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AMBROSIAN Early Christian Chant of the

In Dulci Jubilo Ambrosian Chant

Ambrosian chant is the old unaccompanied Latin of the Church of . With other liturgical music of the Western Catholic Church, it developed into various musical forms. Yet, unlike other repertories, it escaped the liturgical standardisation of the eighth century and survives as an independent unit. This was due to the prestige of St , whom medieval tradition recognised as the creator of these , as Pope Gregory the Great was credited with the invention of Gregorian music. Actually, very little is known about St Ambrose's active contribution to the Milanese repertory, except for the paternity of western metrical hymnody attributed to him. In the extremely rich Ambrosian collection, as handed down in manuscripts, we find forms, musical genres, and ritual elements that have marked the stages in the history of liturgy and of its singing. The basic melodies of the Ambrosian rite come from the earliest centuries of Christian chant, with forms either original (, , , etc.) or common to the other western (Roman, Beneventan, Gallican, Mozarabic) and eastern (Byzantine) liturgical collections. Nevertheless, these melodies keep their identity in musical genre and modal-aesthetic patterns. Another typical Ambrosian feature consists in very rich flourishes of the 'schola' parts. Long coloraturas particularly mark the cantus and respo~zsorii cwn infantibus psalmody, and the allelulias. These frequently present melodies in continuous lines, and resort to repeated melodic motifs and sequential forms. A basis for ornamentation is provided by sometimes archaic modal structures - originating from the three main chords, or tenors, (C, D, E) of ancient psalmody - which avoid any systematization or classification into the octoecl~os. The manuscript sources of Ambrosian music are not many - the Ambrosian liturgy extends to most of the Milan diocese and to some communities in the Berganlo, Novara and Lugano dioceses - and they are also quite late if compared to Gregorian sources. In fact, there are no manuscripts with adiasthematic notation (i.e, notation without a staff); the earliest documents date back to the twelfth century, when adiasthematic notation had already made way to staff notation. Today, not only does this information gap hinder melodic restoration but also rhythmic interpretation. Therefore, it is necessary to devise a new scientific aesthetic and modality for the Ambrosian repertory. The data acquired from both these studies and, particularly, the knowledge of the meaning and right pronunciation of the text may help an acceptable and reliable interpretation of these chants.

The sung liturgy of the Ambrosian Mass begins with the singing of twelve and a psnllendn, accompanying the entry procession to the altar while the bishop, ministers and clergy stop in the middle of the nave. The singing of the kyries and the psallenda is probably derived from the early litaizine and niztifollne per vinin, which were sung during the procession to a "stational church". After these chants, the schola sings one more , called iilgressn, without the psalm, setting a particular text for the day. The melody of Si quis serrizolieill (a psnllendn for the third Sunday in Lent) alternates with the Glorin Pntri set to a simple E tone (corresponding to the Gregorian first tone). Two iizgressne follow: Veizite benedicti, from the Feria 111 of the eighth Sunday in Easter time, and Videi~sDoniiizlrs, from the fifth Sunday in Lent. The Glorin melody belongs to an earlier , handed down under the heading Lnrls mngnn ni~gelorrlin. It keeps a recitative musical style on the D chord (A=D), with some accents on E, and clause and phrase-member endings on C. It also keeps a strophic subdivision, marked by melismas in the penultimate phrase-member. On the other hand, the A~ize~zflourish is a late one, descending to A in the fil~nlisthrough B flat, and thus changing into a delrterirs mode. The chant Levnvi octrlos, from the fourth Sunday in Lent, belongs to the musical form of psalmody with no refrain, for the Readings. It is called Cntltlrs and corresponds to a Gregorian or Caizticrrn~. As to modality, it is con~parableto the Cnntici in the G (tetrardus) mode for Easter Eve, since it presents the same psalmodic tone pattern as those - a median cadenza on F and an ending cadenza on the structural G chord - though with a richer melismatic line. The musical form of psalmody with refrain is represented by the Psnbilellus. This chant corresponds to a Gregorian Respo~rsori~rin-grndlrnlewith solo verse (it is the closest to psalmody), and is preceded and followed by a cnprrt, sung by the schola and acting as a refrain. The psalmellus Hnec dies. Coizfitei~~irzi,from Easter Day, is marked by a double mod& texture pivoting on G. First it moves a fourth down (the cnpzrt opening notes begin with a D pattern, alternating B natural and B flat in the high pitch), and then a fourth up again (C mode). The Ambrosian liturgy preserves two chants that are closely linked to the third Reading: the Allell~in(before the ), and the Antiphonn post Evnizgelilrin. The Alleluin featured in this CD is one of the earliest; it is sung on the Feasts of Our Lord, accompanied by several verses, and it offers extended coloraturas, especially in repetitions after the verses. It presents a double modal scheme: on the dominant A (protlrs type) it develops a deriter~rs structure, comparable to the ilrbilus of the Ambrosian Exlrlfef. The Antiphoizae post Evai~gelilriiz(antiphon after the Gospel) probably comes from an earlier psalmody. In fact, some of these - Ln~rda,niiirim men; Doriliil~rsii~eii~orfitit ilostri; Beiiedisif Doiiziizzis -are still textured in an E syllabic style with allelliia refrain, even though the ending part of the psalmody has clearly evolved leading to a final cadenza a fifth below (authentic delrfer~is), and syllabic style has given way to ornamentation for the schola. The Dhit Raphael, for the feast of St Raphael the Archangel, is written in the form of a responsory with verse and refrain beside the caplit. This composition pivots on the G chord, from which a double modal scheme results, of the same type of Hnec Dies. Cor~fiteii~iiii.Its peculiarity consists in the juxtaposition of syllabic style, in the first part of the caplit, and ornate style in the refrain. In the Church of Milan the singing of the (the fradifio Syinboli rite) is set in the Mass of the Faithful, that is, after the procession and preparation of the offerings. Its melody has preserved the original unison form on tlie G chord (G=D), with cadenzas in tlie same phrase-members, and with one-tone higher accents - apart from the penultimate accent in the phrase-ending cadenza, which is a further semitone higher and so emerges from tlie core of tlie pentatonic scale. The melody of the Sailct~rsis comparable to that of the Gregorian XVIII, of which this is perhaps the first revision (sixth century?). The composition is structured on the D chord, with textual-melodic accents on F that originate a true dominant when setting the words Bei~edicfrtsqlri veilif. The Trnr~sitori~iinchant, almost certainly of eastern origin, perhaps Byzantine, accompanies the rite. Te ln~rdaiii~rs,a practically strophic chant, is one of the earliest and most significant fraiisiforia. Even though it has a complex modal scheme based on two structural chords (D, G), it falls into the aesthetic category of the old Lnrrs iilngiln nizgelor11ii1hymnody, owing to the typical melodic juxtaposition of syllabic and melislnatic style. Three responsories follow which differ as to both musical genre and liturgical collocation. Here, they are performed in the same musical form, even though originally each of them was almost certainly performed in a different way. The responsory Bz frib~tlnfioileis part of the stationary liturgy for the ferial in Lent. It is an ill bnpfisferioresponsory, in syllabic style but with rich and cento-used flourishes in the verse-end cadenzas. The first solemn vespers of the Saints, from the Daily Hours of the office, end with the so-called Respoizsoriri~i~crliir iilfnirfiblls, of which Nrii~c,frnfer, qrlo progredinr is one of the most original examples. It was created for the feast of St Satirus, St Ambrose's elder brother. The text is an excerpt from the funeral oration the patron saint of Milan delivered in his brother's honour. Therefore, this chant belongs to the authentic collection. The responsory Teireblne fnctne sr~izfis part of the liturgy of Good Friday and is placed, as a Cnizficrliil, between the second Reading and the chant of the Passion. In the earliest manuscript sources it is intended to be sung by a priest or . It is a piece of high dramatic power. After the G iizcipit, a pattern from the D mode, the melodic line firmly soars up to D and descends to G again at the end of the phrase. The second phrase takes up the same melodic line, and finishes introducing the loud cry Dells, Dew iirerls and the contrasting gentle prayer quid lire darliq~lisfi?. Trlizc cnizfnbnf Moyses is one of the outstanding canticles for Easter Eve. The text is a hymn praising and thanking God for the departure of the Israelites from Egypt and their passage through the sea. As to its musical form, this canticle is a psalm without refrain, structured on the G (= D) chord, with a rise of the psalmodic tenor to B and C and melodic accents on D. The chant Oiiltles Pntrinrclzne is an Aizfiplzonn ii~clzoro for the Epiphany, which is sung at Vespers immediately after the L~lcerilnrirrs.The term in ciloro (choir- like) refers to the old meaning of coronn (crown), from the choristers' arrangement around their master when singing this antiphon. This release closes with a piece consisting of five antiphons for Easter time, with one nllel~iinat the beginning and in the caesura of the median cadenza, and two more nlleluins at the end. These antiphons are sung to a "modal tone" (i.e., one melody setting different texts). Their original liturgical source is still unknown (either Milanese, or Gallican, or Spanish), but they are extant in several western liturgical collections. Their compositional style recalls the C mode, with the final cadenza descending a fifth below to F. Alberto Turco (Translation: Lorenza Fogagnolo)

In Dulci Jubilo The women's Gregorian choir In Dulci Jubilo was established in 1988 at the annual International Courses in at Cremona. The group is unusual, in that plainchant is more often regarded as the territory of men's choirs. Performances have been given throughout Italy and are based on the most authoritative scholarly research. In Dulci Jubilo draws its members from the cities of Emilia, Lombardy, Marche, Tuscany and the Veneto. Manuela Schenale Manuela Schenale is a soloist of the vocal-instrumental group Paralleli Ensemble and is a regular performer of contemporary music, with experience also in opera and operetta.

Alberto Turco Alberto Turco, an authority on Gregorian chant, has been director of the musical establishment of Verona Cathedral since 1965. He is a lecturer in Gregorian chant in the Ambrosian Pontifical College of Sacred Music in Milan and teaches liturgical musicology at the San Zeno Theological Institute in Verona, as well as serving as a guest lecturer of the Pontifical Institute of Sacred Music in Rome and at various international congresses. Alberto Turco is the author of various studies on Gregorian- and Ambrosian chant and is the editor of hitherto unpublished works by earlier Veronese composers. He has directed a number of recordinas., and since 1981 has been artistic director of the Nova Schola Gregoriana, assuming direction of the women's Gregorian schola, In Dulci Jubilo, in 1988. eleison (litania) Kyrie eleison, Lord have mercy, Christe eleison, Christ have mercy, Kyrie eleison. Lord have mercy.

Si quis sermonem (psallenda) Si quis sermonem meum servaverit, Anyone who keeps my commandment, mortem non videbit in aeternum. shall never see death. Gloria Patri, et Filio, Glory be to the Father, et Spuitui Sancto. to the Son and to the Holy Spirit. Sicut erat in principio, As it was in the beginning is now et nunc et sernper: and ever shall be: et in saecula saeculorum. Amen. world without end. Amen.

Venite, benedicti (ingressa) Venite, benedicti Patris mei, Come, blessed of my Father, percipite regnum, : see the kingdom, alleluia: quod vobis paratum est ab origine mundi, which has been prepared for you from the origin alleluia. of the world, alleluia.

Videns Dominus sororem (ingressa) Videns Dominus sororem Lazari The Lord, seeing the sister of Lazarus ad monumentum, by the tomb, lacrimatus coram Judaeis, exclamavit: wept in the sight of the Jews and said: Larare, veni foras. Lazarus, come forth. Et prodiens, ligatis manibus, And he came forth, his hands and feet bound, et pedibus, stetit ante eum, and stood before him, qui quatriduanus fuerat mortuus. he who had been four days dead.

Gloria in excelsis (hymnus) . Glory to God in the highest. Et in terra pax hominibus bonae voluntatis. And on earth peace to those of goodwill. Laudamus te. Benedicimus te. We praise you. We bless you. Adoramus te. Glorificamus te. We worship you. We glorify you. Gratias agimus tibi propter magnam gloriam We give thanks to you for your great glory. ham. Domine Deus, Rex caelestis, Lord God, Heavenly king, Deus Pater omnipotens. God the father almighty. Don~neFili u~genite,Jesu Christe. Lord the only son, Jesus Christ. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, You who bear the sins of the world, miserere nobis. have mercy on us, Qui tollis peccata mundi, You %\rhobear the sins of the world, suscipe deprecationem nostram. accept our prayer. Qui sedes ad dexteram Patris, You who sit at the right hand of the Father, miserere nobis. have mercy on us. Quoniam tu solus Sanchls. For you only are holy. Tu solus Dominus. You only are Lord. Tu solus Altissimus, Jesu Cluiste. You only are the most high, Jesus Christ. Cum Sancto Spiritu, With the holy spirit, in gloria Dei Pahis. in the glory of God the Father. Amen. Amen.

Levavi oculos meos (cantus) Levavi oculos meos al montes, I raised my eyes to the hills unde veniet auxilium mihi. whence comes my help. Auxilium meum a Domino, My help is from the Lord qui fecit caelum et terram. who has made heaven and earth. Dominus custodiat animam tuam, May the Lord keep your soul, ex hoc nunc, et usque in saeculum. Now and for ever.

Haec dies. Confitemini Haec dies quam fecit Dominus: This is the day the Lord ha. made: exsultemus et laetemur in ea. let us rejoice and be glad in it. V. Confitemini Domino quoniam bonus: V. Let us acknolvledge the Lord, because he is good: quoniam in saeculum miserlcordia elus. his mercy endures for ever.

[81 Alleluia. Pascha nostrum Alleluia. Alleluia. V. Pascha nostrum immolatus est Agnus, V. The Paschal Lamb is sacrificed for us, qui est Christus Dominus: ipse est Deus noster. ~vhois Christ the Lord: he is our God. Antiphonae post Evangelium (Antiphons aiter the Gospel) Lauda, anima niea Dominum, alleluia: Praise the Lord, nxy sbul, alleluia: laudabo Dominum in vita mea, alleluia: I shall praise the Lord in my life, alleluia: psallam Deo meo quandiu ero, alleluia. I shall sing to the Lord as long as I live, alleluia. Dominus memor fuit nostri,,.. The Lord was mindful of us et benedixit nos, alleluia: . and has blessed us, alleluia: benedixit domum Israel, alleluia: He has blessed the house of Israel, alleluia: benedixit Domum Aaron, alleluia. He has blessed the house of Aaron, alleluia. Benedixit Dominus omnes timentes eum, The Lord has blessed all those that fear him, pupillos, et magnos. small and great. Adiiciat Dominus super vos, alleluia, May the Lord guard you, alleluia, , super vos, et super filios vestros, alleluia. you and your sons, alleluia.

Dixit Raphael angelus (offertorium) Dixit Raphael angelus ad Tobiam: The angel Raphael said to Tobias: eQuando orabas cum lacrymis, et sepeliebas When you were praying with tears and burying mortuos, et derelinquebas prandium tuum, the dead, leaving your repast and hiding the et mortuos abscondebas per diem in domo tua, dead through the day in your house, burying et nocte sepeliebas eos: them by night: 'ego obtuli orationem tuam Domino.,> I offered your prayer to the Lord. V. Benedicite Deum caeli, V. Bless the God of heaven, et coram omnibus viventibus confitemini ei, and let us acknowledge him before aU that live, quia fecit vob~scummisericordiam suam. because he has shown mercy to us. ' .ego obtuli orationem tuam Domino.. *Ioffered your prayer to the Lord.

Credo (symbolum) Credo in unum Deum. 1believe ill one God. Patrem omnipotentem, The Father almighty, factorem caeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. in all things visible and invisible. Et in unum Dominum, Jesum Christum, And in one Lord, Jesus Christ, filium Dei unigenitum; only son of God; et ex Patre natum ante omnia saecula. and born of the Father eternally. Deum de Deo, lumen de lumine, God of God, light of tight, Deum verum de Deo vero. true God of true God. Genitum non factum, Begotten, not made, consubstantialem Patri; of one substance with the Father, per quem omnia facta sunt. by whom all things were made. ~uiiropter nos homines et propter nostrani He who for mankind and for our salvation salulen~dcscenditde caelis. descended from heaven. Et incarnatus csl dc Soiritu Sancto. And was incarnate bv the Iiolv, S~iril.* ex Maria virgine et homo factus est. of the virgin Mary and was made man. Crudfixus etiam pro nobis sub Pontio Pilato, He was auafied even for us under passus et sepults est. Pontius Pilate, he died and was buried. Et resurrexit tertia die secundum Scripturas. And he rose again on the third day according to the Scriptures. Et ascendit ad caelos: And ascended at heaven: sedet ad dexteram Patris seated at the right hand of the Father. Et iterum venhrrus est cum gloria judicare vivos And again be will come with glory to judge the et mortuos; living and the dead, cuius regni non erit finis. ~vhosekingdom will have no end. Et in Spiritum Sanctum, And 1believe in the I lolv Soirit. Dominum et vivificantem. the Lord and giver of lifi; ' Qui ex Patre Fdioque procedit. Who proceeds from the Father and the Son. Qui cum Patre et Filio simul adoratur et Who with the Father and the Son is likewise conglorificatur. worshipped and glorified. Qui locutus est per Prophetas. Who has spoken through the Prophets. Et unam, sanctam, catholicam, And I believe in, one holy, catholic, et apostolicam Ecdesiam. and apostolicchurch. Conhteor unum baptisma in remissionem 1acknowledge one baptism peccatorum. for the forgiveness of sins. Et exspecto resurrectionemmortuorum. And 1look for the resurrection of the dead Et vitam venturi saeculi. and the life of the world to come. Amen. Amen.

Sanctus Sanctus, Sanctus, Sanchls, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Sabaoth. PleN sunt caeli et terra gloria ha. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui veNt in nomine Domini. Blessed is he who comes in the name of the Lord Hosanna in excelsis. Hosanna in the highest. f@ Te laudamus (transitorium) Te laudamus, Domine omnipotens, We praise you, almighty Lord, qui sedes super cherubim, et seraphim. ~vhosits above cherubim and seraphim. Quem benedicunt angeli, et archangeli: Whom angels bless, and archangels: et laudant prophetae, et apostoli. and prophets praise, and apostles. Te laudamus, Domine, orando, We praise you, Lord, in prayer, qui venisti peccata solvendo. who came to redeem our sins. Te deprecamur magnum Redemptorem, We beseech you, great Redeemer, quem Pater misit ovium pastorem. whom the Father sent as a shepherd of sheep. Tu es Christus Dominus salvator, You are Christ the Lord and Saviour, qui de Maria virgine es natus. who was born of the Virgin Mary. Hunc sacrosantum Calicem sumentes, Taking this holy chalice, ab omni culpa libera nos semper. free us always horn all guilt.

In tribulatione mea (responsoriumin baptisterio) In tribulatione mea, Deus meus, In niy tribulation, my Lord, responde pro me, answer me, ut non insultent in me inimici mei. so that my enemies may not exult over me. V. Confundantur et revereantur simul, V. May they be confounded and be fearful, qui gratulantur malis meis: who take pleasure in my ills: induantur confusione et reverentia let them be put to confusion and fear. inimici mei. 'My enemies.

Nunc, frater (responsorium cum infantibusj Nunc, frater, quo progrediar, quove convertar? Now, brother, where shall I go, or where shall I turn? Bos bovem requirit, et frequenti mugitu pium Ox seeks ox, and shows his feeling by often testatur affectum; lowiug: * Et ego non requiram te, frater, And shall I not seek you, brother, cum quo vitae huius aratra sustinui, rvith whom I worked the fields of this life, labore inferior, amore coniunctior. the lesser in toil, the more joined in love. V. Latus enim meum tuo latere sepiebas: V. For you guarded my side with your side: caritate ut frater, cura ut pater. In charity as a brother, in care as a father. * Et ego non requiram te, frater, ... 'And shall I not seek you, brother.. .

Omnes Patriarchae (antiphona in choro) Omnes Patriarchae praeclamaverunt te, All the patriarchs have proclaimed you, et omnes Prophetae annunziaverunt te: and all the prophets ha;e announced you: pastoribus Anaeli ostenderunt te; the anzels showed vou to the sheoherds: - - z. cadi per stellam declaravemnt te: the heavens declared you with a star; et omnes iusti cum gaudio suscepemt te. and all the just have received you with joy.

Antiphonae (Alleluia, noli flere Maria) Alleluia. Resurrexit Dominus, alleluia: Alleluia. The Lord has risen, alleluia: et visus est a Simone, alleluia, alleluia. and has been seen by Simon, alleluia, alleluia. Alleluia. Lapis revolutus est, alleluia: Alleluia. The stone has been moved, alleluia: ab hostio monumenti, alleluia, alleluia. By the victim of the tomb, alleluia, alleluia. Alleluia. Quem quaeris mulier? alleluia: Alleluia. Who do you seek, woman? alleluia: viventem cum mortuis?, alleluia, alleluia. the living among the dead? alleluia, alleluia. Alleluia. Noli flere, Maria, alleluia: Alleluia. Do not weep, Mary, alleluia: resurrexit Dominus, alleluia, alleluia. the Lord has risen, alleluia, alleluia: Alleluia. Agnitus est Dominus, alleluia: Alleluia. The Lord is known, alleluia: in fractione pane, alleluia, alleluia. in the breaking of bread, alleluia, alleluia. In Duici Jubilo

Alberto Turco AMBROSIAN CHANT In Dulci Jubilo, Female Voices Manuela Schenale, Soloist Alberto Turco, Director

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Recorded at the Parish Church of Quatrelle in Manma, Italy, In May, 1995. Producer: Silvia Melloncelli Engmeer: Giovmi Melloncelli MUSICNotes: Alberto Turco (Translation: Lorenza Fogagnolo) cn Digital Editing and Recording: Elite s. n. c. 8 I Cover Photo: Interior of Milan Cathedra1 1 ~~ (Photo by Belluschi, Milan)