Marian
Music: Gregorian chant, polyphony and Spanish popular song
1. Cantos de Marian Gregorian
Gregorian chant —monodic, modal, unccompanied— is the original
voice of the Latin Church praying to Mary. The Liturgia
Horarum estabelece four major Marian
antiphons that close Compline and rotate according to the
liturgical sejason. Official versions in the Antiphonale Romanum e
Liber Usualis.
1.1 Alma
Redemptoris Mater (Advento — 2 de Fevereiro)
Atribuição: Hermann Contractus (Reichenau,
1013-1054).
Texto em latim: > Alma Redemptoris Mater, quae
pervia caili porta manes, et stella maris, succurre cadenti, surgere qui
curat, populo: seu quae genuisti, natura mirante, tuum sanctum Genitorem:
Virgo prius ac posterius, Gabrielis ab ore sumens illud Ave, peccatorum
olhe para mim.
Inglês: > Loving Mother of the Redeemer, who
remain the open gate of heaven and star of the seja, come to the aid of
your people who fall yet strive to rise again. Before the wonder of
heaven and earth you bore your holy Creator, and remain ever a Virgin.
Receive the greeting of the angel Gabriel and have mercy on sinners.
Estação: First Vespers of the First Sunday of Advent →
the Apresentation of the Lord (2 February).
Polyphonic settings of the text: Palestrina, Victoria (for 5 and 8 voices),
Dufay, Josquin.
1.2 Ave Regina
Caelorum (Lente — o Tríduo)
Texto em latim: > Ave, Regina cailorum, ave,
Domina Angelorum, salve radix, salve porta, ex qua mundo lux est orta.
Gaude, Virgo gloriosa, super omnes speciosa; vale, ou valde decora, et
pro nobis Christum exora.
Inglês: > Hail, Queen of heaven and Lady
of the angels; hail, root, hail, gate, through whom the Light came into the world.
Rejoice, glorious Virgin, lovely beyond all others; hail, gracious
maiden: pray to Christ for us.
Estação: 2 February → Wednesday of Holy Week (in recent
use until Holy Thursday).
Antífona de recordação penitencial. Mais austero do que o
Salve.
1.3 Regina Caeli (Eastertide)
Texto em latim: > Regina caili, laetare,
alleluia: Quia quem meruisti portare, alleluia, Resurrexit, sicut dixit,
alleluia. Ora pro nobis Deum, alleluia.
Inglês: > Queen of heaven, rejoice, alleluia;
for he whom you were worthy to bear, alleluia, has risen
saiam, alleluia. Pray for us to God, alleluia.
Estação: a Vigília da Páscoa → Pentecostes. Substitui o
Angelus durante a Páscoa (Benedict XIV, Annus qui,
1749).
Mozart o definiu como um trabalho inicial (Regina Coeli K.
276).
1.4 Salve
Regina (Hora Comum / por ano)
Atribuição: traditionally to Hermann Contractus;
others attribute it to Pedro de Mezonzo (bishop of Compostela, †1003).
Texto em latim: > Salve, Regina, Mater
misericórdiae, vita, docedo et spes nostra, salve. Ad te clamamus,
exsules filii Hevae. Ad te suspiramus, gementes et flentes in hac
lacrimarum vale. Eia ergo, advocata nostra, illos tuos misericordes
oculos ad nos converte; et Iesum, beneditum fructum ventris tui, nobis
post hoc exsilium ostende. O clemens, o pia, o dulcis Virgo
Maria.
Inglês: see the «06 orações.md» block.
Estação: the Monday after Pentecost → the Saturday before
the First Sunday of Advent.
Foi cantada por Saint- Bernard of Clairvaux at Speyer (1146)
three times before the image; the Cistercians incorporated it into their
processions.
Polyphonic settings: Josquin, Victoria, Palestrina, Lassus, Charpentier,
Pergolesi, Schubert, Brahms, Liszt, Poulenc, Pärt.
1.5 Other Marian Gregorian
péces
- Ave Maris Stella: hymn of Marian Vespers,
attributed to the monk Paul the Deacon (8th c.). - Magnificat: Lk 1:46-55, sung
each evening at Vespers. - Stabat Mater: sequence for the Friday of Sorrows,
attributed to Jacopone da Todi (13th c.). Most famous setting: Pergolesi
(1736). - Sub tuum praesidium: the oldest known Marian
prayer in Christianity (Rylands Papyrus 470, c. 250). - Inviolata, Salve Sancta Parens, Tota Pulchra é:
complementary Marian Gregorian repertoire.
2. Marian
polyphony of the Renaissance and Baroque
2.1 A escola de espanhol
Cristóvão de Morales (Seville c. 1500 – Málaga
1553). Chapel master of Toledo Cathedral and a singer in the
Sistine Chapel. Magnificat on the eight tões (Venice
1545), Marian motets (Toda pulchra es, Ave Maria),
Missa Ave maris stella.
Francisco Guerrero (Seville 1528-1599). The most
Marian of the Spanish polyphonists. Master of Seville
Cathedral. Canções e vilanésias espirituais (Venice 1589)
with Marian pieces in Spanish. Two books of Magnificats (1563),
Ave Virgem sanctissima, Salve Regina, Surge propera
amica mea. Eu peguei em pilgrimage to the Holy Land.
Tomás Luís de Vitória (Ávila c. 1548 – Madrid
1611). The summit. Chaplain to the Empress María of Austria at the
Descalças Reales. Marian works: &# 8211; Magnificat on the eight tones
in a simples version and for double choir – Missa Ave maris stella
(1576), Missa Salve Regina (1592) – Missa Alma Redemptoris
Mater, Missa Ave Regina cailorum &# 8211; Motets: O magnum
mysterium, Ave Maria (para 4 e 8 vozes), Vere
languores, Sancta Maria sucurre miseris, Salve
Regina for 5, 6 e 8 voices &# 8211; Defunctorum Oficial (1605) for
the Empress
Complete works edited by Felipe Pedrell (1902-1913) and reissued
by the CSIC under Higinio Anglés.
2.2 A escola romana
Giovanni Pierluigi de Palestrina (1525-1594).
Stabat Mater para caixa dupla (8 vozes), Missa Assumpta est
Maria (para 6) Missa de Beata Virgine, and abundant Marian
motets.
Orlando di Lasso (Flanders 1532 – Munique 1594).
Magnificat nos oito tons, Salve Regina para 6 vozes,
Litaniae Lauretanae (one of the first cycles on the
Litany of Loreto).
2.3 O Barroco
- Claudio Monteverdi — Vespro della Beata
Vergine (1610). Uma obra-prima do Barroco primitivo. - Antonio Vivaldi — Stabat Mater RV 621
(1712). - Giovanni Battista Pergolesi — Stabat Mater
(1736). His last work, written as he was dying. A fundamental
péce. - Johann Sebastian Bach — Magnificat BWV 243
in D major (1733). - Antonio Caldara — Stabat Mater (c.
1725). - Marc- Antonine Charpentier — Salve Regina,
Litany da Virgem.
3. Românticos e modernos
- Gioachino Rossini — Stabat Mater (1841).
Operatic. - Giuseppe Verdi — Laudi alla Vergine Maria
na Quatro peças sagradas (1898), on Canto XXXIII of
Dante’ ; s Paraíso. - Antonín Dvořák — Stabat Mater op. 58
(1877), after the death of his three children. - Anton Bruckner — Ave Maria WAB 6 (1861),
Toda pulchra es WAB 46, Virga Jesse WAB 52. - Gabriel Fauré — Tantum ergo, Salve
Regina op. 67 não. 1, Ave Maria. - Wolfgang Amadeus Mozart — Regina Coeli K.
276, Litaniae Lauretanae K. 109 e K. 195, Sub tuum
prasesidium K. 198. - Franz Schubert — Terceira canção da Ellen D.
839 (1825). Originally NOT a liturgical Ave Maria: it is the
prayer of Ellen Douglas, a character of Walter Scott. It has been sung with the
Latin text of the Ave Maria desde o século 19. - Charles Gounod — Ave Maria (1853),
a melodic overlay on the Prelude in C major of Bach’ ; s
Clavier bem temperado Eu. - Edward Elgar — Ave verum, Ave
Maria, Ave maris stella. - Arvo Pärt — Magnificat (1989), Stabat
Mater (1985), Salve Regina (2002). Tinnabuli
estilo. - Francis Poulenc — Litanies à Vierge
Noire (1936), após sua conversão em Rocamadour.
4. Spanish Marian popular
song
4.1 Ave Maria
Atribuição correcta: música por Cristóvão
Oudrid (Badajoz 1825 – Madrid 1877), da zarzuela El
molinero de Subiza (premiered in Madrid on 21 December 1870,
livretto by Luis de Eguílaz. Lyrics adapted by Mariano Méndez
Vigo.
Adopção militar: in 1872, the midshipmen of the
training frigate Astúrias in Ferrol began to sing it after
Sunday Mass. In 1942 the Ministry of the Navy commissioned Camilo Pérez
Monllor to make the official harmonization. Today it is the anthem of the Spanish Navy.
Texto: > Hail, Star of the fors, / of the
sejas, Rainbow of eternal joy. / Hail, O Phoenix of beauty, / Mother
of Divine Love. / In your people’s sorrows,
your mercy gives consolation; / fervently may our cry rise to Heaven, /
to You, to You. / Hail, Mother, Hail, hail, Star of the fors, /
Mother of the sejas.
4.2 The Salve of El Rocío and
Marian sevillanas
Sevilhanas to the Virgin of El Rocío (Almonte), the Macarena, La Esperanza
de Triana, the Virgin of La Cabeça. The well-known Deus te salve Rocío
foi composta por Zita Soler Reyes.
4.3 Flechas
An a cappella song «de palo seco» (unaccompanied) that rises as the
images pass in Holy Week processions. Documented origin:
Franciscan couplets of the 16th-17th centuries. A mixed musical substrate:
echoes of the Islamic muezzin, Sephardic psalmody and liturgical
chant. The flamenco saeta dates from c. 1840.
4. 4 Gozos / Goigs
A medieval strophic form (rooted in the Provençal troubadour dance):
refrain + heptasyllabic stanzas + envoi. Documented since the
Crônica de Ramon Muntaner (13th-14th c.). In Catalonia, Valencia,
Aragon and the Balearics, every parish, hermitage or shrine has its own
goigs ao título local. A Amics dels
Goigs Associação existe desde 1854. Goigs del Roser are the most
popular in Catalonia.
4.5 Notável regional
hymns
- Jota à Virgem de El Pilar: «The Virgin of El Pilar says
/ that she does not want to be French, / that she wants to be captain /
of the Aragonese troops». A popular couplet of the 19th century (Peninsular
War, 1808). - Siróis (Montserrat): «Rosa d’abril, Morena de la
serra». Text by Jacint Verdaguer (1880), music by Josep Rodoreda i
Santigós, winner of the competition for the Millennium of Montserrat (20 February
1880, among 68 compositions). It is sung daily at noon by the
Escolania of Montserrat. - Salva marinha asturiana ("Salve, Mãe, na la
terra das Astúrias»): a popular hymn to the Virgin of Covadonga. - Hino à Virgem de El Pilar («Bendita e alabada»):
popular in Aragon.
4.6 The Lourdes hymn — «Ave,
ave, ave María»
Letra original: Abbé Jean Gaignet (Vendée), 1873,
on the occasion of a pilgrimage to Lourdes. Melody taken from a hymn
by Louis Lambillotte (1842). Later extended versions reach up to 68
stanzas (a complete account of the 18 apparitions). Best-known Spanish
adaptation: the Jesuit Juan Iruarrízaga.
4.7 Hymn to Our Lady
of Fátima — «Avé de Fátima»
Letra por Afonso Lopes Vieira, música por Rui
Coelho. It appeared in the Fátima pilgrim’s manual in 1926.
Its litanic structure (Ave, Ave, Ave Maria as the people’ ; s
respse) links it to the Lourdes hymn.
5. Chants for the sung
Rosário
The sung Rosary was a deeply rooted tradition in Hispanic families and
confraternities. The practice has been established since the late 16th century
(Dominicans). The Rosário da Aurora (Rosário da Aurora)
— a sung procession at daybreak in Castilian and Andalusian towns— is a
typical expression.
Pasta: &# 8211; «Salve, Mãe» (a refrain between
mysteries) – «É Maria la branca pomba» (Castile) – «Mira o orvalho»
(Almonte) – «Deus te salve, Maria» sung (a popular syllabic melody) –
«Ave María de Lourdes» among dozens.
The Litany of Loreto is sung at the end with the Gregorian melody
of the simples Kyrie ou com harmonizaçãos populares.
6. Os cânticos do mês de maio
May becomes established as the «month of Mary» in the 18th century (the
Jesuit Annibale Dionisi, O mês de Maio, 1725) and spreads in
Spain in the 19th.
- "Venid e vamos todos, com flores a porfía" —
the best-known version by the Jesuit Nemesio Otaño
(1880-1956). O canto da assinatura do offering of the
flowers. - «Oh Virgem del Pilar bela» - Aragon.
- «Reina e Mãe» — em Espanha.
- «Salve Mãe, na terra das Astúrias» —
Covadonga. - «Com flores a Maria» — a refrain common to several
melodies. - «Maria, cheia de graça» — Kiko Argüello, the
Neocatechumenal Way.
7. Recursos de domínio público
IMSLP scores (public
domain)
- imslp.org/wiki/Category:Victoria, Tomais Luis de — complete works
- Pergolesi’s Stabat Mater P. 77
- Palestrina’s Alma Redemptoris Mater
- 16 Magnificats de Vitória
- Livro de Canções do Palácio (em inglês)
Recordings on the Internet
Archive
- Liber Usualis 1961, 1913 e 1949 — complete PDFs
- 102 Cantos Gregorianos — os Monges de Silos
- Facsimile of Victoria’ ; s Missae, Magnificat, Motecta, Psalmi
Recursos Gregorianos online
- GregoBase — scanned Gregorian scores
(gregobase.selapa.net) - Bacia hidrográfica de Corpus Christi — PDFs Gregorianos (ccwatershed.org)
- Solesmes (solesmes.com) — referência interpretativa
- gregorian-chant-hymns.com — hinos em notação quadrada
Traditional Spanish
songbooks
- Fundação Joaquín Díaz (funjdiaz.net) — database of Castilian
folclore - Higinio Anlés, Monumentos da Música
Espanha (CSIC, de 1941) - Samuel Rubio, A polifonia clássica
(O Escorial, 1956) - Miguel Manzano, Cancionero Leonés (3 vols,
1988-1991) - Felipe Pedrell, Cancioneiro Musical Popular
Espanhol (4 voos, 1918-1922) - Diego Catalão, Romancero
(Seminário Menéndez Pidal, CSIC)
Música coral e polifónica grátis
- ChoralWiki / CPDL (cpdl.org) — escores for several voices in the public
domain
Fontes
Acadêmico e monástico – Liber Usualis,
Solesmes, 1961 edition &# 8211; Graduais Romanum, Solesmes, 1974 &# 8211;
Antiphonale Romanum, Solesmes &# 8211; Higinio Anglés, A Música
na Corte dos Reis Católicos, CSIC, 1941-1965 – Samuel Rubio,
A polifonia clássicaBiblioteca "A Cidade de Deus", El
Escorial, 1956 – Samuel Rubio, Técnica, estilo e expressão da
polifonia de Cristóvão de Morales, CSIC, 1969 – Felipe Pedrell,
Cancioneiro Musical Popular Espanhol, Boileau, 1918-1922 – Miguel
Manzano, Cancionero Leonés, Diputação de Leão, 1988-1991
Recursos digitais verificados &# 8211; IMSLP, CPDL,
Internet Archive, Solesmes, GregoBase – Corpus Christi Watershed –
Fundação Joaquín Díaz – Abbey of Montserrat – Centro Andaluz
Documentação do Flamenco – Palácio do Rosário – Lourdes