Luogo e data di registrazione		Fürstensaal, Klosters Maria Einsiedeln (Svizzera) - 10/11 luglio 1972
	Registrazione: live / studio		studio
	Production		Dr. Andreas Holschneider
	Recording supervision		Günther Breest
	Recording Engineer		Klaus Hiemann
	Prima Edizione LP		ARCHIV - 2533 131 - (1 LP - durata 47' 08") - (p) 1973 - Analogico
	Prima Edizione CD		ARCHIV - 435 032-2 - (4 CD's - durata 78' 14"; 73' 13"; 71' 18" & 73' 54" - [CD1 13-27; CD2 15-20]) - (c) 1993 - ADD
	Cover		Codex 121 (10. Jh.) Stiftsbibliothek Einsiedeln, pag. 50/51: Beginn des Propriums der Messe zu Epiphanias
	Note		-

 

The Tradition of the Gregorian Chant (I) Maria Einsiedeln - Chants of the Proper of the Mass The transmission of the chants The earliest staveless notating of Gregorian chant is known to have originated in the 10th century. This notation consists of neumes (signs) which have been taken as the main substance of Aristophanes’ Greek prodosy. Two main signs form the basic elements in notating the music; the acute (high note), which became the “Virga”, and the gravis (low note), which became the “Tractulus”. These neumes show the rise and fall of the melody without any definite pitch, and give hints as to the rhythmic variations. One of the most famous manuscripts in Gregorian research is the Einsiedeln Codex 121 (10th century). No agreement has been reached as to its exact provenance. It certainly belongs to the cultural circle of St. Gall, since the neumes tally with those of the St. Gall notation. A. von Euw, Cologne, in his latest work on the Einsiedeln book illuminations, leans towards accepting that the codex was written in Einsiedeln. H. Husmann, Göttingen, concurs with him when he substantiates the birth place of the manuscript with the liturgical repertory (Alleluia verses). However the discussion of the place of origin of the codex 121 may continue, it is certain that the manuscript was always in Einsiedeln, and that Einsiedeln’s monks used it as a basis for their singing. It is quite different with the practical usage of these signs. Up to a few years ago the Solesmes (France) edition of the chant, with the iktus theory (iktus = optical sign for a point of rhythmical support) and the equal note values was considered to give a pointer to Gregorian practice. Now, however, the research of professor Eugüne Cardine, Rome, on medieval neumes, has led to new knowledge. The iktus and the equal note values are no longer held to be valid - the Latin text and the realization of the differentiated neumes remain decisive for practice. Long and short notes become more exactly distinguished, episeme and litterae significativae (signs, which point to a rhzthmicallz differentiated rendering) more consistently allowed for, and the theory of the “separation of neumes” plays a more important rôle than before. Through liquescent neumes (a manner of performance in which specific notes are slurred together) the word again receives more weight. All chants of the four Propers, appearing on this record, are based on the codex 121, with the exception of the sequence “Victimae paschali laudes” for which the Einsiedeln fragment 366 offers some rhythmical indications. The manner of performance By the “Tradition of Einsiedeln” one understands, however, not only the interpretation of the codex 121, after the principles of Prof. Cardine, but also the manner of vocal style. In the Einsiedeln monastery, value has always been laid upon voice training. The opinion is, that it is especially the monophonic chants, which demand a well-balanced and rounded choral sound from the schola. It is no longer known today how the Gregorian chant was sung at the time of its origin, and inthe middle ages; it is, however, certain that chant is music which assumes this use of strong voices, and which was primarily intended, not for the people, but for a schola or a community of monks. Furthermore, the divine services in Einsiedeln are held in a baroque church, in which thousands of pilgrims assemble on days of pilgrimage. Without cultured, voluminous voices, a schola would be completely lost. The place of the chants in the liturgy The liturgy of the mass is divided into the Ordinarium and the Proprium missae (Ordinary and Proper of the Mass). The Ordinary is formed from those chants - Kyrie, Gloria, Credo, Sanctus, and Agnus Dei - which remain the same from one festival to another. The Proper of the Mass, on the other hand, changes, according to the occasion in the church year, from day to day. The chants of the Proper are, therefore, related to the specific character of the festival (“proprium” = proper, or belonging to the festival). In their liturgical function they are either processional chants or come between the readings. To the first group, of processional chants, belong the Introit, Offertory, and Communion, to the second group, the chants sung between the readings, the Gradual and Alleluya. Before and during Lent, a shortened psalm, the Tract, is substituted for the Alleluya. The Introit, as the chant for accompanying the entrance procession of the officiating priest, inaugurates the divine service. It establishes the theme of the festival (e.g. Epiphany: Ecce advenit dominator dominus; Easter: Resurrexi) and leads into the mystery of the festival. The Gradual, once sung upon the steps (gradus) of the ambo, or altar, serves as a deepened meditation on the first reading, the text of which is taken from the Old Testament, or the Letters of the Apostles (Epistles). The Alleluya, however, is allied to the Gospel, and, in this position, is to be understood as an acclamation of Christ. The Sequence can be understood as a musical-poetic extension of the Alleluya. From the large body of medieval sequences only a few were kept in use after the Council of Trent in the 16th century, among them the Easter sequence, “Victimae paschali laudes” of Wipo of Burgundy (+ c. 1050). The Offertory accompanies the offering (= offerre) of gifts, The Communion, sung while the congregation is lining up for communion, establishes the connection between the “bread of the word”, and the sacrament. Pater Roman Bannwart, OSB