, the Sacrament of the Altar, the Blessed Sacrament, the Lord's Supper, and other names, is a Christian sacrament or ordinance...
. Plainchant occurs prominently in the Mass for several reasons: to communally affirm the faith, to expand on the scriptural lessons, and to accompany certain actions. The chants of the Mass divide into the ordinary, whose texts are invariable, and the proper, whose texts change depending on the feast. There are several differences between the Ambrosian rite
Ambrosian Rite
Ambrosian Rite, also called the Milanese Rite, is a Catholic liturgical Western Rite. The rite is named after Saint Ambrose, a bishop of Milan in the fourth century...
and the Roman rite
Roman Rite
The Roman Rite is the liturgical rite used in the Diocese of Rome in the Catholic Church. It is by far the most widespread of the Latin liturgical rites used within the Western or Latin autonomous particular Church, the particular Church that itself is also called the Latin Rite, and that is one of...
, which are reflected in the Ambrosian and Gregorian chant traditions.
Ordinary chants of the Mass
The ordinary chants consist of the Laus Missa or GloriaGloria in Excelsis Deo
"Gloria in excelsis Deo" is the title and beginning of a hymn known also as the Greater Doxology and the Angelic Hymn. The name is often abbreviated to Gloria in Excelsis or simply Gloria.It is an example of the psalmi idiotici "Gloria in excelsis Deo" (Latin for "Glory to God in the highest")...
, the Symbolum, and the Sanctus
Sanctus
The Sanctus is a hymn from Christian liturgy, forming part of the Order of Mass. In Western Christianity, the Sanctus is sung as the final words of the Preface of the Eucharistic Prayer, the prayer of consecration of the bread and wine...
. The Symbolum corresponds to the Credo
Credo
A credo |Latin]] for "I Believe") is a statement of belief, commonly used for religious belief, such as the Apostles' Creed. The term especially refers to the use of the Nicene-Constantinopolitan Creed in the Mass, either as text, Gregorian chant, or other musical settings of the...
in the Roman rite. Unlike Gregorian chant, there is no Agnus Dei nor Ite missa est
Ite missa est
Ite, missa est are the concluding words addressed to the people in the Mass of the Roman Rite, as well as the Lutheran Divine Service. The exact meaning of the words is disputed, it has the effect of "Go", or "It is Sent", but the term "Mass" derives from this phrase...
, and the Kyrie
Kyrie
Kyrie, a transliteration of Greek κύριε , vocative case of κύριος , meaning "Lord", is the common name of an important prayer of Christian liturgy, which is also called the Kýrie, eléison ....
does not exist as a separate category of chant.
Only a small number of each of these ordinary chants exist: four Gloria melodies, four Sanctus melodies, and just one melody for the Symbolum. The Symbolum melody is quite simple, just a slightly ornamented reciting tone
Reciting tone
In chant, a reciting tone is a repeated musical pitch around which the other pitches of the chant gravitate, or by extension, the entire melodic formula that centers on one or two such pitches. In Gregorian chant, reciting tones are used for a number of contexts, including the chanting of psalm...
. Of the four Gloria melodies, one is simple like the Symbolum melody, one is an expanded version of the simple melody, and one is a freely composed syllabic and neumatic melody consisting of only one or just a few pitches per syllable. The fourth melody is elaborately melisma
Melisma
Melisma, in music, is the singing of a single syllable of text while moving between several different notes in succession. Music sung in this style is referred to as melismatic, as opposed to syllabic, where each syllable of text is matched to a single note.-History:Music of ancient cultures used...
tic. All four melodies segue into a very simple threefold Kyrie chant.
Only two of the few Sanctus melodies are regularly used, both fairly simple.
Proper chants of the Mass
The Ingressa corresponds to the IntroitIntroit
The Introit is part of the opening of the liturgical celebration of the Eucharist for many Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and Gloria Patri that is spoken or sung at the beginning of the celebration...
in the Roman rite. Unlike the Introit, the Ingressa has no psalm verse or doxology. While the Introit fills in the time that the celebrant processes to the altar, the Ingressa is sung during the censing
Thurible
A thurible is a metal censer suspended from chains, in which incense is burned during worship services. It is used in the Catholic Church as well as in Anglican, Eastern Orthodox, Oriental Orthodox, Armenian Apostolic, some Lutheran, Old Catholic, and in various Gnostic Churches. It is also used...
of the altar.
The next three proper chants follow and amplify three readings from Scripture. The Psalmellus follows the Prophecy
Prophecy
Prophecy is a process in which one or more messages that have been communicated to a prophet are then communicated to others. Such messages typically involve divine inspiration, interpretation, or revelation of conditioned events to come as well as testimonies or repeated revelations that the...
, the Old Testament
Old Testament
The Old Testament, of which Christians hold different views, is a Christian term for the religious writings of ancient Israel held sacred and inspired by Christians which overlaps with the 24-book canon of the Masoretic Text of Judaism...
reading, and corresponds to the Gregorian Gradual
Gradual
The Gradual is a chant or hymn in the liturgical celebration of the Eucharist for many Christian denominations. In the Tridentine Mass it was and is sung after the reading or chanting of the Epistle and before the Alleluia, or, during penitential seasons, before the Tract. In the Mass of Paul VI...
. The Post Epistolam or Alleluia follows the reading of the Epistle
Epistle
An epistle is a writing directed or sent to a person or group of people, usually an elegant and formal didactic letter. The epistle genre of letter-writing was common in ancient Egypt as part of the scribal-school writing curriculum. The letters in the New Testament from Apostles to Christians...
, and corresponds to the Gregorian Alleluia
Alleluia
The word "Alleluia" or "Hallelujah" , which at its most literal means "Praise Yah", is used in different ways in Christian liturgies....
. Ambrosian Alleluias show an even higher degree of adaptation, reusing melodies for the texts of different feasts, than do the Gregorian Alleluias. Unlike the Gregorian Alleluia, the Ambrosian Alleluia kept an extended repeat called the jubilus
Jubilus
Jubilus is the term for the long melisma placed on the final syllable of the Alleluia as it is sung in the Gregorian chant. The structure of the Alleluia is such that the cantor first sings the word "alleluia," without the jubilus, and then the choir repeats the word with the melisma added...
. During penitential periods, the Post Epistolam is replaced by the Cantus, which corresponds to the Gregorian Tract
Tract (liturgy)
The tract is part of the proper of the liturgical celebration of the Eucharist for many Christian denominations, which is used instead of the Alleluia during Lenten or pre-Lenten seasons, in a Requiem Mass, and on a few other penitential occasions, when the joyousness of an Alleluia is deemed...
. The Cantus melodies belong to a common type, related to the Old Roman
Old Roman chant
Old Roman chant is the liturgical plainchant repertory of the Roman rite of the Roman Catholic Church formerly performed in Rome, closely related to but distinct from the Gregorian chant, which gradually supplanted it between the 11th century and the 13th century...
and Beneventan chant
Beneventan chant
Beneventan chant is a liturgical plainchant repertory of the Roman Catholic Church, used primarily in the orbit of the southern Italian ecclesiastical centers of Benevento and Montecassino, distinct from Gregorian chant and related to Ambrosian chant...
traditions. The chant following the final lesson, from the Gospel
Gospel
A gospel is an account, often written, that describes the life of Jesus of Nazareth. In a more general sense the term "gospel" may refer to the good news message of the New Testament. It is primarily used in reference to the four canonical gospels of Matthew, Mark, Luke, and John...
, is the Post Evangelium, which has no counterpart in the Roman Rite.
The Offertorium is sung during the bringing of gifts to the altar, corresponding to the Gregorian Offertory
Offertory
The Offertory is the portion of a Eucharistic service when bread and wine are brought to the altar. The offertory exists in many liturgical Christian denominations, though the Eucharistic theology varies among celebrations conducted by these denominations....
. While the Gregorian Offertories had lost their verses by the 12th century, some Ambrosian Offertoria retained their verses, every bit as complex as their defunct Gregorian counterparts.
The Confractorium is sung during the breaking of the bread, which has no counterpart in Gregorian chant. Finally, the Transitorium, so called because it originally involved the transfer of a book to the opposite side of the altar, corresponds to the Gregorian Communion
Communion (chant)
The Communion is the Gregorian chant sung during the distribution of the Eucharist in the Roman Rite Catholic Mass. It is one of the antiphonal chants of the Proper of the Mass, and the final chant in the proper...
. Many Transitorium texts are direct translations of Greek originals, although the melodies are not demonstably Byzantine.
The Ingressa, Post Evangelium, Confractorium, and Transitorium never have verses, while the other chants may have responds and verses, up to three verses for some Cantus melodies. The Psalmellus, Post Evangelium, Offertoria, and Transitoria sometimes show complex repeat structures.
External links
- Bailey, Terence: Ambrosian Chant [Milanese Chant], Grove Music Online ed. L. Macy (Accessed 30 April 2006), Grove Music - Access by subscription only
- Ambrosiana at Harvard. New sources of Milanese Chant. Conference website with digital facsimiles of Houghton Library. MS Lat 388, Houghton Library. MS Lat 389, and Houghton Library. MS Typ 299.
- Ambrosian Chant (in Italian)