Laudes regiae
The laudes regiae ( Latin for “praises of the king”), also laudes Hincmari (after Hinkmar von Reims ), have been a special form of occidental acclamations since around 750 , in which calls of homage to Christ , healing calls to the rulers and bitter calls to the saints are united are. The laudes regiae come from the Frankish empire and were used in the liturgy on solemn festivals in honor of the spiritual and secular rulers. A special form are those once reserved for the Roman-German emperorlaudes imperiales dar, in German called Kaiserlaudes , as they are sung annually at the Karlsamt in Frankfurt and Karlsfest in Aachen . Even today, the Laudes regiae are sung at irregular intervals in special pontifical offices and papal masses. Medieval forms have been handed down:
- 30 French
- 22 Germans
- 10 Gallo-Franconian
- 10 Franconian-Roman
- four English
- four dalmatian
- a Sicilian
In addition, there are the short forms used for the coronation of emperors and the solemn papal services . The laudes regiae had their place in the papal coronation ceremony until the Second Vatican Council . Since around 1880 they have also been revived in numerous monasteries and cathedrals based on old models.
From a church music point of view, the melody of the laudes regiae is of Old Gallican origin (see also the Mozarabic pater noster , the lesson tones of the Milan liturgy and the Gloria XV in the Graduale Romanum ). The melody is in the fourth mode and has a subtonal character. The alternating chant was sung between two choir groups or schola and choir. The introductory tricolon Christ vincit, Christ regnat, Christ imperat ("Christ Victor, Christ King, Christ Lord in eternity"), the invocation Exaudi, Christe ("Hear us, Christ") and the ruler's acclamation each end with quarters , while the invocation of saints has the Fill in falling fourths in seconds . The final christological part with its mostly threefold doxology also has a similar subtonal melody. The neumes of the early manuscripts cannot be deciphered with certainty, but since the 12th century numerous melodies from Porto , Soissons , Worcester , Paris , Troyes , Rouen and Palermo have survived, all of which have significant variants. The old solemn and powerful melody was resumed when it was revived. Around 1900, probably in Belgium, a modern melody in the fifth mode was created . A modern form popular in Italy and France comes from Jan Kunc ; its introductory tricolon became the pause on Vatican Radio .
literature
- Ernst Kantorowicz , Manfred F. Bukofzer: Laudes regiae. A Study in Liturgical Acclamations and Medieval Ruler Worship , Berkeley & Los Angeles 1946
- Bernhard sacrifice man : Laudes regiae . In: Josef Höfer , Karl Rahner (Ed.): Lexicon for Theology and Church . 2nd Edition. tape 6 . Herder, Freiburg im Breisgau 1961, Sp. 825-826 (with literature) .
Web links
- Publications on laudes regiae in the OPAC of the Regesta Imperii
Remarks
- ↑ The attribution of the laudes regiae to Hinkmar († 882), the Archbishop of Reims , is likely to be purely coincidental, since the text and melody were in use 100 years before him.
- ↑ Luigi Lavia: Le Orchester Sinfoniche e Cori delle Principali Radio Nazionali dell'Europa Occidentale , 2019, p. 41.