Regina caeli

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Mary Queen of Heaven or Mary Queen of Angels , master of the Lucia legend , around 1485 to 1500

Regina Coeli ( Latin Queen of Heaven ), Queen of Heaven , in Medieval Latin frequently Regina Coeli written is an honorary title for Mary , the mother of Jesus , and the beginning of a Marian antiphon in the liturgy of the hours the Church.

Marian title

The theological content of the Marian honorary title Regina caeli lies in the belief that Mary, as Mother of God, shares in the heavenly glory of her risen Son. The most important doctrinal document about the heavenly kingdom of Mary is the encyclical Ad caeli reginam ("To the Queen of Heaven") of Pope Pius XII. dated October 11, 1954. This encyclical explains the biblical, patristic, theological and liturgical foundations of the Marian invocation. The Second Vatican Council referred to these doctrinal statements in its Dogmatic Constitution on the Church, Lumen Gentium : Mary was "exalted by the Lord as Queen of All to be more perfectly made like her Son".

presentation

see: Coronation of Mary

Marian antiphon

The Regina caeli in the antiphonal

The Marian antiphon Regina caeli is sung in church hours during Easter either after Vespers or after Compline - depending on which of these two hours is the last to be celebrated in community. For the Marian antiphons, the term "antiphon" has become common, although it is actually not antiphonal chant in the strict sense, but rather hymn-like chants without reference to a psalm. The text and the Gregorian melody have been handed down since the 12th century. In God's praise the Latin antiphon is printed under number 666, 3 ( GL old 574). In the praise of God from 1975, a German translation of the antiphon was also included under number 575, beginning with the words "O Himmelskönigin, frohlocke, Halleluja". The text consists of lines of verse in free rhythms in the style of the Psalms , the New Testament Cantica and early Christian poetry (e.g. Gloria , Te Deum ). The two-syllable rhyme of the first two lines arises here more secondary from the principle of parallelism membrorum than from the targeted application of a rhyme scheme. " Regina coeli is first attested as a chant after the Magnificat on the day of the octave before Easter in a Roman antiphonary from St. Peter dating from around 1200", is meant by BAV Arch. Cap. S. Pietro B 79.

The text of the antiphon and the oration read:

Latin German

Regina caeli, laetare, alleluia.
Quia quem meruisti portare, alleluia,
Resurrexit, sicut dixit, alleluia.
Ora pro nobis Deum, alleluia.

Rejoice, Queen of Heaven, Hallelujah.
whom you were worthy of carrying, alleluia,
he is risen as he said, alleluia.
Pray for us, Hallelujah.

If the Regina caeli is prayed instead of the Angelus during Easter , then one adds:

Latin German

Gaude et laetare, Virgo Maria, alleluia.
Quia surrexit Dominus vere, alleluia.

Oremus. Deus, qui per resurrectionem Filii tui
Domini nostri Iesu Christi mundum laetificare dignatus es:
praesta, quaesumus, ut per eius Genetricem Virginem Mariam
perpetuae capiamus gaudia vitae. Per one Christ, Dominum nostrum. Amen.

Rejoice and rejoice, Virgin Mary, Alleluia,
for the Lord is truly risen, Alleluia.

Let us pray. Almighty God, through the resurrection of your Son, our Lord Jesus Christ, you have filled the world with joy. Let us come to the immortal joy of Easter through his virgin mother Mary. Therefore, we ask through Christ, our Lord. Amen.

Arrangements of the antiphon

First translations of the Latin Easter antiphon into German have been documented since the 15th century. In the main part of God's praise under number 525 (GL old 576) a song paraphrase from Constance (“Rejoice, you heavenly queen”) from the 16th century is printed. Each stanza - there are four in total - takes up one of the four movements of the antiphon. In the own part of the dioceses of Rottenburg-Stuttgart and Freiburg you can find a free transfer from Christoph von Schmid (“O mother of Jesus, rejoice”) under number 888 (GL old 894 ).

Settings

The Regina coeli was set to music by various composers, but overall it was not as popular for settings as the Salve Regina or the Ave Maria . From the time of the vocal polyphony stand out an artistic two-part motet Regina caeli for four voices by Josquin Desprez , as well as an eight -part motet by Francisco Guerrero and some four- or eight-part motets by Palestrina . The latter also left two masses on the Regina coeli , one for four and one for five voices. Also known are a motet by Lully from 1684, three versions by the young Mozart (KV 108, 127 and 276), and Brahms ' Op. 37 , number 3.

Edition

  • Corpus antiphonalium officii, ed. René-Jean Hesbert, Rome 1963–1979, no. 4597

See also

literature

Web links

Commons : Regina Coeli  - collection of images, videos and audio files

Individual evidence

  1. ↑ Second Vatican Ecumenical Council, Dogmatic Constitution Lumen Gentium , November 21, 1964, No. 59
  2. ↑ See Walter Berschin, Martin Hellmann : Hermann der Lahme - Scholar and Poet (1013-1054) , Heidelberg 2004, p. 97 (on Salve Regina )
  3. ↑ See Beat Weber:  Poesie (AT). In: Michaela Bauks, Klaus Koenen, Stefan Alkier (eds.): The scientific Bibellexikon on the Internet (WiBiLex), Stuttgart 2006 ff., Accessed on August 30, 2016.
  4. ↑ Wolfgang Breitschneider: Marian Antiphons . In: Walter Kasper (Ed.): Lexicon for Theology and Church . 3. Edition. tape 6 . Herder, Freiburg im Breisgau 1997, Sp. 1357-1359, here col. 1358 .
  5. ↑ Cf. BAV Arch. Cap. S. Pietro B 79  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / digi.vatlib.it  
  6. ↑ Gotteslob No. 525 and 888 (Rottenburg-Stuttgart and Freiburg part)
  7. ↑ The five-part mass is in the eleventh mess book (Venice 1600), the four-part mass in the twelfth (Venice 1601).