Antiphonary
An antiphonary or antiphonal is one of the liturgical books intended for use in choro, and originally characterized, as its name implies, by the assignment to it principally of the antiphons used in various parts of the Latin liturgical rites.
Medieval antiphonaries varied with regional liturgical tradition. In 1570, following the Council of Trent, the Roman Rite antiphonary was declared universal. The Roman Antiphonary contains the chants for the canonical hours for the hours of Lauds, Prime, Terce, Sext, None, Vespers and Compline for every day of the year. The Vesperale Romanum is an excerpt of the Antiphonary containing the chants sung at Vespers. The music for use at the Mass is contained in the Roman Gradual, the chants of the ordinary are also edited as an excerpt from the Gradual, the Kyriale Romanum. The Antiphonale Romanum was substantially revised in 1910–11 in the course of the reform of the Roman Breviary under Pope Pius X, notably restoring authentic Gregorian melodies. For the 1971 "Liturgy of the Hours", there are two volumes, Antiphonale Romanum II and Liber Hymnarius.
Terminology
Alternative terms for Antiphonary are Antiphonal or Antiphony. The term comes from the Latin antiphonarium, antiphonarius, antiphonarius liber, antiphonale, which came from the Greek antíphonon "antiphone, anthem".In current usage, Antiphonary refers more narrowly to books containing the chants for the Divine Office in distinction to the Gradual, which contains the antiphons used for the Mass.
The Antiphonary thus included generically the antiphons and antiphonal chants sung by cantor, congregation, and choir at Mass and at the canonical Hours ; but now it refers only to the sung portions of the Divine Office or Breviary.
Other English equivalents for antiphonary are antiphonar and antiphoner.
In the "Prioress' Tale" of Chaucer it occurs in the form antiphonere:
The word Antiphonary had in the earlier Middle Ages sometimes a more general, sometimes a more restricted meaning. In its present meaning it has also been variously and insufficiently defined as a "Collection of antiphons in the notation of Plain Chant", and as a liturgical book containing the antiphons "and other chants".
In its present complete form it contains, in plain-chant notation, the music of all the sung portions of the Roman Breviary immediately placed with the texts, with the indications of the manner of singing such portions as have a common melody. But the Lessons of Matins in the triduum of Holy Week, styled "Lamentations", have a melody proper to themselves, which is not therefore merely indicated but is placed immediately with the texts of the Lessons.
Image:Evora06.jpg|thumb|225px|An old Antiphoner from the Church of St. Francis, Evora, Portugal
In order to show as clearly as possible the exact position of the antiphonary amongst the liturgical books, it is proper to recall that the Roman Missal contains all the texts used at Mass; the Roman Breviary, all the texts used in the Divine Office or Canonical Hours. While in the Missal, the introits, graduals, tracts, sequences, offertories, communions, as well as the texts of the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei are both read by the celebrant and sung by the choir, their notation is not given, only the accentus or chants, of the celebrant and deacon have the music furnished. The omitted chants, which are to be sung by the choir, are contained in a supplementary volume called the "Graduale" or "Liber Gradualis".
In like manner, the Roman Breviary, practically entirely meant for singing in choro, contains no music; and the "Antiphonarium" performs for it a service similar to that of the "Liber Gradualis" for the Missal.
Just as the "Liber Gradualis" and the "Antiphonarium" are, for the sake of convenience, separated from the Missal and Breviary respectively, so, for the same reason, still further subdivisions have been made of each.
The "Antiphonarium" has been issued in a compendious form "for the large number of churches in which the Canonical Hours of the Divine Office are sung only on Sundays and Festivals". This Antiphonarium Romanum compendiose redactum ex editionibus typicis etc., includes, however, the chants for the Masses of Christmas, the triduum of Holy Week, and other desired Offices, and is issued in a single volume. Another separate volume is the "Vesperal", which contains also the Office of Compline; and of the "Vesperal" a further compendium has been issued, entitled "Epitome ex Vesperali Romano".
Associated somewhat in scope with the "Antiphonarium" is the "Directorium Chorii", which has been described as furnishing the ground plan for the antiphonary, inasmuch as it gives or indicates all the music of the chants, the tones of the psalms, the brief responsories, the "Venite Exultemus", the "Te Deum", Litanies etc. The text of all the psalms, the full melody of the hymns, and the new feasts were added to the "official edition" of the "Directorium" in 1888.
The word antiphonary does not therefore clearly describe the contents of the volume or volumes thus entitled, in which are found many chants other than the antiphon per se, such as hymns, responsories, versicles, and responses, psalms, the "Te Deum," the "Venite Adoremus," and so forth. The expression "antiphonal chant" would, however, comprise all these different kinds of texts and chants, since they are so constructed as to be sung alternately by the two divisions of the liturgical choir; and in this sense the word Antiphonary would be sufficiently inclusive in its implication. On the other hand, the corresponding volume for the chants of the Mass, namely the "Graduale", or "Liber Gradualis", includes many other kinds of liturgical texts and chants in addition to the graduals, such as introits, tracts, sequences, offertories, communions, as well as the fixed texts of the "Ordinarium Missæ", or "Kyriale". It may be said, then, that these two books receive the names "Antiphonarium" and "Graduale" from the technical name of the most important chants included in them. Fundamentally all the chants, whether of the Mass or of the Divine Office, are sung antiphonally, and might, with etymological propriety, be comprised in the one general musical title of "Antiphonary."
History
Early history
is traditionally considered to have revised and collected the various texts and chants of the liturgy, giving rise to the term "Gregorian Chant" for liturgical plainsong melodies. The Gregorian Antiphonary, and the supplemental Antiphonarium Missae, left an enduring influence on the Roman liturgy.Earlier popes had given, a medieval writer assures us, attention to the chants; and he specifies St. Damasus, St. Leo, St. Gelasius, St. Symmachus, St. John I and Boniface II. It is true, also, that the chants used at Milan were styled, in honour of St. Ambrose, the Ambrosian Chant.
But it is not known whether any collection of the chants had been made before that of St. Gregory, concerning which his ninth-century biographer, John the Deacon, wrote: Antiphonarium centonem … compilavit. The authentic antiphonary mentioned by the biographer has not as yet been found. What was its character? What is meant by cento ?
In the century in which John the Deacon wrote his life of the Saint, a cento meant the literary feat of constructing a coherent poem out of scattered excerpts from an ancient author, in such wise, for example, as to make the verses of Virgil sing the mystery of the Epiphany. The work, then, of St. Gregory was a musical cento, a compilation of pre-existing material into a coherent and well-ordered whole. This does not necessarily imply that the musical centonization of the melodies was the special and original work of the Saint, as the practice of constructing new melodies from separate portions of older ones had already been in vogue two or three centuries earlier than his day. But is it clear that the cento was one of melodies as well as of texts? In answer it might indeed by said that in the earliest ages of the Church the chants must have been so very simple in form that they could easily be committed to memory; and that most of the subsequently developed antiphonal melodies could be reduced to a much smaller number of types, or typical melodies, and could thus also be memorized.
And yet many say that it is scarcely credible that the developed melodies of St. Gregory's time had never possessed a musical notation, had never been committed to writing. What made his antiphonary so very useful to chanters was probably his careful presentation of a revised text with a revised melody, written either in the characters used by the ancient authors or in neumatic notation. St. Augustine, sent to England by St. Gregory, carried with him a copy of the precious antiphonary, and founded at Canterbury a flourishing school of singing. A decree of the Second Council of Cloveshoo directing that the celebration of the feasts, in respect to baptism, Masses and music, should follow the method of the book "which we received from the Roman Church".
That this book was the Gregorian antiphonary is clear from the testimony of Egbert, Bishop of York, who in his De Institutione Catholica speaks of the "Antiphonarium" and "Missale" which the "blessed Gregory … sent to us by our teacher, blessed Augustine".
Middle Ages
It is impossible to trace here the progress of the Gregorian antiphonary throughout Europe, which resulted finally in the fact that the liturgy of Western Europe, with a very few exceptions, finds itself based fundamentally on the work of St. Gregory, whose labour comprised not merely the sacramentary, and the "Antiphonarium Missæ", but extended also to the Divine Office. Briefly, the next highly important step in the history of the antiphonary was its introduction into some dioceses of France where the liturgy had been Gallican, with ceremonies related to those of Milan and with chants developed by newer melodies.From the year 754 may be dated the change in favour of the Roman liturgy. St. Chrodegang, Bishop of Metz, on his return from an embassy to Rome, introduced the Roman liturgy into his diocese and founded the Chant School of Metz. Subsequently, under Charlemagne, French monks went to Rome to study the Gregorian tradition there, and some Roman teachers visited France.
The interesting story of Ekkehard, concerning two monks, Petrus and Romanus, sent from Rome to teach chant, is not to be taken as historical. But a certain Petrus, according to Notker, was sent to Rome by Charlemagne and at the Abbey of St. Gall trained the monks in the Roman style. Besides Metz and St. Gall, other important schools of chant were founded at Rouen and Soissons.
In the course of time new melodies were added, at first characterized by the simplicity of the older tradition, but gradually becoming more free in extended intervals. With respect to German manuscripts, the earliest are found in a style of neumatic notation different from that of St. Gall, while the St. Gall manuscripts are derived not directly from the Italian but from the Irish-Anglo-Saxon. It is probable that before the 10th and 11th centuries the Irish and English missionaries brought with them the notation of the English antiphonary.
It would take too much space to record here the multiplication of antiphonaries and their gradual deterioration, both in text and in chant, from the Roman standard.
The school of Metz began the process early. Commissioned by Louis the Pious to compile a "Graduale" and antiphonary, the priest Amalarius of Metz found a copy of the Roman antiphonary in the monastery of Corbie, and placed in his own compilation an M when he followed the Metz antiphonary, R when he followed the Roman, and an I C when he followed his own ideas.
His changes in the "Graduale" were few; in the antiphonary, many.
Part of the revision which, together with Elisagarus, he made in the responsories as against the Roman method, were finally adopted in the Roman antiphonary.
In the 12th century, the commission established by St. Bernard to revise the antiphonaries of Citeaux criticized with undue severity the work of Amalarius and Elisagarus and withal produced a faulty antiphonary for the Cistercian Order.
The multiplication of antiphonaries, the differences in style of notation, the variations in melody and occasionally in text, need not be further described here.
In France especially, the multiplication of liturgies subsequently became so great, that when Prosper Guéranger, in the middle of the 19th century, started introducing the Roman liturgy into that country, sixty out of eighty dioceses had their own local breviaries.
That the word antiphonarium is, or was, quite elastic in its application, is shown by the remark of Amalarius in his Liber de ordine Antiphonarii, written in the first half of the 9th century. The work which in Metz was called "Antiphonarius" was divided into three in Rome: "What we call 'Graduale' they style 'Cantatorius'; and this, in accordance with their ancient custom, is still bound in a single volume in some of their churches. The remainder they divide into two parts: the one containing the responsories is called 'Responsoriale'; while the other, containing antiphons, is called 'Antiphonarius'. I have followed our custom, and have placed together the responsories and the antiphons according to the order of the seasons in which our feasts are celebrated". The word "cantatory" explains itself as a volume containing chants; it was also called "Graduale", because the chanter stood on a step of the ambo or pulpit, while singing the response after the Epistle. Other ancient names for the antiphonary seem to have been Liber Officialis and "Capitulare".