Beneventan chant is a liturgical plainchant repertory of the Roman Catholic Church, used primarily in the orbit of the southern Italian ecclesiastical centers of Benevento and Monte Cassino distinct from Gregorian chant and related to Ambrosian chant. It was officially supplanted by the Gregorian chant of the Roman rite in the 11th century, although a few Beneventan chants of local interest remained in use.
During the Lombard occupation of the 7th and 8th centuries, a distinctive liturgical rite and plainchant tradition developed in Benevento. It included feasts of special local importance such as the Holy Twelve Brothers of Benevento. At the time it was called cantus ambrosianus ("Ambrosian chant"), although it is a separate plainchant tradition from the chant of Milan which we call Ambrosian chant. The common use of the name cantus ambrosianus, the common influence of the Lombards in both Benevento and Milan, and musical similarities between the two liturgies and chant traditions suggest a Lombard influence in the origins of Beneventan chant.
Gregorian chant had already begun to take hold in the Beneventan orbit as early as the 8th century. The two traditions appear to have coexisted for about a century before the Gregorian chant began to replace the native Beneventan. Many Beneventan chants exist only as interpolations and addenda in Gregorian chantbooks, sometimes next to their corresponding chants in the Gregorian repertory. External ecclesiastical influences, such as two German abbots at Montecassino during the 11th century, led to an increasing insistence on the Roman rite and Gregorian chant instead of the local Beneventan traditions. One of these abbots later became Pope Stephen IX, who in 1058 officially outlawed the Beneventan rite and chant. A few Beneventan chants continued to be recorded and performed for a time, especially for the feasts of local importance such as the Holy Twelve Brothers, which had no Gregorian counterpart. However, the Beneventan repertory as a whole fell into disuse. This was commemorated in a legend of a singing contest between a Gregorian and a Beneventan cantor, which ended in victory for the Gregorian repertory when the Beneventan cantor fainted from exhaustion.
Beneventan chant is largely defined by its role in the liturgy of the Beneventan rite, which is more closely related to the liturgy of the Ambrosian rite than the Roman rite. The Beneventan rite has not survived in its complete form, although most of the principal feasts and several feasts of local significance are extant. The Beneventan rite appears to have been less complete, less systematic, and more liturgically flexible than the Roman rite; many Beneventan chants were assigned multiple roles when inserted into Gregorian chantbooks, appearing variously as antiphons, offertories, and communions, for example.
Like all plainchant, Beneventan chant is monophonic and a cappella . In accordance with Roman Catholic tradition, it is primarily intended to be sung by males. Like the other Italian chant repertories, the Old Roman chant and Ambrosian chant, the melodies are melismatic and ornate. The melodic motion is primarily stepwise, with a limited ambitus, giving the chants a smooth, undulating feel. Unlike Ambrosian chants, Beneventan chants do not notably specify whether any given chant is meant to be sung by the choir or by any particular singer. The chants almost all end on one of two pitches, a G or an A, and thus do not fit into the Gregorian system of eight modes.
What most distinguishes Beneventan chant is its frequent and repeated use of various short melodic motifs. Although this technique is used in other chant traditions, such as the centonization of melodic formulae in the Gregorian Graduals, it is far more frequently used in Beneventan chant than in the other Western plainchant traditions.
Many Beneventan antiphons have psalmody, but no specifically Beneventan style can be distinguished from the Gregorian sources in which it survives. Unlike the Ambrosian rite, there is no special service for nightfall, but there are about fifty extant antiphons and five responsories. Only antiphons for Sunday services survive. Much melodic material is shared among the antiphons and among the responsories.
With rare exceptions, only Proper chants (chants which vary depending on the feast) for the Mass survive. As in the Ambrosian rite, a threefold Kyrie was sung to a simple melody following the Gloria, but this was not analogous to the more complex Kyrie of the Gregorian repertory.
In the Beneventan rite, the Proper of the Mass included an Ingressa, Alleluia, Offertory, Communion, and in six extant Masses, a Gradual.
Ingressae, as in the Ambrosian rite, are elaborate chants sung without psalm verses. They are analogous to the Gregorian Introit. Alleluias appear in every Mass except the Masses of Holy Week. Most of them share a single melody. Offertories and Communions are melodically more simple. Some Masses have two Communion chants. Some Communion chants appear in other services as the Offertory chant, or as a simple antiphon.
Plainsong or plainchant is a body of chants used in the liturgies of the Western Church. When referring to the term plainsong, it is those sacred pieces that are composed in Latin text. Plainsong was the exclusive form of Christian church music until the ninth century, and the introduction of polyphony.
An antiphon is a short chant in Christian ritual, sung as a refrain. The texts of antiphons are usually taken from the Psalms or Scripture, but may also be freely composed. Their form was favored by St Ambrose and they feature prominently in Ambrosian chant, but they are used widely in Gregorian chant as well. They may be used during Mass, for the Introit, the Offertory or the Communion. They may also be used in the Liturgy of the Hours, typically for Lauds or Vespers.
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of the Old Roman chant and Gallican chant.
The Antiphonary tonary missal of St. Benigne was written in the last years of the 10th century, when the Abbot William of Volpiano at St. Benignus of Dijon reformed the liturgy of several monasteries in Burgundy. The chant manuscript records mainly Western plainchant of the Roman-Frankish proper Mass and part of the chant sung during the matins, but unlike the common form of the Gradual and of the Antiphonary, William organized his manuscript according to the chant genre, and these sections were subdivided into eight parts according to the octoechos. This disposition followed the order of a tonary, but William of Volpiano wrote not only the incipits of the classified chant, he wrote the complete chant text with the music in central French neumes which were still written in campo aperto, and added a second alphabetic notation of his own invention for the melodic structure of the codified chant.
The gradual is a chant or hymn in the Mass, the liturgical celebration of the Eucharist in the Catholic Church, and among some other Christians. It gets its name from the Latin gradus because it was once chanted on the step of the ambo or altar. In the Tridentine Mass, it is sung after the reading or chanting of the epistle and before the Alleluia, or, during penitential seasons, before the tract. In the Mass of Paul VI, the gradual is usually replaced with the responsorial psalm. Although the Gradual remains an option in the Mass of Paul VI, its use is extremely rare outside monasteries. The gradual is part of the proper of the Mass.
The Introit is part of the opening of the liturgical celebration of the Eucharist for many Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and Gloria Patri, which are spoken or sung at the beginning of the celebration. It is part of the proper of the liturgy: that is, the part that changes over the liturgical year.
The Office of the Dead or Office for the Dead is a prayer cycle of the Canonical Hours in the Catholic Church, Anglican Church and Lutheran Church, said for the repose of the soul of a decedent. It is the proper reading on All Souls' Day for all departed souls (Purgatory), and can be a votive office on other days when said for a particular decedent. The work is composed of different psalms, scripture, prayers and other parts, divided into The Office of Readings, Lauds, Daytime Prayer, Vespers and Compline.
The Gallican Rite is a historical form of Christian liturgy and other ritual practices in Western Christianity. It is not a single liturgical rite but rather several Latin liturgical rites that developed within the Latin Church, which comprised the majority use of most of Western Christianity for the greater part of the 1st millennium AD. The rites first developed in the early centuries as the Syriac-Greek rites of Jerusalem and Antioch and were first translated into Latin in various parts of the Western Roman Empire Praetorian prefecture of Gaul. By the 5th century, it was well established in the Roman civil diocese of Gaul, which had a few early centers of Christianity in the south. Ireland is also known to have had a form of this Gallican Liturgy mixed with Celtic customs.
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.
The Communion is a refrain sung with psalm recitation during the distribution of the Eucharist in the Divine Liturgy or Mass. As chant it was connected with the ritual act of Christian communion.
Gallican chant refers to the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction and development of elements of the Roman rite from which Gregorian chant evolved. Although the music was largely lost, traces are believed to remain in the Gregorian corpus.
Ambrosian chant is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church, related to but distinct from Gregorian chant. It is primarily associated with the Archdiocese of Milan, and named after St. Ambrose much as Gregorian chant is named after Gregory the Great. It is the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church.
Mozarabic chant is the liturgical plainchant repertory of the Visigothic/Mozarabic rite of the Catholic Church, related to the Gregorian chant. It is primarily associated with Hispania under Visigothic rule and later with the Mozarabs and was replaced by the chant of the Roman rite following the Christian Reconquest of the Iberian Peninsula. Although its original medieval form is largely lost, a few chants have survived with readable musical notation, and the chanted rite was later revived in altered form and continues to be used in a few isolated locations in Spain, primarily in Toledo.
Old Roman chant is the liturgical plainchant repertory of the Roman rite of the early Christian Church. It was formerly performed in Rome, and, although it is closely related to Gregorian chant, the two are distinct. Gregorian Chant gradually supplanted Old Roman Chant between the 11th century and the 13th century AD. Unlike other chant traditions, Old Roman chant and Gregorian chant share essentially the same liturgy and the same texts. Many of their melodies are also closely related. Although primarily associated with the churches of Rome, the Old Roman chant was also performed in parts of central Italy, and it was possibly performed much more widely.
The Church of the Ascension is an Anglo-Catholic parish in the Episcopal Diocese of Chicago. Founded in 1857 as a mission of St. James Church, it is now located on North La Salle Drive on Chicago's Near North Side. The church became a part of the Anglo-Catholic movement in 1869. The principal service on Sunday is the Solemn High Mass celebrated at 11 a.m., according to Rite II in the Episcopal Church's Book of Common Prayer (1979). This Mass is celebrated at the High Altar, and includes three sacred ministers, many acolytes, incense, and music provided by a professional choir. The mass includes processions and other devotions on certain feasts and holy days.
"Rorate caeli" or "Rorate coeli" are the opening words of Isaiah 45:8 in the Vulgate. The text appears at several points in the Christian liturgy of the Western Church during Advent.
The liturgical books of the Roman Rite are the official books containing the words to be recited and the actions to be performed in the celebration of Catholic liturgy as done in Rome. The Roman Rite of the Latin or Western Church of the Catholic Church is the most widely celebrated of the scores of Catholic liturgical rites. The titles of some of these books contain the adjective "Roman", e.g. the "Roman Missal", to distinguish them from the liturgical books for the other rites of the Church.
The Roman Gradual is an official liturgical book of the Roman Rite of the Roman Catholic Church containing chants, including the proper and many more, for use in Mass.
The Celtic mass is the liturgy of the Christian office of the Mass as it was celebrated within Celtic Rite of Celtic Christianity in the Early Middle Ages.
Gregoriana Amsterdam is a vocal ensemble specialized in the reconstruction and performance of Gregorian chant based on tenth-century sources. Gregoriana was initiated by Reinier van der Lof in 2002. Since its foundation Gregoriana has been directed by Geert Maessen. Since 2006 Gregoriana also has a female branch, initially called Virga. Gregoriana’s home is the Church of St. Peter and St. Paul, Amsterdam, where every first and third Saturday of the month at 16:00 Vespers are sung and every first Sunday at 10:30 Holy Mass. Until September 2019 Gregoriana's home has been the Amsterdam Obrechtkerk.
