 | This article needs additional citations for verification .(August 2012) |
The Deutsche Singmesse is a form of (Tridentine) Low Mass that developed in German-speaking countries.
| | This article needs additional citations for verification .(August 2012) |
The Deutsche Singmesse is a form of (Tridentine) Low Mass that developed in German-speaking countries.
In Austria, congregational singing of sacred texts in Old High German at Easter Masses is attested by medieval manuscripts dating as early as the twelfth century. The hymn Christ ist erstanden, translated from the Easter sequence Victimae paschali laudes , became very popular, sung with processions and also sung before the Gospel at Mass, in alternation with the Latin text. With the success of that translation, vernacular versions of other feast-day sequences followed. [1] [ unreliable source? ]
In addition, vernacular adaptations of parts of the Ordinary of the Mass appeared as early as the 1260s, when a homily of Berthold of Regensburg describes a profession of faith which was sung after the Latin Credo : "I believe in the Father, I believe in the Son of my Lady Saint Mary, and in the Holy Spirit, Kyrie eleison." By the time of the Council of Trent, vernacular singing was so well-established that the emperor Ferdinand I asked the Council in 1562 to preserve the existing practice and allow vernacular singing in the Mass. In 1581, a hymnal in Prague included metrical adaptations of the Kyrie , Gloria , Credo and the Lord's Prayer . [1]
The German Singmesse, in its classic form, originated in efforts toward a German-language celebration of the Mass during the Enlightenment era, especially in southern Germany and in Austria, in areas influenced by Josephinism. Together with the Augustinian canon and musician Norbert Hauner, the dean of the Herrenchiemsee abbey, Franz Seraph von Kohlbrenner published his book of songs and prayers Der heilige Gesang zum Gottesdienste in der römisch-katholischen Kirche. Erster Theil, which presented the liturgy in the German language, at Landshut in 1777. In this book for the first time the service is conceived as a Singmesse, a form of Mass sung by the faithful. The still popular Advent hymn "Tauet, Himmel, den Gerechten", for example, appears here as an offertory song during the Sundays of Advent.
In 1795 Michael Haydn reworked Hauner's melodic settings and created his own Deutsches vollständiges Hoch-Amt from them. This series of songs for the individual parts of the Mass (which were still spoken softly by the priest in Latin) is usually named for the first lines of the opening song Hier liegt vor deiner Majestät or simply designated as the Haydn Mass. The text reflects the spirit of the Enlightenment and, through the Singmesse, it has become part of German Catholic heritage. This second setting is the best known Singmesse and appears to this day in several regional editions of the 1975 Catholic hymnal Gotteslobg .
As a matter of liturgical history, the Singmesse varieties replaced the orchestral Masses previously used, which Kaiser Joseph II had forbidden in his domain.
The most famous 19th-century Singmesse, the 1826 Deutsche Messe by Franz Schubert, is based on Haydn's exemplar. Like his, it is not a setting of the classic Mass Ordinary, but instead offers German-language songs whose sensibility is freely related to the expressions in the Ordinary, and that express the feelings of the worshippers in Romantic style.
Other composers who wrote works in the form of the Singmesse include Leopold Mozart and Franz Xaver Gruber.
Following the recommendations of Romano Guardini and the Benedictines of Maria Laach Abbey under Abbot Ildefons Herwegen, the Augustinian canon Pius Parsch of Klosterneuburg Monastery celebrated so-called "Community Masses" (Gemeinschaftsmessen) in the Church of St. Gertrude (Klosterneuburg) in 1922, in which parts of the Mass were sung by the people in the German language. By this, he wanted to develop active participation by the worshippers and a sense of relationship with early Christianity. These celebrations amounted to the birth of the liturgical movement in Austria and Germany. A groundbreaking event was the celebration of a Betsingmesse at the Vienna Catholic convention (Katholikentag) in 1933.
In the Betsingmesse parts of the Mass propers (the variable parts of the Mass) were presented in the form of German songs. German sung forms or songs were also developed or appointed for the Mass Ordinary. At the same time, the texts were spoken in Latin by the priest, just as before, so the two-track structure of the priestly and congregational action was still present. [2]
The Betsingmesse became obsolete with the liturgical reform introduced after the Second Vatican Council and with the introduction of vernacular liturgy in the celebration of the Missa cum populo.
The tradition of carrying out parts of the liturgy in the form of German songs that are not necessarily a German rendering of those parts of the liturgy: e.g., by a "Song at the Gloria" or a "Song at the Sanctus", however, has been retained in many parishes, even if it is regarded critically by liturgists and is not supported by the official documents as part of the modern Roman rite.
Mass is the main Eucharistic liturgical service in many forms of Western Christianity. The term Mass is commonly used in the Catholic Church, Western Rite Orthodoxy, Old Catholicism, and Independent Catholicism. The term is also used in some Lutheran churches, as well as in some Anglican churches, and on rare occasion by other Protestant churches.
The Tridentine Mass, also known as the Traditional Latin Mass or the Traditional Rite, is the liturgy in the Roman Missal of the Catholic Church codified in 1570 and published thereafter with amendments up to 1962. Celebrated almost exclusively in Ecclesiastical Latin, it was the most widely used Eucharistic liturgy in the world from its issuance in 1570 until the introduction of the Mass of Paul VI.
The Mass is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy, known as the Mass.
Low Mass is a Tridentine Mass defined officially in the Code of Rubrics included in the 1962 edition of the Roman Missal as a Mass in which the priest does not chant the parts that the rubrics assign to him. A sung Mass celebrated with the assistance of sacred ministers is a High or Solemn Mass; without them it is a Missa Cantata.
Church music is Christian music written for performance in church, or any musical setting of ecclesiastical liturgy, or music set to words expressing propositions of a sacred nature, such as a hymn.
In the Latin liturgical rites of the Catholic Church, a commemoration is the recital, within the Liturgy of the Hours or the Mass of one celebration, of part of another celebration that is generally of lower rank and impeded because of a coincidence of date.
The ordinary, in Catholic liturgies, refers to the part of the Mass or of the canonical hours that is reasonably constant without regard to the date on which the service is performed. It is contrasted to the proper, which is that part of these liturgies that varies according to the date, either representing an observance within the liturgical year, or of a particular saint or significant event, or to the common which contains those parts that are common to an entire category of saints such as apostles or martyrs.
The Krönungsmesse, composed in 1779, is one of the most popular of Wolfgang Amadeus Mozart's 17 extant settings of the Ordinary of the Mass. It can be classified as either a Missa brevis or a Missa solemnis because although it includes all the sections of the Ordinary, it is relatively short.
Solemn Mass is the full ceremonial form of a Mass, predominantly associated with the Tridentine Mass where it is celebrated by a priest with a deacon and a subdeacon, requiring most of the parts of the Mass to be sung, and the use of incense. It is also called High Mass or Solemn High Mass.
Pre-Tridentine Mass refers to the variants of the liturgical rite of Mass in the West before 1570, when, with his bull Quo primum, Pope Pius V made the Roman Missal, as revised by him, obligatory throughout the Latin Church, except for those places and congregations whose distinct rites could demonstrate an antiquity of two hundred years or more.
Latin liturgical rites, or Western liturgical rites, is a large family of liturgical rites and uses of public worship employed by the Latin Church, the largest particular church sui iuris of the Catholic Church, that originated in Europe where the Latin language once dominated. Its language is now known as Ecclesiastical Latin. The most used rite is the Roman Rite.
Catholic liturgy means the whole complex of official liturgical worship, including all the rites, ceremonies, prayers, and sacraments of the Church, as opposed to private devotions. In this sense the arrangement of all these services in certain set forms is meant. Liturgy encompasses the entire service: prayer, reading and proclamation, singing, gestures, movement and vestments, liturgical colours, symbols and symbolic actions, the administration of sacraments and sacramentals.
The Mass is the central liturgical service of the Eucharist in the Catholic Church, in which bread and wine are consecrated and become the body and blood of Christ. As defined by the Church at the Council of Trent, in the Mass "the same Christ who offered himself once in a bloody manner on the altar of the cross, is present and offered in an unbloody manner". The Church describes the Mass as the "source and summit of the Christian life", and teaches that the Mass is a sacrifice, in which the sacramental bread and wine, through consecration by an ordained priest, become the sacrificial body, blood, soul, and divinity of Christ as the sacrifice on Calvary made truly present once again on the altar. The Catholic Church permits only baptised members in the state of grace to receive Christ in the Eucharist.
Inter pastoralis officii sollicitudines was a motu proprio issued 22 November 1903 by Pope Pius X that detailed regulations for the performance of music in the Roman Catholic Church. The title is taken from the opening phrase of the document. It begins: "Among the concernsof the pastoral office, ... a leading one is without question that of maintaining and promoting the decorum of the House of God in which the august mysteries of religion are celebrated...." The regulations pointed toward more traditional music and critiqued the turn toward modern, orchestral productions at Mass.
Contemporary Catholic liturgical music encompasses a comprehensive variety of styles of music for Catholic liturgy that grew both before and after the reforms of the Second Vatican Council. The dominant style in English-speaking Canada and the United States began as Gregorian chant and folk hymns, superseded after the 1970s by a folk-based musical genre, generally acoustic and often slow in tempo, but that has evolved into a broad contemporary range of styles reflective of certain aspects of age, culture, and language. There is a marked difference between this style and those that were both common and valued in Catholic churches before Vatican II.
Pius Parsch, born John Bruno Parsch was a priest of the Roman Catholic Church.
Deutsche Messe was published by Martin Luther in 1526. It followed his work Formula missae from the year 1523, pertaining to the celebration of a Latin mass. Both of these masses were meant only as suggestions made on request and were not expected to be used exactly as they were, but could be altered. The function of the mass, according to Luther, is to make people hear the word.
The liturgical reforms of Pope Pius XII took place mostly between 1947 and 1958.
Deutsches Hochamt is the title common to several mass compositions by Michael Haydn, setting the mass ordinary in German by Franz Seraph von Kohlbrenner. Three of the works require trained singers and orchestra, while a fourth is kept simple to be sung by the congregation as a Deutsche Singmesse (Betsingmesse). His best-known German High Mass is catalogued as MH 560. Haydn's masses in German are also known by the incipit of the first of ten songs, "Hier liegt vor deiner Majestät".
Die Deutsche Liturgie, MWV B 57, is a collection of musical settings of the ten sung elements in the Protestant liturgy, composed by Felix Mendelssohn for double choir a cappella. He wrote it in 1846 for the Berlin Cathedral, on a request by the emperor, Friedrich Wilhelm IV of Prussia. It was published by Breitkopf & Härtel in 1875 in the complete edition of the composer's works.