Kyrie, fons bonitatis

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Kyrie, fons bonitatis , first and second of the nine invocations
Kyrie, God the Father forever

Kyrie, fons bonitatis is a Latin trope for Kyrie eleison of the holy Mass . It is first attested to around the middle of the 10th century. The Gregorian melody and parts of the text became the basis of the Lutheran liturgical chant Kyrie, God the Father for Eternity ( Evangelical Hymnal 178.4).

Kyrie, fons bonitatis

Quirk

A trope is the often extensive textual extension of an ordinarium or proprium chant . Such extensions were based on the melisms of the original, or they had their own melodies, which were subsequently sung with the mere mass text. The Kyrie, fons bonitatis is probably the second case.

The trope for the nine-time Kyrie interprets the invocations in a trinitarian way according to contemporary interpretative tradition : three times Kyrie eleison to God the Father, three times Christe eleison to God the Son, three times Kyrie eleison to God the Holy Spirit. The three invocations to the father are again accentuated in a trinitarian way. The three calls to Christ deal with the sons of God and birth from the virgin, the omnipotence and mediation of Christ in prayer. The essential unity with the Father and the Son, the appearance in the form of a dove at the baptism of Jesus and the fire-like effectiveness are predicated of the Holy Spirit .

The Kyrie, fons bonitatis consists of three times three identical, free rhythmic stanzas. Instead of rhymes there are only irregular assonances .

text

Latin original

translation

Kyrie,
fons bonitatis,
Pater ingenite,
a quo bona cuncta procedunt:
eleison.
Kyrie,
qui pati natum
mundi pro crimine,
ipsum ut salvaret misisti:
eleison.
Kyrie,
qui septiformis
dans dona Pneumatis,
a quo caelum, terra replentur:
eleison.

Christe,
unice Dei Patris Genite,
quem de Virgine nasciturum
mundo mirifice
sancti praedixerunt prophetae:
eleison.
Christ,
hagie caeli compos regiae,
melos gloriae cui semper
adstans per numine
Angelorum decantat apex:
eleison.
Christe,
caelitus adsis nostris precibus,
pronis mentibus quem in terris
devote colimus,
ad te, pie Jesu, clamantes:
eleison.

Kyrie,
Spiritus alme,
cohaerens Patri Natoque,
unius usiae consistendo
flans from utroque:
eleison.
Kyrie,
qui baptizato
in Jordanis unda Christo
effulgens specie columbina
apparuisti:
eleison.
Kyrie,
ignis divine,
pectora nostra succende,
ut digne pariter proclamare
possimus semper:
eleison.

Lord,
source of goodness,
Father, unwarned,
from whom all goods come:
have mercy.
Mr,
who you the son to suffer
for the iniquity of the world,
so that he may save her, have sent:
have mercy.
Lord,
who
give gifts of the sevenfold Spirit,
from which heaven and earth are filled:
have mercy.

Christ, the
onlyborn Son of God the Father,
whose birth of the virgin,
miraculous to the world,
the holy prophets foretold:
have mercy.
Christ,
holy co-ruler in the royal hall of heaven,
the incessant song of the Gloria
the host of angels standing before you
sings in honor of your deity:
have mercy.
Christ,
from heaven help our prayers;
pious and with a humble mind
we honor you on earth
and call to you, merciful Jesus:
have mercy.

Lord,
exalted Spirit,
united with the Father and the Son,
waving
from both by virtue of the one being :
have mercy.
Mr,
who you after the baptism of Christ
in the water of the Jordan
shining in the shape of a dove
appeared:
have mercy.
Lord,
divine fire,
kindle our hearts
so that we can always
exclaim worthily together:
have mercy.

Kyrie, God the Father forever

Quirk

As part of their efforts to organize a German mass , the reformers translated and adapted numerous Latin chants from church tradition. The Kyrie, God the Father in Eternity , appears for the first time in 1537/38 in Nikolaus Medler's Lutheran church ordinance for the Naumburg St. Wenceslas Church . It cannot be determined whether he is the author. There is no evidence of Martin Luther's occasionally claimed authorship .

The kyrie found widespread acceptance in Lutheran worship, but fell out of use in the 19th century. It is missing in the German Evangelical Hymn . The liturgical renewal that led to the Evangelical Church Hymn book resumed it; However, it no longer gained popularity.

The melody adheres closely to the Gregorian model. The three parts of the text correspond in meter to the invocations of Kyrie, fons bonitatis . Most of the lines are rhymed . In terms of content, only a few motifs from the template are adopted. Added is the final request for a comforted hour of death as a return home from “misery”, i. H. Exile of this world - almost word for word with the opening stanza of Now we ask the Holy Spirit (13th century).

text

Kyrie,
God the Father for ever ,
great is your mercy,
one creator and ruler of all things:
eleison.

Christ,
comfort to all the world,
you redeemed us sinners only.
O Jesus, Son of God,
our mediator are in the highest throne,
to you we cry out of our heart's desire:
eleison.

Kyrie,
God, the Holy Spirit,
comforts, strengthens us in the belief
that in the end we will
happily leave this misery:
eleison.

Musical arrangements

Of the musical arrangements are those of Johann Sebastian Bach in his "Organ Mass," the third part of the Clavierübung , the major (BWV 669-674).

Kyrie Summum

Kyrie Summum (1588)

An abbreviated version of the Latin Kyrie trope (invocations 1, 4 and 9 with minor variations) was still in use in many Lutheran congregations. It can be found in most Lutheran collections of liturgical chants, such as in the Cantica Sacra by Franz Eler , published in Hamburg in 1588 , as Kyrie Summum ("highest Kyrie"). Medler's German version in the Naumburg Church Ordinance of 1537 already bore this heading.

Kyrie,
fons bonitatis,
pater ingenite,
a quo bona cuncta procedunt:
Eleison.

Christe,
unice deitatis genite,
qui de virgine nasceris
mundo mirifice,
sicut praedixerunt Prophetae:
Eleison.

Kyrie,
ignis divine,
pectora nostra succendens,
ut digni pariter te laudare
possimus semper:
Eleison.

The Kyrie Summum was sung on feast days. It can be found in its Latin form in Lutheran hymnbooks until the 18th century, but then went out of use with the end of Latin chants in Lutheran worship at the end of the 18th century.

literature

Web links

Commons : Kyrie, fons bonitatis  - collection of images, videos and audio files

Individual evidence

  1. ↑ Stalmann, p. 17
  2. ↑ Today's liturgy understands them broadly as calls to Christ.
  3. ^ Text based on Cantus selecti , Solesmes 1957, pp. 81–82
  4. ↑ a b Church regulations for St. Wenceslas Church in Naumburg (1537/38), printed in: Emil Sehling (Ed.): The Protestant Church Regulations of the XVI. Century , Leipzig 1904, p. 78
  5. ↑ Text version of EC 178.4
  6. ↑ Text after Franz Eler : Cantica Sacra partim ex sacris Literis desvmpta, partim ab orthodoxis patribus et piis Ecclesiae Doctoribus composita, et in vsvm Ecclesiae et Iuventutis Scholasticae Hamburgensis Collecta, atque ad duodecim modos ex doctrina Glareanita fine accomodata ... Psalmi Lutheri, et aliorum ejus seculi Doctorum, itidem Modis applicati. Hamburg: Jakob Wolff 1588 ( DKL 1588, 14) ( digitized , p. XIIII
  7. ↑ See, for example, Complete Braunschweigisches Gesangbuch. Braunschweig 1735, No. 482