medieval-religion: Scholarly discussions of medieval religion and culture
Before your series ends, Bill, I want to mention the 1985 edition of the
_Offertoriale Triplex_ from the monks of Solesmes. Per the notes on the
website, this contains all the Offertories of the _Graduale Romanum_ with
the proper psalm verses (initially used during the offertory procession).
The book is a reprint of Ott's book of Offertories but adds two early
notation forms (Laon and Sankt-Gallen neumes) to Ott's original book, as
found in the _Graduale Triplex_. I don't have a copy of the _OT_, but am
wondering whether the introduction might include the current scholarly info
on the history and development of the Offertorium.
Stan Metheny
----- Original Message -----
From: "Bill East" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, July 07, 2005 12:53 PM
Subject: [M-R] Offertorium - 17
medieval-religion: Scholarly discussions of medieval religion and culture
Offertorium - 17
There is a great change of mood with the texts for Septuagesima. A word
of explanation may be helpful for those not familiar with the name of
this Sunday, which is not longer in use. It first appears in the
Gelasian Sacramentary. Quadragesima, or 'fortieth' means the fortieth
day before Easter, that is, the first Sunday in Lent; and Quadragesima
is in fact the usual Latin word for Lent. [The English word Lent is
from Old English 'lencten' that is 'lengthen', the period when the days
are growing longer, i.e. Spring.]
The period of forty days preparation for Easter came to be lengthened
by adding the three weeks before Lent, and the names Quinquagesima
(fiftieth), Sexagesima (sixtieth) and Septuagesima (seventieth) were
applied to the three Sundays preceding Lent. How approximate these
numbers are will be evident to anyone possessing a calculator.
From Septuagesima onwards the Alleluia was replaced by a chant known as
the Tract ('tractim' = 'straight through'; the psalm was sung through
without a responsory.) Actually scholars are now saying that the name
does not derive from this, but from a technical term from Greek musical
theory. I am not qualified to comment, but whatever the origin of the
term, one finds now a psalm, or portion of a psalm, without Alleluia or
responsory, sung before the Gospel. More generally, from now on the
chants, instead of praising God for his marvellous deeds, call upon his
help in time of trouble or acknowledge our sinfulness.
This is seen immediately in the Introit for Septuagesima. The antiphon
is Psalm 17, verses 5, 6 and 7; the Psalm verse is the same psalm,
verses 2-3:
Circumdederunt me gemitus mortis, dolores inferni circumdederunt me: et
in tribulatione mea invocavi Dominum, et exaudivit de templo sancto suo
vocem meam.
Diligam te, Domine, fortitudo mea: Dominus firmamentum meum, et
refugium meum, et liberator meus.
'The groans of death surrounded me, the sorrows of Hell surrounded me,
and in my tribulation I called to the Lord' - a far cry from 'Adore
God, all his angels' of the previous several weeks.
The Gradual also is the cry of a troubled soul. It is taken from Psalm
9, verses 10-11 and 19-20:
Adjutor in opportunitatibus, in tribulatione: sperent in te, qui
noverunt te: quoniam non derelinquis quaerentes te, Domine. Quoniam non
in finem oblivio erit pauperis: patientia pauperum non peribit in
aeternum: exsurge, Domine, non praevaleat homo.
'Helper in time of need, in trouble: they who have known you will hope
in you.' Again a change from 'The nations shall fear your name, O Lord,
and all the kings of the earth [shall fear] your glory' of the week
before.
The Tract is more troubled still, in fact it plumbs the depths. It is
Psalm 129, verses 1-4:
De profundis clamavi ad te, Domine: Domine, exaudi vocem meam. Fiant
aures tuae intendentes in orationem servi tui. Si iniquitates
observaveris, Domine: Domine, quis sustinebit? Quia apud te propitiatio
est, et propter legem tuam sustinui te, Domine.
The Offertorium, psalm 91:2 strikes a rather lighter note:
Bonum est confiteri Domino, et psallere nomini tuo, Altissime.
'It is good to confess to the Lord, and to sing to your name, Most
High.' One might find here a plug for the sacrament of reconciliation,
but actually confiteor need not have here the sense of confessing sins;
rather, in its context, it means to acknowledge the greatness of God.
The Communio is from Psalm 30, verses 17-18:
Illumina faciem tuam super servum tuum, et salvum me fac in tua
misericordia: Domine, non confundar, quoniam invocavi te.
Again, it is a cry for help, though a fairly confident one: 'Let your
face shine upon your servant, and save me in your mercy: Lord, let me
not be confounded, for I have called upon you.'
These chants have in common that they are personal appeals. During
Christmas and Epiphanytide the chants were of cosmic praise: 'Let the
angels give you praise for your glory' (or words to that effect). Now
we hear 'The groans of death surrounded me'; 'the pains of Hell
surrounded me'; 'in my touble I call to you'; 'Out of the depths I
cried to you, O Lord'; 'save me in your mercy;' 'let me not be
confounded.' A great change in emphasis.
Bill.
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