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Tag Archives: Salve Regina

Salve Regina: the Season’s Antiphon

03 Thursday Aug 2017

Posted by michelinewalker in Marian Hymnology, Spirituality

≈ 17 Comments

Tags

Antiphons, Arvo Pärt's Salve Regina, Gregorian chant, Hermann of Reichenau, Marian Feast Days, Salve Regina

800px-Leonardo_da_Vinci_-_study_of_a_woman's_head

Leonardo da Vinci, a study of the Head of Madonna, c. 1484 CE. (Photo credit: Wikipedia)

The Marian Antiphons

The Marian antiphons are:

  • Alma Redemptoris Mater, “Kindly Mother of the Redeemer” (Advent through February 2) click on Tomás Luis de Victoria
  • Ave Regina Cælorum,“Hail, Queen of Heaven” (Presentation of the Lord through Good Friday) click on Marc-Antoine Charpentier
  • Regina Cæli, “Queen of Heaven, Rejoice” (Easter season) click on Palestrina
  • Salve Regina, “Hail, Holy Queen” (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

These four antiphons are sung during the eight Canonical Hours, or Divine Office. They may precede or end a psalm. The Salve Regina is sung at Compline and is the best-known of antiphons. Antiphons have been associated with Benedictine monasticism. They are in the Catholic Gregorian Chant repertory which is perhaps rooted in part in Iberian Mozarabic Chant and also originates in Judaism. There are 150 psalms. Many psalters are illuminated manuscripts. The Marian Antiphons were written in Latin, but Wikipedia entries provide an English translation.

Britannica[1] describes antiphons as “Roman Catholic liturgical music, chant melody and text sung before and after a psalm verse. These were sung originally by alternating choirs (antiphonal singing). The antiphonal singing of psalms was adopted from Hebrew worship by the early Christian churches, notably that of Syria.” But Marian antiphons are not “true antiphons.”[2]

In its description of antiphons, Britannica adds that “[t]he four Marian antiphons are long hymns, not true antiphons but independent compositions especially noted for their beauty.” The four Marian antiphonies may have changed as polyphony developed. Moreover it is not uncommon for composers to set a known text to music. In an earlier post, I noted that Michel-Richard de Lalande wrote a Regina Cæli. Several composers have written a Regina Cæli and several, a Salve Regina. Many of these liturgical texts have numerous settings. Mozart’s Requiem is a mass.

It may therefore be prudent to describe Marian antiphons as content rather than form. But they are in the Catholic Gregorian Chant repertory which may be rooted in Iberian Mozarabic chant.  Marian antiphons, however, are not psalmody. It should be noted as well that Marian hymnology includes antiphons that differ from the four Marian antiphons. For instance, the antiphon Ave Maris Stella (click on Ave Maris Stella) is the Acadians‘ national anthem. Acadians are the French-speaking inhabitants of Canada’s Atlantic provinces: New Brunswick, Nova Scotia and Prince Edward Island.

800px-Lobo_de_Mesquita_-_Manuscrito_da_Antífona_Salve_Regina_-_1787

Salve Regina manuscript, 1787 (Photo credit: Wikipedia)

Hermann of Reichenau

Scholars disagree, but the Salve Regina and the Alma Redemptoris Mater, a prayer, yet also a Marian antiphon, are attributed to Hermann von Reichenau [3] (18 July 1013 – 24 September 1054), also called Hermannus Contractus or Hermannus Augiensis or Herman the Cripple, a crippled son of the Count of Altshausen. Hermann was taken to a Benedictine abbey, where he was schooled, at the age of seven. He later entered the Benedictine order. He was a composer, a music theorist, mathematician, and astronomer. He was beatified (cultus confirmed) in 1863. (See Hermann of Reichenau, Wikipedia.) The Salve Regina is one of the Leonine Prayers.

Although the dates do not coincide precisely, there are four Marian antiphons just as there are four seasons. However, although Christian feasts are celebrated on or near solstices and equinoctial points, they also occur at other moments of the year. Christmas is celebrated near the longest night of the year, the winter solstice, and the summer solstice coincides with St John’s Day, or Saint-Jean-Baptiste Day, Quebec’s national holiday, celebrated on 24 June. Easter is celebrated near the vernal equinox. It is Eastertide. As for the autumn equinox, it occurs near the mostly forgotten Michaelmas, la Saint-Michel, on 29 September.

An artistic rendering of “Herman the Lame” as he is sometimes called (Photo credit: Wikipedia)

46951-004-748872D2

St. Michael, detail from Abraham and the Archangel Michael, Lower Saxony, … Courtesy of the Institut für Denkmalpflege, Halle, Germany  (Photo credit: Encyclopædia Britannica)

As for liturgical seasons, there are eight : Advent, Christmastide, Epiphany, Pre-Lent, Lent, Easter Triduum, Eastertide. In the Catholic Church, there are eight Marian Feast Days. (See Marian Feast Days, Wikipedia).

The main Catholic Marian Feast Days are:

  • January 1 Mary, the Holy Mother of God
  • March 25 The Annunciation of the Lord
  • May 31 The Visitation of the Blessed Virgin Mary
  • August 15 The Assumption of the Blessed Virgin Mary
  • September 8  The Nativity of the Blessed Virgin Mary
  • December 8 The Immaculate Conception of the Blessed Virgin Mary

In the Eastern Orthodox and Greek-Catholic liturgical calendars, the most important Marian Feast Days are:

  • March 25 Annunciation of the Theotokos (Mother of God)
  • August 15 Dormition of the Mother of God
  • September 8 Nativity of the Theotokos
  • November 21 The Entry of the Most Holy Theotokos into the Temple

Conclusion

A complete discussion of Marian hymns would demand a closer examination of several Christian denominations: Armenian, etc. But for most Christians, the next Marian feast day is the Assumption of Mary, called the Dormition of Mary in the Eastern Church. It is celebrated on the 15th of August.

I will conclude by quoting, once more, Britannica’s entry on antiphons: “The antiphonal singing of psalms was adopted from Hebrew worship by the early Christian churches, notably that of Syria.” Moreover, Mary is venerated in Islam. (See Mary in Islam, Wikipedia.) This quotation points to the Abrahamic religions: Judaism, Christianity and Islam.

RELATED ARTICLES

  • Arabization & Islamization (22 June 2017)
  • Feasts & Liturgy (29 December 2016)
  • Saint Nicholas, Sinterklass, Santa Claus (25 December 2016)
  • Candlemas: its Stories & its Songs, updated (2 February 2015)
  • Caccini’s “Ave Maria” (25 December 2015)
  • The Marian Antiphonies (5 April 2015)
  • Musings on the Origins of Christmas (22 December 2014)
  • Epiphany: Balthasar, Melchior & Gaspar (6 January 2013)
  • A Christmas Offering (cont’d): Hymns to Mary (26 December 2012)
  • Components of the Mass as a Musical Form (19 December 2012)
  • The Four Seasons: from Darkness into Light.2 (6 December 2012)
  • From the Magnificat to the Stabat Mater (6 April 2012)
  • Raphael and Marian Liturgy at NDP (4 April 2012)
  • Fra Angelico & the Annunciation (3 April 2012)
  • On Calendars & Feast Days (2 April 2012)
  • Nunc Dimittis, Simeon’s Song of Praise (2 February 2012)
  • A Christmas Offering: Hymns to Mary (25 December 2011)
  • The Blessed Virgin: Mariology (24 December 2011)
  • A Portrait of Giovanni Battista Pergolesi (20 December 2011)
  • Canonical Hours and the Divine Office (19 November 2011)
  • The Blessed Virgin: Mariology (24 December 2011)
  • Liturgy as a Musical Form (15 December 2011)

Love to everyone ♥ 

_________________________

[1] https://www.britannica.com/art/antiphon-music

[2] https://www.britannica.com/art/antiphon-music

[3] https://www.britannica.com/biography/Hermann-von-Reichenau

The Music

I’m using Arvo Pärt‘s Salve Regina, with footage taken from Sátántangó (1994) for the second time. However, Wikipedia’s entry on  Herman of Reichenau includes a fine interpretation of the Salve Regina by Les Petits Chanteurs de Passy. It is delightful.

Homemade music video for Salve Regina by Arvo Pärt. Performed by The Estonian Philharmonic Chamber Choir. Conducted by Paul Hillier.
Amazon link: http://www.amazon.com/gp/product/B000…

Footage taken from Sátántangó (1994) directed by Béla Tarr.
Imdb link: http://www.imdb.com/title/tt0111341/

images

© Micheline Walker
3 August 2017
WordPress

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The Blessed Virgin: Mariology

03 Friday Feb 2017

Posted by michelinewalker in Feasts, Liturgy

≈ Comments Off on The Blessed Virgin: Mariology

Tags

Alma Redemptoris Mater, Ave Regina Coelorum, Feasts and Liturgy, Four Marian Antiphons, Four Marian Feasts, Hermann of Reichenau, Regina Coeli, Salve Regina

Annunciation by Paolo de Matteis, 1712. The white lily in the angel's hand is symbolic of Mary's purity in Marian art.

Annunciation by Paolo de’ Matteis, 1712. The white lily in the angel’s hand is symbolic of Mary’s purity in Marian art. (Photo credit: Wikipedia)

Hymns to the Virgin Mary, or Marian hymnology, as I will call it, constitute a substantial part of sacred music. Moreover, Marian art is abundant. Mary’s main feasts are the Annunciation, the Nativity, the Assumption and the Immaculate Conception, three of which are related to the Nativity Cycle. The exception would be the Assumption. Mary did not die. She ascended into heaven.

1. The Annunciation

The Feast of the Annunciation commemorates the day on which the Archangel Gabriel visited Mary to announce that she would bear and give birth to the son of God. The Feast of the Annunciation (see Rubens, below) is celebrated on 25th March, exactly nine months before Christmas Day, when Christians celebrate the birth of Christ. The above image is by Paolo de’ Matteis (9 February 1662 – 26 January 1728). 

2. The Nativity

The central Marian feast is the Nativity. The Nativity is in fact a celebration of the birth of Christ, but Marian feasts are rooted in the Nativity cycle. Where Marian art is concerned, the Nativity includes portrayals of the Shepherds in adoration, of the visit by the Kings of Orient, as well as portrayals of the Presentation of Jesus as the firstborn son, and the Purification of Mary. Just below, I have inserted a visit by the Shepherds, by Gerard van Honthorst (4 November 1592 – 27 April 1656), a Dutch Golden Age artist who is also called Gerrit van Honthorst.

honthorst_aanbidding_herders_1622_grt

The Adoration of the Shepherds by Gerard van Honthorst, 1622

3. The Assumption

Mary did not die. She ascended into heaven and her Assumption is celebrated on 15th August. In the Eastern Church, Byzantine Emperor Maurice selected the15th August as the date of the feast of Dormition and Assumption. The 15th of August is also the Feast Day of Acadians. Acadians are the French-speaking inhabitants of Canada’s Atlantic provinces. Their national anthem is the Ave Maris Stella. 

The Assumption of the Virgin Mary by  Rubens 1626

4. The Immaculate Conception

According to Roman Catholicism, Jesus was conceived without stain or macula. This dogma is disputed as it is linked with the notion of an inherent fault, the original sin, the sin committed by Adam and Eve. Newborns or infants who die before Baptism do not go to heaven. They are sent to Limbo.

—ooo—

THE FOUR ANTIPHONS (Antiennes)

Marian hymnology

As for Marian hymnology, it originally consisted of four antiphons (antiennes, in French) sung in Gregorian Chant. Two, the Alma Redemptoris Mater and the Salve Regina were composed by Hermann of Reichenau, and would have been Gregorian chants. The four Marian antiphons are in fact linked to the Liturgy of the Hours, the Canonical Hours, and commemorate the four seasons.

  • Alma Redemptoris (Advent through February 2)
  • Ave Regina Cælorum (Presentation of the Temple through Good Friday)
  • Regina Cœli (Easter season)
  • Salve Regina (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

Antiphons are “responsories” or the response by the choir or the congregation to a psalm or hymn. But they may involve responsorial singing by alternating choirs. More simply expressed, antiphons resemble a refrain. “The refrain was called an antiphon (A). The resulting musical form was A V1 A V2…”[1] As a form, antiphons are not restricted to Marian hymnology. We should also note that Marian feasts are associated with the seasons, as are other Christian feasts.

The Marian liturgical calendar is divided as follows:

  • first, of Advent, Christmastide, Epiphany, Pre-Lent, Lent, Easter Triduum, Eastertide, Ascensiontide
  • second, of some 32 feast days
Magnificatio, by Sandro Botticelli

Madonna of the Magnificat by Sandro Botticelli, 1481


DETAILS ON THE ANTIPHONS

The Alma Redemptoris Mater

Traditionally, the Alma Redemptoris Mater is sung at the end of Compline, one of the Canonical Hours. It is said to have been composed by Hermannus Contractus (Herman the Cripple) (1013–1054).

The Ave Regina Cœlorum

Traditionally, the Ave Regina Cœlorum has been sung at the end of each Canonical Hours, but mainly Compline, between 2 February (Candlemas or Chandeleur in French) until the Holy Week. Candlemas is the day commemorating the Presentation of the Jesus at the Temple and the Purification of the Virgin Mary.

The Regina Cœli 

The Regina Cœli or Cæli (Queen of Heaven), is a night prayer (Compline or Vespers).  Its authorship has not been determined but it was sung by Franciscans in the 12th century.  It was sung in place of the Angelus from Holy Saturday through Pentecost.  It is therefore associated with the celebration of Easter.

The Salve Regina

The Salve Regina (Hail Holy Queen) is sung at Compline from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent (Wikipedia).  It was composed by German monk Hermann of Reichenau, the above-mentioned Hermannus Contractus (Herman the Cripple) (1013–1054), the composer of the Alma Redemptoris Mater.

—ooo—

However, to the four antiphons, we may add the above-mentioned Ave Maris Stella, Mozart’s breathtaking , various Ave Maria‘s, the most famous of which are Schubert’s Ave Maria, and the Ave Maria Charles Gounod composed on the first prelude of Johann Sebastian Bach’s Wohltemperierte Klavier (BWV 846-893).

—ooo—

(Please click on the title to hear the music.)

  • Alma Redemptoris Mater, Tomás Luis de Victoria (c. 1548 – 27 August 1611)
  • Alma Redemptoris Mater, Giovanni Pierluigi da Palestrina (1525 – 1594)
  • Alma Redemptoris Mater, Antifona gregoriana, t. simplex, Studio di Giovanni Vianini, Milano, Italia
  • Alma Redemptoris Mater Gregorian, monophonic
  • Ave Regina Cælorum, Andrea Mattioli, Philippe Jaroussky, countertenor
  • Salve Regina, Monteverdi, Philippe Jaroussky, countertenor
  • Salve Regina in C minor (RV 616) – Part I, by Vivaldi (1678 – 1741)
  • Salve Regina in G minor HWV 241, by Handel (1685 -1759)
  • Salve Regina, Tomás Luis de Victoria
  • Regina Cæli Lætare, Antifona gregoriana, Schola Gregoriana Mediolanensis, direttore Giovanni
  • Regina Cæli Lætare, Tomás Luis de Victoria
  • Regina Cœli, Marco Frisina (b. 1954)
  • Regina Cœli, Mozart  (1756 – 1791)

[1]“antiphon.” Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2011. Web. 23 Dec. 2011. <http://www.britannica.com/EBchecked/topic/28480/antiphon>

Giovanni Legrenzi‘s Ave Maria Cælorum (motet)
Marie-Nicole Lemieux & Philippe Jaroussky

thvr01ubhn

Madonna by Raphaël

© Micheline Walker
24 December 2011
Reposted 3 February 2017
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“And life sprouts up from root to branch…”

05 Thursday Apr 2012

Posted by michelinewalker in Art, Music

≈ 539 Comments

Tags

Christian, Diego Velázquez, Easter, Marian Antiphons, Mary, Notre-Dame de Paris, Salve Regina, Trinity Sunday

Regina Cæli, by Diego Velázquez (1641 – 1644), Museo del Prado

Diego Rodríguez de Silva y Velázquez  (6 June 1599 – 6 August 1660) was a Spanish painter and the most prominent artist at the court of King Philip IV.

In his description of the Ave Regina Cælorum, the Notre-Dame de Paris author wrote:

isn’t spring the time when days get endlessly longer and life sprouts up from root to branch?

As of  tomorrow, 6 April 2012, the Marian Antiphon will be the Regina Cæli and it will remain the seasonal Antiphon until Vespers of Trinity Sunday.  But although the Antiphon will change, we will still celebrate the refreshing newness of seasons and the eternal return of spring.

The Marian Antiphons

Immediately below, is our list of Marian Antiphons.  It is probably best to keep them under our eyes.

Please click on the titles to hear the music.

  • Ave Redemptoris Mater (Advent through February 2)
  • Ave Regina Cœlorum (Presentation of the Lord through Good Friday)
  • Regina Cæli (Easter season)
  • Salve Regina (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

However, let us go to Notre-Dame’s Regina Cæli‘s site and read about the Marian antiphony that begins tomorrow.  So I am quoting:

The most recent Antiphony dedicated to Mary (14th century) used to end services. It is sung during the Easter season and makes no mention of the valley of tears, like the Salve Regina, but instead sings of resurrection and heaven, where Mary reigns alongside her Son. This is how many of Notre-Dame de Paris’s sculptures and windows represent her.

May I suggest that even in the stained glass window shown below there is “no mention of the valley of tears.” (Notre-Dame de Paris author).  Tomorrow, 6 April 2012, we will continue to celebrate the refreshing newness each season brings and the return of Spring.

Regina Cæli (Photo credit: Notre-Dame de Paris)

Regína caéli, lætáre, Allelúia!
Quia quem meruísti portáre, Allelúia!
Resurréxit, sicut dixit, Allelúia!
Ora pro nóbis Déum, Allelúia!

Queen of heaven, be joyful, alleluia!
The Son whom you merited to bear, alleluia!
Has risen, as He said, alleluia!
Queen of heaven, pray to God for us, alleluia!

The Velásquez painting shown at the top of this post represents the Holy Trinity crowning Mary,  She is Regina or Queen of heaven and as I have mentioned in a previous post, I believe her importance in the eyes of Christians is that she seems more accessible than the Trinity.  She is a mother and Christians pray to her because they believe she will convey their prayers to Jesus and to God the Father.  She is a mother, the person to whom we confide our hopes, our fears, our sorrows, our joys.

On the Notre-Dame site you will find an interpretation of the Regina Cæli (just click on the title and scroll down).

I have listed next to the image below previous posts you may wish to refer to.

Backside Gregorian Chant - Regina Caeli, Bened...

Backside Gregorian Chant – Regina Caeli, Benediktiner Abtei St. Maurice & St. Maur, Clervaux (Photo credit: Piano Piano!)

_________________________

  • Fra Angelico & the Annunciation
  • On Calendars & Feast Days
  • The Blessed Virgin: Mariology
  • A Christmas Offering: Hymns to Mary
  • Canonical Hours and the Divine Office
 © Micheline Walker
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Raphael & Marian Liturgy at Notre-Dame de Paris

04 Wednesday Apr 2012

Posted by michelinewalker in Art, Marian Hymnology

≈ 3 Comments

Tags

Alma Redemptoris Mater, Annunciation, Canonical Hours, Fra Angelico, Marian, Mariology, Mary, Salve Regina

 
Madonna della tenda, by Raphaël

Madonna della tenda by Raphaël, c. 1512

Raphaël, born Raffaello Sanzio da Urbino (April 6 or March 28, 1483 – April 6, 1520) (Photo credit: Wikipedia)
 

In my last post, I showed you frescoes on the theme of the Annunciation, executed by Fra Angelico, an artist and a saint.  But today, our featured artist is Raphaël.  As you know Marian art constitutes one of the richest areas of the Fine Arts.

However, Mariology is also an important source of sacred music.  Just think how often the Ave Maria has been sung.  I was brought up a Catholic child, but somehow I was not able to appreciate fully the importance of the Virgin in the arts and in sacred music until I started taking courses on the history of art and musicology.  It was a wonderful rediscovery.

Given that I have written blogs on Mariology, Christmas and the Canonical Hours, my readers have already been introduced to the subject matter we are visiting today.  For those of you who are new to my site, here are the links you may require:

  • Fra Angelico & the Annunciation 
  • The Blessed Virgin: Mariology
  • A Christmas Offering: Hymns to Mary
  • Canonical Hours and the Divine Office

Fra Angelico & the Annunciation, my last post, contains a list of the four Marian Antiphons or Antiphonies (antiennes, in French):

  • Alma Redemptoris Mater (Advent through February 2)
  • Ave Regina Cælorum (Presentation of the Lord through Good Friday)
  • Regina Cœli (Easter season)
  • Salve Regina (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

There are many other prayers to Mary, but the antiphonies, responsorial hymns, are at the centre of Marian Sacred Music, and the one attached to the Annunciation is the Ave Regina Cælorum.  As of Good Friday, two days from now, the Marian antiphon will be the Regina Cœli.

It is therefore nearly too late to speak about the Ave Regina Cælorum. However, because there is so little time, I will quote Notre-Dame de Paris:

This Antiphony dedicated to Mary was used in Assumption services starting in the 12th century. This salute to the Queen of the Heavens, this radiant admiration uses every possible term for praise: Ave, Salve, Gaude, Vale.

On the Notre-Dame de Paris site, one can also read the following:

Since the 14th century, it has been the Spring Antiphony, maybe because it praises Mary as the earthly root, Salve radix, of this light that opens onto the world – isn’t spring the time when days get endlessly longer and life sprouts up from root to branch?  At Notre-Dame de Paris, tradition has it that before the great mass, the Ave Regina is sung in front of the statue of the Queen of the Heavens, which is why this antiphony is sung every Sunday at the end of the Lauds service.

On the same site, it is also possible to hear the Ave Regina Cælorum (Notre-Dame de Paris), but I am including the Ave Regina Cælorum on YouTube.

Orlando de Lassus (c. 1532 – 1594): Ave Regina Cælorum
performers: Pro Cantione Antiqua
conductor: Bruno Turner
photo: Mario De Biasi

raphael_angel

Giovanni Legrenzi (1626 – 1690): Ave Regina Cælorum, Philippe Jaroussky & Marie-Nicole Lemieux

 

 The Tempi Madonna, by Raphel
The Tempi Madonna by Raphaël, 1508 
© Micheline Walker
4 April 2012
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The Blessed Virgin: Mariology

24 Saturday Dec 2011

Posted by michelinewalker in Feasts, Liturgy, Music

≈ Comments Off on The Blessed Virgin: Mariology

Tags

Alma Redemptoris Mater, Antiphon, Ave Regina Coelorum, Canonical Hours, Handel, Hermann of Reichenau, Mozart, Regina Coeli, Salve Regina, Vivaldi

Annunciation by Paolo de Matteis, 1712. The white lily in the angel's hand is symbolic of Mary's purity in Marian art.

Annunciation by Paolo de’ Matteis, 1712. The white lily in the angel’s hand is symbolic of Mary’s purity in Marian art. (Photo credit: Wikipedia)

Hymns to the Virgin Mary, or Marian hymnology, as I will call it, constitute a substantial part of sacred music. Moreover, Marian art is abundant. Mary’s main feasts are the Annunciation, the Nativity, the Assumption and the Immaculate Conception, three of which are related to the Nativity Cycle. The exception would be the Assumption. Mary did not die. She ascended into heaven.

1. The Annunciation

The Feast of the Annunciation commemorates the day on which the Archangel Gabriel visited Mary to announce that she would bear and give birth to the son of God. The Feast of the Annunciation (see Rubens, below) is celebrated on 25 March, exactly nine months before Christmas Day, when Christians celebrate the birth of Christ. The above image is by Paolo de’ Matteis (9 February 1662 – 26 January 1728). 

2. The Nativity

The central Marian feast is the Nativity. The Nativity is in fact a celebration of the birth of Christ, but Marian feasts are rooted in the Nativity cycle. Where Marian art is concerned, the Nativity includes portrayals of the Shepherds in adoration, of the visit by the Kings of Orient, as well as portrayals of the Presentation of Jesus as firstborn son, and the Purification of Mary. Just below, I have inserted a visit by the Shepherds, by Gerard van Honthorst (4 November 1592 – 27 April 1656), a Dutch Golden Age artist who is also called Gerrit van Honthorst.

honthorst_aanbidding_herders_1622_grt

The Adoration of the Shepherds, by Gerard van Honthorst, 1622

3. The Assumption

Mary did not die. She ascended into heaven and her Assumption is celebrated on 15 August. In the Eastern Church, Byzantine Emperor Maurice selected 15 August as the date of the feast of Dormition and Assumption. The 15th of August is also the Acadian’s Feast Day. Acadians are the French-speaking inhabitants of Canada’s Atlantic provinces. Their national anthem is the Ave Maris Stella. 

The Assumption of the Virgin Mary, by Rubens, 1626

(Please click on the picture to enlarge it.)

4. The Immaculate Conception

According to Roman Catholicism, Jesus was conceived without stain or macula. This dogma is disputed as it is linked with the notion of an inherent fault, the original sin, the sin committed by Adam and Eve. Newborns or infants who die before Baptism do not go to heaven. They are sent to Limbo.

—ooo—

THE FOUR ANTIPHONS (Antiennes)

Marian hymnology

As for Marian hymnology, it originally consisted of four antiphons (antiennes, in French) sung in Gregorian Chant. Two (the Alma Redemptoris Mater and the Salve Regina were composed by Hermann of Reichenau, and would have been Gregorian chants. The four Marian antiphons are in fact linked to the Liturgy of the Hours, the Canonical Hours, and commemorate the four seasons.

  • Alma Redemptoris (Advent through February 2)
  • Ave Regina Cælorum (Presentation of the Temple through Good Friday)
  • Regina Cœli (Easter season)
  • Salve Regina (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

Antiphons are “responsories” or the response by the choir or the congregation to a psalm or hymn. But they may involve responsorial singing by alternating choirs. Simply expressed, antiphons resemble a refrain. “The refrain was called an antiphon (A). The resulting musical form was A V1 A V2…”[1] Antiphons are not restricted to Marian hymnology. We should also note that Marian feasts are associated with the seasons, as are other Christian feasts. Antiphons are not restricted to Marian hymnology.

The Marian liturgical calendar is divided as follows:

  • first, of Advent, Christmastide, Epiphany, Pre-Lent, Lent, Easter Triduum, Eastertide, Ascensiontide
  • second, of some 32 feast days
Magnificatio, by Sandro Botticelli

Magnificatio, by Sandro Botticelli

(Please click on the picture to enlarge it.)

DETAILS ON THE ANTIPHONS

The Alma Redemptoris Mater

Traditionally, the Alma Redemptoris Mater is sung at the end of Compline, one of the Canonical Hours. It is said to have been composed by Hermannus Contractus (Herman the Cripple) (1013–1054).

The Ave Regina Cælorum

Traditionally, the Ave Regina Cælorum has been sung at the end of each Canonical Hours, but mainly Compline, between 2 February (Candlemas or Chandeleur in French) until the Holy Week. Candlemas is the day commemorating the Presentation of the Jesus at the Temple and the Purification of the Virgin Mary.

The Regina cœli 

The Regina Cœli or Cæli (Queen of Heaven), is a night prayer (Compline or Vespers).  Its authorship has not been determined but it was sung by Franciscans in the twelfth century.  It was sung in place of the Angelus from Holy Saturday through Pentecost.  It is therefore associated with the celebration of Easter.

The Salve Regina

The Salve Regina (Hail Holy Queen) is sung at Compline from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. (Wikipedia).  It was composed by German monk Hermann of Reichenau, the above-mentioned Hermannus Contractus (Herman the Cripple) (1013–1054), the composer of the Alma Redemptoris Mater.

—ooo—

However, to the four antiphons, we may add the above-mentioned Ave Maris Stella, Mozart’s breathtaking Ave Verum Corpus, various Ave Maria‘s, the most famous of which are Schubert’s Ave Maria, and the Ave Maria Charles Gounod composed on the first prelude of Johann Sebastian Bach’s Wohltemperierte Klavier (BWV 846-893).  I will discuss these in my next blog.

—ooo—

(Please click on the title to hear the music.)

  • Alma Redemptoris, Tomás Luis de Victoria (c. 1548 – 27 August 1611)
  • Alma Redemptoris, Giovanni Pierluigi da Palestrina (1525 – 1594)
  • Alma Redemptoris, Antifona gregoriana, t. simplex, Studio di Giovanni Vianini, Milano, Italia
  • Alma Redemptoris Mater Gregorian, monophonic
  • Ave Regina Cælorum, Andrea Mattioli, Philippe Jaroussky, countertenor
  • Salve Regina, Monteverdi, Philippe Jaroussky, countertenor
  • Salve Regina in C minor (RV 616) – Part I, by Vivaldi (1678 – 1741)
  • Salve Regina in G minor HWV 241, by Handel (1685 -1759)
  • Salve Regina, Tomás Luis de Victoria
  • Regina Cæli Lætare, Antifona gregoriana, Schola Gregoriana Mediolanensis, direttore Giovanni
  • Regina Cæli Lætare, Tomás Luis de Victoria
  • Regina Cœli, Marco Frisina (b. 1954)
  • Regina Cœli, Mozart  (1756 – 1791)

[1] “antiphon.” Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2011. Web. 23 Dec. 2011. <http://www.britannica.com/EBchecked/topic/28480/antiphon>

thvr01ubhn

Madonna by Raphaël

© Micheline Walker
3 February 2017
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