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Ambrosian Chant Ambrosian chant Ambrosian chant (also known as Milanese chant) is the Western plainchant traditions. By the 12th century, the liturgical plainchant repertory of the Ambrosian rite of Mozarabic, Gallican, Celtic, Old Roman, and Beneventan the Roman Catholic Church, related to but distinct from chant traditions had all been effectively superseded by Gregorian chant. It is primarily associated with the Arch- Gregorian chant. Ambrosian chant alone survived, de- diocese of Milan, and named after St. Ambrose much spite the efforts of several Popes over a period of several as Gregorian chant is named after Gregory the Great. centuries to establish Gregorian hegemony. A chronicle It is the only surviving plainchant tradition besides the by the Milanese historian Landolphus from around the Gregorian to maintain the official sanction of the Roman year 1000 recounts a legend that two Sacramentaries, one Catholic Church. Gregorian and one Ambrosian, were placed on an altar to see which chant had divine acceptance; miraculously, both books opened simultaneously, showing both were equally acceptable. 1 History Ambrosian chant did not wholly escape Gregorian in- fluence. The earliest 8th-century fragments, and the The history of Milan as a center for religious music goes more complete chantbooks from the 11th and 12th cen- back to St. Ambrose. Ambrose is not known to have turies that preserve the first recorded musical notation, composed any of the Ambrosian chant repertory, much show marked differences between the Gregorian and as Gregory the Great is not known to have composed Ambrosian repertories. Later additions to the Ambrosian any Gregorian chant. However, during his fourth-century repertory, whose style differs from the earlier chants, tenure as Bishop of Milan, he is credited with introducing may reflect Gregorian influence. Although St. Charles hymnody from the Eastern Church into the West. Am- Borromeo fought to keep the Ambrosian rite intact dur- brose composed original hymns as well, four of which still ing Spanish occupation, a contemporary edition of Am- survive, along with music which may not have changed brosian chant, published by Perego in 1622, attempts to too much from the original melodies. categorize the Ambrosian chants into the eight Gregorian Two methods of singing psalms or other chants are re- modes, which is not generally accepted as an accurate re- sponsorial and antiphonal. In responsorial singing, the flection of the actual musical practice of the time. soloist (or choir) sings a series of verses, each one fol- Ambrosian chant has survived to the present day, al- lowed by a response from the choir (or congregation). though its use is now limited primarily to the greater In antiphonal singing, the verses are sung alternately by part of the Archdiocese of Milan and environs, parts of soloist and choir, or by choir and congregation. [1] In the Lombardy, and parts of the Swiss Diocese of Lugano. Western Church where formerly the responsorial method Most recently, it survived the changes to the liturgy es- seems to have been used alone, the antiphonal method tablished by Vatican II, in part due to the prior tenure of was introduced by St. Ambrose.[2] Pope Paul VI as Archbishop of Milan. Over time, the Milanese liturgy developed into the Ambrosian rite, which shares more in common with the Gallican and Mozarabic rites than with the Roman. Am- brosian chant developed to meet the particular needs of 2 General characteristics the Ambrosian liturgy. Although the Ambrosian rite is liturgically related to other rites and Ambrosian chant is Ambrosian chant is largely defined by its role in the liturgy musically related to other plainchant traditions, different of the Ambrosian rite, which is more closely related to the categories of chant, different chant texts, and different northern “Gallic” liturgies such as the Gallican rite and musical styles make Ambrosian chant a distinct musical the Mozarabic rite than the Roman rite. Musically, how- repertory. By the 8th century, this chant was attested to ever, Ambrosian chant is closely related to the Gregorian be normative across northern Italy, perhaps reaching into and Old Roman chant traditions. Many chants are com- southern Italy as well. mon to all three, with musical variation. Between the 8th and 13th centuries, however, the Car- Like all plainchant, Ambrosian chant is monophonic and olingian chant commissioned by Charlemagne developed a cappella. In accordance with Roman Catholic tradi- into what we now know as Gregorian chant, which be- tion, it is primarily intended to be sung by males, and gan to influence and eventually replace most of the other many Ambrosian chants specify who is to sing them, us- 1 2 3 CHANTS OF THE OFFICE ing phrases such as cum Pueris (by a boys’ choir) and a Subdiaconis (by the subdeacons). Stylistically, the Ambrosian chant repertoire is not gener- ally as musically uniform as the Gregorian. Ambrosian chants are more varied in length, ambitus, and struc- ture. Even within individual categories of chant, Am- brosian chants vary from short and formulaic to prolix and melismatic, and may be freely composed or show signif- icant internal melodic structure. Its most distinctive fea- ture compared with other plainchant repertories is a sig- nificantly higher amount of stepwise motion, which gives Ambrosian melodies a smoother, almost undulating feel. In manuscripts with musical notation, the neume called the climacus dominates, contributing to the stepwise mo- tion. More ornamental neumes such as the quilisma are nearly absent from the notated scores, although it is un- clear whether this reflects actual performance practice, or is simply a consequence of the relatively late musical transcription. The Gregorian system of modes does not apply to Am- brosian chant. Although there are no b-flats indicated in the musical notation, it seems likely that they were un- derstood, based on Guido d'Arezzo's description of the “more perdulcis Ambrosii.” Sant'Ambrogio Basilica Nearly all of the texts used in Ambrosian chant are biblical prose, not metrical poetry, despite Ambrose hav- ing introduced Eastern hymnody to the West. Ambrosian of Gregorian modes. Finally, each psalm tone is given a chant serves two main functions in the Ambrosian liturgy: cadential formula that lets the tone segue smoothly back to provide music for the chanting of the Psalms in the into the antiphon. This system results in a much larger monastic Offices, and to cover various actions in the cel- number of possible psalm tones in Ambrosian chant than ebration of the Mass. exists in Gregorian chant. Structurally, psalm tones in Ambrosian chant consist of an incipit, a recitation for- mula, and a cadence, lacking the mediant flex found in 3 Chants of the Office Gregorian psalm tones. Other Vespers chants include the Psallendae and the An- The Office chants of the Ambrosian repertoire are still tiphonae in choro. Psallendae comprise the largest cate- largely unresearched, so only preliminary evaluations gory of Ambrosian Office chants. Two Psallendae, simi- have been made. lar to the Marian antiphons of Gregorian chant, are per- The minor hours have little of musical interest: some formed on the more solemn Vespers, to cover proces- sions. They conclude with one of several recitation tones hymns, and the simplest of reciting tones only. The main chants of the Office are those of Matins, Vespers and the that segue into the Gloria Patri. Antiphonae in choro are similar in style, but have no psalm or verse. Vigils. The Psalms are sung at Matins and Vespers in a rotat- Responsoria occur in both Matins and Vespers. Their ing schedule so that all 150 Psalms are chanted every names often identify who is to sing them: the boys’ choir, two weeks. The Psalms are each sung to a psalm tone, the deacon, the subdeacons, and so on. A Responsorium with a simple antiphon between each verse. The sys- usually consists of a refrain called a respond, a verse, and tem of psalm tones in Ambrosian chant differs in sev- a repetition of an expanded part of the respond. These eral respects from the Gregorian system of psalm tones. expansions contain some of the longest melismas of the In the Gregorian system, psalm tones are based on the Ambrosian chant repertoire, which often contain com- mode of the antiphon. Ambrosian chants, including plex repeat structures. psalm antiphons, do not conform to the Gregorian sys- Vespers begin with a chant called the Lucernarium and tem of modes. Each Ambrosian psalm antiphon belongs end with the Completorium. The word Lucernarium hear- to one of four different series depending on its final pitch. kens back to the original function of Vespers as a time of Within each series, there are several possible psalm tones lighting lamps, and the texts of Lucernaria usually contain corresponding to the predominant pitch of the antiphon, some reference to light, such as Quoniam tu illuminas, which may or may not correspond to the “dominant” pitch Paravi lucernam, and Dominus illuminatio. Stylistically, 3 Lucernaria and Completaria vary. Some are proper, spe- even higher degree of adaptation, reusing melodies for cific to certain feasts, while others are ordinary and can be the texts of different feasts, than do the Gregorian Al- used throughout the year. They range from highly elabo- leluias. Unlike the Gregorian Alleluia, the Ambrosian Al- rate chants to simple reciting tones. There are relatively leluia kept an extended repeat called the jubilus. During few Lucernaria and Completaria; four Completaria are penitential periods, the Post Epistolam is replaced by the used for all but three days of the year. Cantus, which corresponds to the Gregorian Tract. The Cantus melodies belong to a common type, related to the Old Roman and Beneventan chant traditions. The chant 4 Chants of the Mass following the final lesson, from the Gospel, is the Post Evangelium, which has no counterpart in the Roman Rite.
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