Resonates in laudibus

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Resonates in laudibus. Montage of lines from the Piae cantiones

Resonet in laudibus is a Christmas carol in Latin that has been passed down since the middle of the 14th century.

History and dissemination

The song has come down to us in a large number of medieval manuscripts from the German and Bohemian regions:

  • Cantionary from the Seckau monastery , 1345, 8 stanzas with neumes , the song framed in the Christmas completes the nunc dimittis
  • Moosburger Graduale, around 1354–1360, 10 stanzas with chorale notation, as trope for Benedicamus
  • Antiphonals of St. Vitus Cathedral Prague (Nat.-Museum Prague, Sign. XV A 10), around 1360-1370, 5 stanzas with melody in chorale notation
  • HB I 2 of LB Stuttgart, probably from Schöntal Abbey , end of the 14th century, 6 stanzas with neumes
  • Diary of Nikolaus von Kosel 1417–1421, 3 stanzas
  • Cantional von Jistebnitz around 1420, 6 stanzas
  • Cgm 444 of the Munich State Library , 1422, 6 stanzas without melodies
  • Leipzig manuscript , Ms. 1305 Leipzig University Library, around 1420, 9 stanzas without notes
  • Hohenfurt songbook Cod. Cart. No. 28, Bl. 180a / b, Hohenfurt Monastery , 7 stanzas
  • Codex Vyšehrad after 1450, 4 stanzas without notes; the melody in the same handwriting on another text Laude christo debita for the first time with a recognizable triple rhythm
  • Latin Gradual von Jistebnitz, second half of the 15th century, 4 stanzas
  • Wienhausen song book , after 1480, 6 stanzas
  • Bibl. Del Seminario Maggiore in Aosta , Sign. Ais. 9 - E - 19, 5 stanzas
  • bohem. Cantional (UB Prague XE 2), early 16th century, 8 stanzas without notes
  • Calendarium of the arch parish Völs am Schlern , 1518, 4 stanzas without notes
  • Graduals from Chrudim , 1530, 6 stanzas

The song first appeared in print in 1543 in Klug's hymn book in a four-stanza version. Even Johann Leisentrit took it upon (Bautzen 1567) in his hymnal. As a result, it appears in several printed collections from the 15th, 16th and 17th centuries from Catholic and Lutheran traditions.

The sources contain a wide variety of text versions with three to ten stanzas, of which a total of 21 stanzas have survived. The changing stock of stanzas as well as the large number of handwritten sources suggest a wide distribution and different regional traditions. In many sources, the song appears either embedded in the Christmas Completion, or it appears as a trope to Benedicamus in Vespers . Often there are no references to a liturgical use at all, which suggests free availability.

Connection to the children's cradle

In many places, the song is likely to have been connected to the medieval custom of the infant cradle , as certain textual features suggest, such as the use of the interjection Eia . This is most clearly expressed in the lullaby Joseph, dear Joseph mein , which is still widespread today , the text of which is not a translation of the Resonet , but which is closely related to it. Joseph, dear Joseph mein , is sung on the first part of the tune of Resonet , according to some sources alternating with the Latin song (Leipzig manuscript, around 1420), according to others as an independent song.

text

Seckau (1345)

Resonet in laudibus
cum iocundis plausibus
syon cum fidelibus
apparuit quem genuit Maria
Repe [titio] Eya laus est canenda
de re miranda

Qui creavit omnia
omni cum potencia
nascitur ex femina
apparuit quem gen [uit] mar [ia]
Eya

Qui régnât in ethere
venit ovem querere
nullam volens perdere
App [aruit ...]
Eya

Jacet in presepio
nostra rep [ar] acio
potens in imperio
Apparuit
Eia

Natus est de virgine
deus sine semine
nos lavans a crimine.
App [ar] uit
Eya

Visita exilium
redemptor humilium
rosa parit lilium
Apparuit
Eia

Mundus lauda dominum
salvatorem criminium
nam salvator omnium
App [a] ruit
Eya

Ergo iam pro debito
pro solempni gaudio
fit congratulacio
Amen
Eya

Moosburg (1360)

Resonet in laudibus
cum iocundis plausibus
syon cum fidelibus
apparuit quem genuit maria.
R ° Magnum noun domini emanuel
quod annunciatum est per gabriel.
hodie apparuit apparuit in israhel
per mariam virginem emanuel.
R ° Eya eya virgo deum genuit
quod divina voluit clemencia.

Pueri concurrite
nato regi psallite
pia voce dicite
apparuit quem genuit maria.
R ° Eya eya.

Natus est emanuel
quem predixit gabriel
testis est ezechiel
apparuit quem genuit maria.
R ° Eya eya.

Qui régnât in ethere
venit ovem querere
nullum volens perdere
apparuit quem genuit maria.
R ° Eya eya.

Qui creavit omnia
nascitur ex femina
sua cum potencia
apparuit quem genuit maria.
Repet. Eya eya.

Syon lauda dominum
ialvatorem omnium
lavatorem criminum
apparuit quem genuit maria.
R ° Eya.

Iuda cum cantoribus
gradere de foribus
nuncia pastoribus
apparuit quem genuit maria.
R ° Eya eya.

Et nos unanimiter
pro clamemus dulciter
ipse summus arbiter
apparuit quem genuit maria.
R ° Eya eya.

Genito sit gloria
laus virtus victoria
perpeti memoria
apparuit quem genuit maria.
R ° Eya eya.

Ergo nostra concio
omni plena gaudio
benedicat domino
apparuit quem genuit maria.
R ° Eya eya.

Editing and reception

Polyphonic choral movements of the Resonet in laudibus are available from many composers, including Johannes Eccard , Jacobus Gallus , Orlando di Lasso , Michael Praetorius and Hans Leo Haßler .

Wolfgang Amadeus Mozart quoted the melody twice: in the Quodlibet Gallimathias musicum KV 32 and in the 19th Symphony KV 132.

In addition to the lullaby Joseph, dear Joseph mein , the song is still distributed in at least two other German text versions. With the text we sing with joy ( Dillingen 1589), the song was included in the Catholic standard hymn book God Praise from 1975 (GL old 135). Although it was no longer included in the main part of the new Gotteslob from 2013, it was included in several regional parts (GL Hamburg-Hildesheim-Osnabrück 736; GL Würzburg 753; GL Limburg 753; GL Austria 812). With the text Magnum nomen domini or German God's son is human born , the song was used as a trope for Quempas singing; in this form it found its way into the Protestant hymn book (EG 29).

literature

Web links

Commons : Resonet in laudibus  - collection of images, videos and audio files

Individual evidence

  1. ↑ urn : nbn: de: bvb: 19-epub-11079-1
  2. ↑ Spiritual love || of Wit = || temberg / || Anno 1543 || Printed to Wittem = || berg / By Joseph || Klug, Anno M. || D.XLiiij., 134v ( digitized ).
  3. ↑ Johann Leisentrit: Spiritual songs and psalms, of the old apostolic right and Christian churches that believe in war. Budissin [1567], fol. XLV ( digitized version ).
  4. ^ Burghart Wachinger : Resonet in laudibus. In: Kurt Ruh u. a. (Ed.): The German literature of the Middle Ages. Author Lexicon . 2nd Edition. Volume 7: 'Oberdeutscher Servatius' - Reuchart of Salzburg. de Gruyter, Berlin 1989, ISBN 978-3-11-022248-7 , Sp. 1226-1231.
  5. ↑ Wolfgang Plath : A "spiritual" symphony movement by Mozart. In: Die Musikforschung, Volume 27, 1974, pp. 93-95, JSTOR 41117583 .
  6. ↑ Dietrich Schuberth: 29 - whom the shepherds praised very much . In: Gerhard Hahn , Jürgen Henkys (Hrsg.): Liederkunde zum Evangelisches Gesangbuch . No. 11 . Vandenhoeck & Ruprecht, Göttingen 2005, ISBN 3-525-50334-2 , pp. 12–16 ( limited preview in Google Book search).