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Please see your browser settings for this feature. EMBED for wordpress. Want more? Advanced embedding details, examples, and help! Usage Attribution-Noncommercial 3. Program Notes The Marian antiphons are a group of sacred devotional songs in the Gregorian chant repertoire of the Roman Catholic Church, sung in honor of the Virgin Mary.
Texts Ave Regina Sung from Candlemas to Maundy Thursday Ave Regina coelorum, ave Domina angelorum Salve, radix sancta, ex qua mundo lux est orta: Gaude gloriosa, super omnes speciosa: Vale, valde decora, et pro nobis semper Christum exora. Hail, Queen of heaven, hail, Mistress of the angels, hail, holy root from which came the light of the world.
Rejoice, glorious one, beautiful above all others. Hail and farewell most gracious, Always plead with Christ for us In the setting by Dufay, the text is interspersed with pleas from the composer: Miserere tui labentis Dufay, ne peccatorum ruat in ignem fervorum. Miserere genitrix Domini, Ut pateat orta coeli debili. Miserere supplicant Dufay. Jean Frisk, Schoenstatt Sisters of Mary. The following article gives the historical background of the antiphons:.
Michel Huglo in The New Grove Dictionary of Music and Musicians gives the definition of antiphon: "In Latin Christian chant generally, a liturgical chant with a prose text, sung in association with a psalm" Antiphona generally precede short chants, with texts averaging between ten and twenty-five words and simple melodies.
The models themselves seem to have been fixed in the second half of the eighth century for Gregorian chant. The Marian antiphons have been sung, since the thirteenth century, at the close of Compline, the last Office of the liturgical day; they occur in groups in antiphoners and processionals, usually together with the Proper of the Assumption August They comprise a group from the early repertory of antiphons especially those for Christmas.
The most important of the Marian antiphons are, however, the large-scale antiphons: Salve Regina, Alma Redemptoris Mater The Cistercians chanted the Salve Regina daily from ; the Dominicans at Bologna chanted it daily at Compline after a miracle in , and the custom was adopted by the entire Order in The chapter general of the Franciscans at Metzin prescribed all four of these antiphons for Compline, though not in the same way as in the Roman breviary of ; indeed, practice varied considerably in this matter, as may be seen in Table 1 [showing the distribution of the Marian antiphons in four churches in the fifteenth century].
The manuscript tradition traces the presently known Alma Redemptoris Mater to the twelfth century. The text, however, is thought by some scholars to have been known in the late Carolingian period in France. The Alma is also found in Chaucer's Prioress Tale.
Latin: Alma Redemptoris Mater, quae pervia caeli porta manes, et stella maris, succurre cadenti, surgere qui curat, populo: tu quae genuisti, natura mirante, tuum sanctum Genitorem, Virgo prius ac posterius, Gabrielis ab ore, sumens illud Ave, peccatorum miserere.
English: Loving mother of the Redeemer, gate of heaven, star of the sea, assist your people who have fallen yet strive to rise again. To the wonderment of nature you bore your Creator, Yet remained a virgin after as before. You who received Gabriel's joyful greeting, have pity on us poor sinners. The Alma Redemptoris Mater is one of the four seasonal antiphons prescribed to be sung or recited in the Liturgy of the Hours after night prayer Compline or Vespers.
It is usually sung from the eve of the first Sunday of Advent until the Friday before the Feast of the Presentation of the Lord in the Temple. The form of the poem, six hexameters with simple rhyme, was long thought to have been the style of the monk, Hermann Contractus Herman the Lame from the monastery of Reichenau, Lake Constance. The text also is incorporated into a Marian sequence of the twelfth century entitled, Alma redemptoris mater, quem de caelis.
The sequence originated in the twelfth century in southern Germany about the same time that the manuscripts of the first musical setting of the Alma in plainchant appeared. It was Pope Clement VI who, in , determined the pattern used today for the seasonal singing of the various antiphons. Regarding the singing of Marian hymns and their musical settings, it has been estimated that there are fifteen thousand hymns directed to Mary. Many written to honor Mary have been based on other poems or hymns, some four thousand are original compositions.
The majority of the Marian hymns were composed in Latin and sung in various modes of plainchant. It is thought that they originated as hymns of praise of the Incarnation, that is, as Christmas hymns. Alma Redemptoris Mater is one such work. After the pronouncement regulating the seasonal presentation of the antiphons, composers more frequently grouped the four major Marian antiphons together for composition, collections and performance.
During the baroque period, the settings of the antiphons gradually shifted from plainchant to more and more elaborate choir pieces. Leonel Power d. Orlando di Lasso composed an intricate piece for polyphony six voices , a triumphal piece using brass instruments. Giovanni Palestrina, praised in the post-Trent period as master of religious expression, also set the Alma in his own more reserved polyphonic style.
As a rule, composers retained the character of Advent longing and Christmas adoration in the Alma compositions. The world waits with the Virgin for the wonderment of nature to take its course. God touches earth in her and comes to us in the fullness of time. In this letter the pope writes about Mary's pilgrimage of faith. To conclude the letter, he quotes the ancient Alma antiphon and presents it as a reflection on the wonderment of faith.
The text invites us to reflect on the words of the ancient hymn and to sing them in anticipation of the turn of the millennium. For our theological reflection on this antiphon, we quote Pope John Paul II's final paragraphs from the encyclical. At the end of the daily Liturgy of the Hours, among the invocations addressed to Mary by the Church is the following:. To the wonderment of nature you bore your Creator!
In a sense, it does so in the heart of the whole of creation, and, directly, in the heart of the whole People of God, in the heart of the Church. How wonderfully far God has gone, the Creator and Lord of all things, in the "revelation of himself" to human beings! How clearly he has bridged all the spaces of that infinite "distance" which separates the Creator from the creature!
If in himself he remains ineffable and unsearchable, still more ineffable and unsearchable is he in the reality of the Incarnation of the Word, who became man through the Virgin of Nazareth. At the center of this mystery, in the midst of this wonderment of faith, stands Mary.
As the loving Mother of the Redeemer, she was the first to experience it: "To the wonderment of nature you bore your Creator! The words of this liturgical antiphon also express the truth of the "great transformation" which the mystery of the Incarnation establishes for human beings. It is a transformation which belongs to his entire history, from that beginning which is revealed to us in the first chapters of Genesis until the final end, in the perspective of the end of the world, of which Jesus has revealed to us "neither the day nor the hour.
These words apply to every individual, every community, to nations and people, and to the generations and epochs of human history, to our own epoch, to these years of the Millennium which is drawing to a close: "Assist, yes, assist, your people who have fallen! This is the invocation addressed to Mary, the "loving Mother of the Redeemer," the invocation addressed to Christ, who through Mary entered human history.
Year after year the antiphon rises to Mary, evoking that moment which saw the accomplishment of this essential historical transformation, which irreversibly continues, the transformation from "falling" to "rising. For, as this prayer attests, the Church sees the Blessed Mother of God in the saving mystery of Christ and in her own mystery. She sees Mary deeply rooted in humanity's history, in the human being's eternal vocation according to the providential plan which God has made for the person from eternity.
She sees Mary maternally present and sharing in the many complicated problems which today beset the lives of individuals, families and nations; she sees her helping the Christian people in the constant struggle between good and evil, to ensure that it "does not fall," or, if it has fallen, that it "rises again.
I hope with all my heart that the reflections contained in the present encyclical will also serve to renew this vision in the hearts of all believers Signed: Joannes Paulus pp. It was originally sung for None for the Feast of the Assumption. The author is unknown. The earliest plainchant manuscript stems from the twelfth century. There are slightly variant versions.
Latin: Ave, Regina caelorum, ave, Domina angelorum, salve, radix, salve, porta, ex qua mundo lux est orta. Gaude, Virgo gloriosa, super omnes speciosa; vale, o valde decora, et pro nobis Christum exora.
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