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Responsory

January 01, 1970

"Responsories" redirects here. For the composition by Max Reger, see Responsories (Reger).

A responsory or respond is a type of chant in western Christian liturgies.

Definition edit

The most general definition of a responsory is any psalm, canticle, or other sacred musical work sung responsorially, that is, with a cantor or small group singing verses while the whole choir or congregation respond with a refrain. However, this article focuses on those chants of the western Christian tradition that have traditionally been designated by the term responsory. In the Roman Rite and rites strongly influenced by it, such as the pre-reformation English rite and the monastic rite of the Rule of St. Benedict, these chants ordinarily follow readings[1]: 61 [2] at services of the Divine Office (also called the Liturgy of the Hours); however, they have also been used as processional chants.[1]: 91 

Structure and performance edit

 
The responsory Domine ne in ira in square notation for the first Sunday after Epiphany, from the Liber Responsorialis juxta Ritum Monasticum, Solesmes, 1895, page 398. The third double bar indicates where the partial respond, Miserere mei Domine, quoniam infirmus sum, will be repeated after the singing of the verse. This responsory includes a half-doxology and a final repetition of the partial respond after it.

A responsory has two parts: a respond (or refrain), and a verse.[3]: 181–182, 331  Methods of performance vary, but typically the respond will be begun by the cantor then taken up by the entire choir. The verse is then sung by a cantor or a small group; or the verse can be begun by the cantor and continued by the entire choir.[3]: 196–198  The chant concludes with a repetition of all or part of the respond. Sometimes the second repetition of the respond is followed by a half-doxology, Gloria Patri et Filio et Spiritui Sancto, sung by the cantor, followed in turn by a third repetition of all or part of the respond.

As an example, here is the responsory Aspiciebam,[4] which in the Sarum Rite (the medieval rite of Salisbury Cathedral in England) followed the second reading, which was from the first chapter of the Book of Isaiah, at the night office (Matins) on the first Sunday of Advent:

Respond: (started by the cantor and continued by the whole choir) Aspiciebam in visu noctis, et ecce in nubibus caeli Filius hominis veniebat: et datum est ei regnum, et honor: * Et omnis populus, tribus, et linguae servient ei. (I saw in a night-vision, and behold, the Son of Man was coming on the clouds of heaven: and sovereignty and honor were given him: and every people and tribe, and all languages shall serve him.)

Verse: (sung by the cantor) Potestas eius, potestas aeterna, quae non auferetur: et regnum eius, quod non corrumpetur. (His might is an everlasting might which will not be taken away; and his reign is an everlasting reign, which shall not be broken.)

Partial respond: (sung by the choir) Et omnis populus, tribus, et linguae servient ei. (And every people and tribe, and all languages shall serve him.)

Most responsories have a single verse, but a few have multiple verses.[3]: 184–185  One of the most famous of the latter is the responsory Aspiciens a longe, sung on the first Sunday of Advent after the first reading in the night office of the Latin secular (non-monastic) rite. The version that was sung in the medieval rite of Salisbury cathedral was worded as follows:[5]

Respond: Aspiciens a longe et ecce video Dei potentiam venientem et nebulam totam terram tegentem. Ite obviam ei et dicite, Nuntia nobis si tu es ipse qui regnaturus es in populo Israel. (I look from afar, and behold I see the power of God coming, and a cloud covering the whole earth. Go out to meet him and say, tell us if you are the one who is to reign over the people of Israel.)

1st verse (sung by a boy) Quique terrigenae et filii hominum simul in unum dives et pauper (Whoever are earth-born, the sons of men, together in one rich and poor)

Partial respond (sung by the choir) Ite obviam ei et dicite, Nuntia nobis si tu es ipse qui regnaturus es in populo Israel. (Go out to meet him and say, tell us if you are the one who is to reign over the people of Israel.)

2nd verse (sung by a boy) Qui regis Israel intende, qui deducis velut ovem Joseph (Hear, O shepherd of Israel, who leadest Joseph like a sheep)

Partial respond (sung by the choir) Nuntia nobis si tu es ipse qui regnaturus es in populo Israel. (Tell us if you are the one who is to reign over the people of Israel.)

3rd verse (sung by a boy) Excita Domine potentiam tuam et veni ut salvos facias nos (Stir up your power O Lord and come that you may save us)

Partial respond (sung by the choir) Qui regnaturus es in populo Israel. (O you who are to reign over the people of Israel.)

Half-doxology (sung by all three boys) Gloria Patri et Filio et Spiritui Sancto (Glory be to the Father and to the Son and to the Holy Ghost)

Partial respond (sung by the choir) In populo Israel. (In the people of Israel.)

The three boys then sang Aspiciens a longe whereupon the choir took up the full respond: et ecce video Dei potentian venientem et nebulam totam terram tegentem. Ite obviam ei et dicite, Nuntia nobis si tu es ipse qui regnaturus es in populo Israel. (I look from afar, and behold I see the power of God coming, and a cloud covering the whole earth. Go out to meet him and say, tell us if you are the one who is to reign over the people of Israel.)

This responsory, Aspiciens a longe, has become familiar in the English-speaking world in an arrangement published in the second volume of Carols for Choirs edited by David Willcocks and John Rutter,[6] where it is given the title "Matin Responsory", and is set to music adapted from a setting by Giovanni Pierluigi da Palestrina of the Nunc dimittis (free score of the Nunc dimittis here on CPDL) - and not of the Magnificat as stated by the editors. The structure of the Willcocks/Rutter arrangement, however, differs somewhat from what is shown above since it does not repeat the refrain after each verse in the traditional English way[citation needed]. For example, in the traditional English form (shown above) after the first verse, the choir sings all the words of the refrain from ite obviam ei to the end. In the Willcocks/Rutter arrangement, on the other hand, after the first verse the choir sings (in English translation) only the portion of the refrain corresponding to the Latin words ite obviam ei et dicite.

Music edit

Traditionally responsories are sung in Gregorian chant. The refrains are free compositions.[3]: 234, 331–332  The verses are ordinarily sung to standard tones,[3]: 234  though there are exceptions to this.[3]: 235, 240 [7] Polyphonic settings of parts of responsories survive from the Middle Ages.[8] Marc-Antoine Charpentier composed 19 Repons (H 111 - 119, H 126 - 134 and H 144). Max Reger composed twenty Responsories for choir a cappella in 1911. The example of the Willcocks/Rutter setting of Aspiciens a longe shows that multi-voice settings of responsories have continued to be made in modern times also.

Responsories for Holy Week edit

Main article: Responsories for Holy Week

Responsories for Holy Week set to music, for instance by Carlo Gesualdo (Op. 15) and by Jan Dismas Zelenka (ZWV 55):

Maundy Thursday:

  1. In monte Oliveti
  2. Tristis est anima mea
  3. Ecce, vidimus eum
  4. Amicus meus
  5. Judas mercator pessimus
  6. Unus ex discipulis meis
  7. Eram quasi agnus innocens
  8. Una hora
  9. Seniores populi

Good Friday:

  1. Omnes amici mei
  2. Velum templi scissum est
  3. Vinea mea electa
  4. Tamquam ad latronem existis
  5. Tenebrae factae sunt
  6. Animam meam dilectam
  7. Tradiderunt me
  8. Jesus tradidit impius
  9. Caligaverunt oculi mei

Holy Saturday:

  1. Sicut ovis
  2. Jerusalem surge
  3. Plange quasi virgo
  4. Recessit pastor noster
  5. O vos omnes
  6. Ecce quo modo moritur justus
  7. Astiterunt reges terras
  8. Aestimatus sum
  9. Sepulto Domino

See also edit

Notes edit

  1. ^ a b Harrison, Frank Lloyd (1958). Music in Medieval Britain. London: Routledge and Kegan Paul.
  2. ^ Rule of Benedict, chapters 9, 11, 12, 13, 17, in Fry, Timothy, ed., The Rule of St. Benedict in English, Liturgical Press, Collegeville, Minnesota, 1982, pp. 39-45
  3. ^ a b c d e f Apel, Willi (1958). Gregorian Chant. Bloomington: Indiana University Press.
  4. ^ Antiphonale ad usum ecclesiae Sarum, politissimis imaginibus decoratum, London, 1519, temporale folios 10v-11r. The temporale is the first component of the 1519 Antiphonale. It is followed by the kalendar and the psalterium, in which the foliation starts over. The foliation starts over again for the common, and yet again for the sanctorale.
  5. ^ Antiphonale ad usum ecclesiae Sarum, temporale folios 9v-10v.
  6. ^ Rutter, John, and Willcocks, David, eds., Carols for Choirs 2, Oxford, 1970, carol #15.
  7. ^ An example of a responsory with a non-standard verse tone is the first responsory for the feast of Corpus Christi in the monastic rite, Immolabit haedum. Apel, Gregorian Chant, p. 240; Liber Responsorialis pro Festis I Classis et Communi Sanctorum juxta Ritum Monasticum, Solesmes, 1895, pp. 122-123.
  8. ^ Harrison, Music in Medieval Britain pp. 366-371.

References edit

  • Antiphonale ad usum ecclesiae Sarum, politissimis imaginibus decoratum, London, 1519.
  • Apel, Willi, Gregorian Chant, Indiana University Press, Bloomington, 1958.
  • Harrison, Frank Lloyd, Music in Medieval Britain, Routledge and Kegan Paul, London, 1958.
  • Liber Responsorialis pro Festis I Classis et Communi Sanctorum juxta Ritum Monasticum, Solesmes, 1895.
  • Music of the Sarum Office, web site at McMaster University, Hamilton, Ontario, Canada. *Temporale: Dominica Prima Adventus (PDF file).
  • "Responsorial Psalmody", in J. A. Fuller-Maitland, ed., Grove's Dictionary of Music and Musicians, Macmillan, New York, 1908.
  • Rutter, John, and Willcocks, David, eds., Carols for Choirs 2, Oxford, 1970.

External links edit

January 01, 1970
responsory, responsories, redirects, here, composition, reger, responsories, reger, responsory, respond, type, chant, western, christian, liturgies, contents, definition, structure, performance, music, responsories, holy, week, also, notes, references, externa. Responsories redirects here For the composition by Max Reger see Responsories Reger A responsory or respond is a type of chant in western Christian liturgies Contents 1 Definition 2 Structure and performance 3 Music 3 1 Responsories for Holy Week 4 See also 5 Notes 6 References 7 External linksDefinition editThe most general definition of a responsory is any psalm canticle or other sacred musical work sung responsorially that is with a cantor or small group singing verses while the whole choir or congregation respond with a refrain However this article focuses on those chants of the western Christian tradition that have traditionally been designated by the term responsory In the Roman Rite and rites strongly influenced by it such as the pre reformation English rite and the monastic rite of the Rule of St Benedict these chants ordinarily follow readings 1 61 2 at services of the Divine Office also called the Liturgy of the Hours however they have also been used as processional chants 1 91 Structure and performance edit nbsp The responsory Domine ne in ira in square notation for the first Sunday after Epiphany from the Liber Responsorialis juxta Ritum Monasticum Solesmes 1895 page 398 The third double bar indicates where the partial respond Miserere mei Domine quoniam infirmus sum will be repeated after the singing of the verse This responsory includes a half doxology and a final repetition of the partial respond after it A responsory has two parts a respond or refrain and a verse 3 181 182 331 Methods of performance vary but typically the respond will be begun by the cantor then taken up by the entire choir The verse is then sung by a cantor or a small group or the verse can be begun by the cantor and continued by the entire choir 3 196 198 The chant concludes with a repetition of all or part of the respond Sometimes the second repetition of the respond is followed by a half doxology Gloria Patri et Filio et Spiritui Sancto sung by the cantor followed in turn by a third repetition of all or part of the respond As an example here is the responsory Aspiciebam 4 which in the Sarum Rite the medieval rite of Salisbury Cathedral in England followed the second reading which was from the first chapter of the Book of Isaiah at the night office Matins on the first Sunday of Advent Respond started by the cantor and continued by the whole choir Aspiciebam in visu noctis et ecce in nubibus caeli Filius hominis veniebat et datum est ei regnum et honor Et omnis populus tribus et linguae servient ei I saw in a night vision and behold the Son of Man was coming on the clouds of heaven and sovereignty and honor were given him and every people and tribe and all languages shall serve him Verse sung by the cantor Potestas eius potestas aeterna quae non auferetur et regnum eius quod non corrumpetur His might is an everlasting might which will not be taken away and his reign is an everlasting reign which shall not be broken Partial respond sung by the choir Et omnis populus tribus et linguae servient ei And every people and tribe and all languages shall serve him Most responsories have a single verse but a few have multiple verses 3 184 185 One of the most famous of the latter is the responsory Aspiciens a longe sung on the first Sunday of Advent after the first reading in the night office of the Latin secular non monastic rite The version that was sung in the medieval rite of Salisbury cathedral was worded as follows 5 Respond Aspiciens a longe et ecce video Dei potentiam venientem et nebulam totam terram tegentem Ite obviam ei et dicite Nuntia nobis si tu es ipse qui regnaturus es in populo Israel I look from afar and behold I see the power of God coming and a cloud covering the whole earth Go out to meet him and say tell us if you are the one who is to reign over the people of Israel 1st verse sung by a boy Quique terrigenae et filii hominum simul in unum dives et pauper Whoever are earth born the sons of men together in one rich and poor Partial respond sung by the choir Ite obviam ei et dicite Nuntia nobis si tu es ipse qui regnaturus es in populo Israel Go out to meet him and say tell us if you are the one who is to reign over the people of Israel 2nd verse sung by a boy Qui regis Israel intende qui deducis velut ovem Joseph Hear O shepherd of Israel who leadest Joseph like a sheep Partial respond sung by the choir Nuntia nobis si tu es ipse qui regnaturus es in populo Israel Tell us if you are the one who is to reign over the people of Israel 3rd verse sung by a boy Excita Domine potentiam tuam et veni ut salvos facias nos Stir up your power O Lord and come that you may save us Partial respond sung by the choir Qui regnaturus es in populo Israel O you who are to reign over the people of Israel Half doxology sung by all three boys Gloria Patri et Filio et Spiritui Sancto Glory be to the Father and to the Son and to the Holy Ghost Partial respond sung by the choir In populo Israel In the people of Israel The three boys then sang Aspiciens a longe whereupon the choir took up the full respond et ecce video Dei potentian venientem et nebulam totam terram tegentem Ite obviam ei et dicite Nuntia nobis si tu es ipse qui regnaturus es in populo Israel I look from afar and behold I see the power of God coming and a cloud covering the whole earth Go out to meet him and say tell us if you are the one who is to reign over the people of Israel This responsory Aspiciens a longe has become familiar in the English speaking world in an arrangement published in the second volume of Carols for Choirs edited by David Willcocks and John Rutter 6 where it is given the title Matin Responsory and is set to music adapted from a setting by Giovanni Pierluigi da Palestrina of the Nunc dimittis free score of the Nunc dimittis here on CPDL and not of the Magnificat as stated by the editors The structure of the Willcocks Rutter arrangement however differs somewhat from what is shown above since it does not repeat the refrain after each verse in the traditional English way citation needed For example in the traditional English form shown above after the first verse the choir sings all the words of the refrain from ite obviam ei to the end In the Willcocks Rutter arrangement on the other hand after the first verse the choir sings in English translation only the portion of the refrain corresponding to the Latin words ite obviam ei et dicite Music editTraditionally responsories are sung in Gregorian chant The refrains are free compositions 3 234 331 332 The verses are ordinarily sung to standard tones 3 234 though there are exceptions to this 3 235 240 7 Polyphonic settings of parts of responsories survive from the Middle Ages 8 Marc Antoine Charpentier composed 19 Repons H 111 119 H 126 134 and H 144 Max Reger composed twenty Responsories for choir a cappella in 1911 The example of the Willcocks Rutter setting of Aspiciens a longe shows that multi voice settings of responsories have continued to be made in modern times also Responsories for Holy Week edit Main article Responsories for Holy Week Responsories for Holy Week set to music for instance by Carlo Gesualdo Op 15 and by Jan Dismas Zelenka ZWV 55 Maundy Thursday In monte Oliveti Tristis est anima mea Ecce vidimus eum Amicus meus Judas mercator pessimus Unus ex discipulis meis Eram quasi agnus innocens Una hora Seniores populi Good Friday Omnes amici mei Velum templi scissum est Vinea mea electa Tamquam ad latronem existis Tenebrae factae sunt Animam meam dilectam Tradiderunt me Jesus tradidit impius Caligaverunt oculi mei Holy Saturday Sicut ovis Jerusalem surge Plange quasi virgo Recessit pastor noster O vos omnes Ecce quo modo moritur justus Astiterunt reges terras Aestimatus sum Sepulto DominoSee also editCall and response music Notes edit a b Harrison Frank Lloyd 1958 Music in Medieval Britain London Routledge and Kegan Paul Rule of Benedict chapters 9 11 12 13 17 in Fry Timothy ed The Rule of St Benedict in English Liturgical Press Collegeville Minnesota 1982 pp 39 45 a b c d e f Apel Willi 1958 Gregorian Chant Bloomington Indiana University Press Antiphonale ad usum ecclesiae Sarum politissimis imaginibus decoratum London 1519 temporale folios 10v 11r The temporale is the first component of the 1519 Antiphonale It is followed by the kalendar and the psalterium in which the foliation starts over The foliation starts over again for the common and yet again for the sanctorale Antiphonale ad usum ecclesiae Sarum temporale folios 9v 10v Rutter John and Willcocks David eds Carols for Choirs 2 Oxford 1970 carol 15 An example of a responsory with a non standard verse tone is the first responsory for the feast of Corpus Christi in the monastic rite Immolabit haedum Apel Gregorian Chant p 240 Liber Responsorialis pro Festis I Classis et Communi Sanctorum juxta Ritum Monasticum Solesmes 1895 pp 122 123 Harrison Music in Medieval Britain pp 366 371 References editAntiphonale ad usum ecclesiae Sarum politissimis imaginibus decoratum London 1519 Apel Willi Gregorian Chant Indiana University Press Bloomington 1958 Harrison Frank Lloyd Music in Medieval Britain Routledge and Kegan Paul London 1958 Liber Responsorialis pro Festis I Classis et Communi Sanctorum juxta Ritum Monasticum Solesmes 1895 Music of the Sarum Office web site at McMaster University Hamilton Ontario Canada Temporale Dominica Prima Adventus PDF file Responsorial Psalmody in J A Fuller Maitland ed Grove s Dictionary of Music and Musicians Macmillan New York 1908 Rutter John and Willcocks David eds Carols for Choirs 2 Oxford 1970 External links editResponsories Scores at the International Music Score Library Project Retrieved from https en wikipedia org w index php title Responsory amp oldid 1223749234, wikipedia, wiki, book, books, library,

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