Graduale Cisterciense
The Graduale Cisterciense is the central chorale book of the Cistercian order . It contains all the pieces of Gregorian chant that are to be sung by the Schola and Cantor at the celebration of Mass in square notation . The corresponding book for the celebration of the Liturgy of the Hours is the antiphonal . The kyriale mainly contains the ordinarium of Holy Mass.
history
As with all other orders, the rites, liturgy and customs of the Cistercians should be uniform across all monasteries. With this aim in mind , when Stephan Harding was Abbot General (1108–1133), a resolution of the General Chapter stipulated which books should be taken as copies from the mother monastery when monks set out to found a daughter monastery. The gradual also belonged to this minimum equipment.
This handing down from mother to daughter monastery was only able to guarantee uniformity across the entire order when it was clear what the standard should be. In the early days, however, they were still books from monasteries from the time before the founding of the Cistercian order, so these books differed. This gave rise to the need to equip the liturgical books with texts and melodies that were as authentic as possible.
Concerning the gradual: Also for the liturgical chant of the Cistercians should apply what the founders of the order demanded for the monastic life: purity of rule, harmony, simplicity. The lyrics of the chants should be in the foreground and not be overgrown by the melody. According to the monks in Cîteaux , the chants customary in Cluny , which were in the monastic tradition of the Frankish-Roman liturgy, did not correspond to this ideal. For this reason, Stephan Harding initiated the first chorale reform around 1109. This reform took the supposedly authentic melodies of the Gregorian chant, as handed down by the Metz school, as a model. The hymns were taken from the Milan hymn. Unfortunately, this measure turned out to be problematic, so that in 1134 Bernhard von Clairvaux commissioned a second chorale reform on behalf of the General Chapter of the Cistercian Order , whereby text repetitions, incorrect passages and non-biblical pieces should be deleted. The revision of the melodies followed four theoretical principles as far as can be seen: 1. The ambitus (range of a melody) was limited, it could not exceed ten tones. - 2. Authentic and plagial keys should be clearly distinguished and separated. - 3. Melisms (longer melodies on one syllable) and texts have been simplified and z. T. deleted with repetitions. - 4. By transposing the melody of an entire text, the B flat minor was avoided. The changes created a strikingly simple liturgy. Since the notes were recorded on the four-line system of Guido of Arezzo, the codices also make a uniform impression.
This choral reform was completed in 1147/48, so that the liturgical chants for the so-called “Norm Codex” of Cîteaux were available. This code of standards should contain all books whose uniformity should be guaranteed. In addition to the gradual, these were also missals (according to today's understanding, more of a sacramentary), epistolar, evangelist, collector, antiphonary, rule, hymn, psalter, calendar (called martyrology), custom book and breviary. The consequence was that the norm code was not finished until 1185. The inscription around the table of contents at the beginning of the manuscript justifies the compilation as follows: “This volume contains the liturgical books which in our order may not exist in any other form, they are summarized in a corpus, especially for the following reason : This book should serve as an unchangeable standard copy in order to preserve uniformity and to correct deviations in other books. "
This norm code was valid throughout the order until the middle of the 17th century. After the introduction of letterpress printing, the notated Cistercian office based on the norm code was made fully accessible in a print edition as early as 1545 . The Cistercians were hardly affected by the great liturgical reform of Pope Pius V in the 16th century after the Council of Trent, because their own ritual was older than 500 years, so the Cistercians were allowed to keep it. However, foreign elements slowly penetrated and despite the role model character of the norm code, the books produced in various Cistercian monasteries showed small or large differences, either due to errors in copying or deliberately inserted. The graduals from different monasteries, for example, quite often differ in which holy festivals are included - differences that cannot only be explained by holy festivals, which were added gradually. The strict demands of the second chorale reform also gave rise to criticism again and again, so that the texts and melodies of the hymns , antiphons , responsories and verses were the subject of numerous further reforms: Over the centuries, the general chapters made numerous changes and expansions in numerous resolutions which were gradually incorporated into the liturgical books of the Cistercian rite.
According to the general chapter, for example, in the 17th century, the abbot Claude Vaussin of Cîteaux (1608-1670) tried to harmonize the various currents within the order. He arranged for the Cistercian chorale to be adapted to the Medicea. The Medicea, a choral edition around 1615, came about through the ever-increasing standardization of the melodies of individual lines of tradition under the influence of the art of printing. This liturgical reform resulted primarily in the Rituale Cisterciense of 1689 (with new editions 1720, 1892 and 1949) and the Missale cisterciense juxta Romani recogniti correctionem , Lutetiae Parisiorum: Cramoisy, 1657 (with many other editions).
These inherited melodies were sung by the Cistercian monks and nuns until the mid-19th century. Then reform and revision efforts began again and the Cistercians from the strict observance (Trappists, OSCO) began to reconstruct the old books.
A new edition of the Graduale Cisterciense is currently being prepared by the Ste Marie de Boulaur Abbey (France, coordination and work on / with the manuscripts) and the Heiligenkreuz Abbey (Austria, music notation and edition), which reflects both the Cistercian tradition and the requirements of the Liturgical reform of the Second Vatican Council corresponds. The first proofs are already available.
See also
Editions of liturgical books of the Cistercian order
Until 1945 the books were published by the Cistercians of the strict observance (Trappists, OSCO) in Westmalle in Belgium, then by the monks of the original Cistercian order (OCist) in Heiligenkreuz Abbey in Austria. All book titles end with the imprimatur of the Abbot General, in the Graduale Cisterciense of 1934 the full title is, for example, “Graduale Cisterciense auctoritate RR. D. Francisci Janssens abbatis generalis Sacri Ordinis Cisterciensis editum ”.
| year | title | Remarks |
|---|---|---|
| 1860 | Graduale Cisterciense Nova editio, juxta anteriorem, sed multis mendis emendata, in qua continentur omnia, quæ in choro, pro missarum celebratione decantari debent; cum hymnis, antiphonis, versiculis et Psalmis ad tertiam et nonam spectantibus | |
| 1890 | Missale Cisterciense | |
| 1892 | Rituals Cisterciense ex Libro usuum definitionibus Ordinis et caeremoniali episcoporum collectum | Essentially an improved reprint of the Cistercian rituals of 1689 and 1721. Published in Lirinae. Front page |
| 1899 | Graduale Cisterciense | Digitized |
| 1909 | Hymnarium Cisterciense | Digitized , individual chants in modern square notation |
| 1934 | Graduale Cisterciense | Title page Individual chants in modern square notation |
| 1947 | Antiphonarium Cisterciense | Digitized Two chants from it in modern square notation |
| 1948 | Kyriale Cisterciense | |
| 1952 | Hymnarium Cisterciense | |
| 1955 | Antiphonarii Cisterciensis pars prima VIGILIAS NOCTURNAS pro toto anni tempore complectens | Digitized |
| 1954 | Antiphonarii Cisterciensis pars altera HORAS DIURNAS pro toto anni tempore complectens | Digitized |
| 1960 | Graduale cisterciense | Texts of the separately published Kyriale Cisterciense have been omitted. |
| 1983 | Kyriale Cisterciense | |
| 2010 | Kyriale Cisterciense | |
| 2016 | Liturgia Horarum Ordinis Cisterciensis: Psalterium per duas hebdomadas distributum | ISBN 978-3-902694-83-6 |
| 2019 | Kyriale Cisterciense Editio Sancrucis et Ordo Missae | ISBN 978-3-902694-08-9 |
Individual evidence
- ↑ Capitula IX, see Joseph-Maria Canivez (ed.): Statuta Capitulorum Generalium Ordinis Cisterciensis from anno 1116–1786 , Bibliothèque de la Revue d'histoire ecclésiastique, fasc. 9, Louvain 1933
- ↑ Lorenz Weinrich: The liturgy of the Cistercians . In: Kaspar Elm (ed.): The Cistercians. Religious life between ideal and reality. Bonn 1980, pp. 157-164
- ↑ Statute 1134, LXXIII, see Joseph-Maria Canivez (ed.): Statuta Capitulorum Generalium Ordinis Cisterciensis from anno 1116–1786 , Bibliothèque de la Revue d'histoire ecclésiastique, fasc. 9, Louvain 1933
- ^ Bernhard von Clairvaux: Epistola 398 , see Jaques-Paul Migne: Patroligiae Cursus Completus sive ...: Series Latina , Volume 182, Paris 1859, Sp. 610f and Sermones in Cantica Canticorum 47 , see Jaques-Paul Migne: Patroligiae Cursus Completus sive ...: Series Latina , Volume 183, Paris 1859, Col. 1011C.
- ↑ Immo Eberl: The Cistercians. History of a European Order. Ostfildern 2007.
- ^ Felix Heinzer: "Ut idem libri ecclesiastici et consuetudines sint omnibus" - books from Lichtenthal's founding time. In: Felix Heinzer: Monastery reform and medieval book culture in the German southwest. Leiden 2008, pp. 437-446. Translation on p. 441
- ↑ https://books.google.de/books?id=a8329mzqJMUC&hl=de
- ↑ Hildegard Zeletzki: Unity in God's Praise - The Liturgy of the Cistercians. Altenberger Blätter, Issue 12, June 2001 and Ora et Labora, Issue 58, Christmas 2018 , pp. 11–12.
- ↑ http://www.forstverwaltung-heiligenkreuz.at/fileadmin/Redakteure/GC-praesentation.pdf
- ↑ http://www.forstverwaltung-heiligenkreuz.at/fileadmin/Redakteure/Graduale_Cisterciense_2020.pdf