Catholic Marian music shares a trait with some other forms ofChristian music in adding another emotional dimension to the process of veneration and in being used in various Marian ceremonies and feasts. Marian music is now aninherent element in many aspects of the veneration of theBlessed Virgin Mary inCatholic Mariology.
Throughout the centuries Marian music has grown and progressed, and witnessed a resurgence along with theRenaissance, e.g. with the composition of theAve Mariamotet byJosquin des Prez. The tradition continued with a number of great composers up to the late 19th century, e.g. withGiuseppe Verdi'sAve Maria in 1880 followed by hisLaudi alla Vergine Maria.[1][2]
One of the oldest Marian intonations is credited to SaintAmbrose of Milan (339-374). The Church names an ancient liturgy after him (Ambrosian Rite), which is actually older but nonetheless traditionally attributed to him.[3] Some 870 parishes in the diocese ofMilan still use the ancient Ambrosian rite. Several Ambrosian rite Marian texts were intonated[further explanation needed], for example the famous Gaude:[4]
Marian hymns by Ambrose include theConfractorium from the Christmas liturgy and in a poetic creation of Saint Ambrose celebrating the Mother of God:Intende, qui Regis Israel.[5]
One of the earliest medieval Marian compositions is the popularSalve Regina inLatin from a Benedictine monk at the Reichenau Island (Lake Constance), which exists in several Gregorian versions. The liturgy of the hour includes several offices to be sung. At the close of the Office, one of fourMarian antiphons is sung. These songs,Alma Redemptoris Mater,Ave Regina caelorum,Regina caeli, andSalve Regina, have been described as "among the most beautiful creations of the late Middle Ages."[6]
Other Marian supplications exist in numerous Latin versions as well.[7] It is difficult to trace the beginning of non-Gregorian Marian liturgical music. In the year 1277Pope Nicholas III prescribed rules for liturgy in Roman churches.[8] Three years later, in 1280,Petrus de Cruce published his Marian anthemAve virgo regia, Ave gloriosa O maria Maris stella. Later, composerPérotin followed with hisAlleluja, Navitatis gloriosae virginis, to be sung at the feast of the birth of Mary. Marian motets became very popular in the Middle Ages, a large collection of which is in St. Paul Cathedral in London.[8]Pope John XXII (1316–34) issued theapostolic constitutionDocta SS Patrum about Church music. It was the first modern music regulations for musical presentation during the liturgy[8]
Monteverdi'sVespro della Beata Vergine has remained structurally unchanged for the past 1500 years. It contains distinctly Marian texts among its 13 movements, though the composer's intention for the work as a whole is debated.Wolfgang Amadeus Mozart composed in honour of the Virgin Mary Latin Masses and several shorter operas.[9] Other known classic composers with Marian compositions mainly in Latin includeOrlando di Lasso andFranz Schubert.
Vivaldi,Monteverdi,Mozart,Haydn, and others are well-known composers who contributed to Marian music. Less known is the fact that beforeGerman mediatisation of 1802, many religious congregations in Germany had their own composers.[10] A totally unknown FatherValentin Rathgeber, OSB, (1682–1750) wrote 43 Masses, 164 offertories, 24 concerts, and 44 Marian antiphones.Missa de Beata Virgine and theMesse de Nostre Dame are examples of individual contributions.[11]
In 12th century France the tradition began of Christmas dramas, in which the nativity events are reproduced by actors. This became popular in other European countries and is seen as the origin of popular Christmas carols, which were an integral part of the Christmas drama. These early Christmas songs are largely devotions to the Mother of God. Early manifestations are in Bavaria in the 12th century.[12] At the same time, Easter songs are often converted into Marian hymns, for example the hymnTe virgini Mariae laudes concinant Christianae. The assumption of Mary is praised in numerous songs from the 10th century,[13] In several songs, Mary is praised to be above all saints and angels and participates in the kingdom of her son. Her assumption is “wished by the faithful people” in a song from the 12th century.[14] The Marian songs and hymns in this epoch are too numerous to mention. They include pious excitement, even some exaggerations, and valuable insights into the Marian belief, especially in the assumption.
Examples of Ave (Hail Mary) songs include:[15]
Examples of Salve songs include:
Gaude (Rejoice) hymns include:
Vale (farewell) and Mater dolorosa (mother of sorrows) are also subjects of numerous Marian hymns.[16]
It seems that settings of theOrdinary of the Mass are a later development than Liturgy of the Hours music.[8] ModernKyriales designate twoGregorian chantMass settings for Marian feasts,In solemnitatibus et Festis Beatae Mariae Virginisand in Festis et Memoriis.[17] Before theCouncil of Trent theGloria of the first of these contained thetropeSpiritus et alme orphanorum paraclete, heard inJosquin'sMissa de Beata Virgine but not inMachault'sMesse de Nostre Dame which was written as aVotive Mass. Thelist of compositions by Giovanni Pierluigi da Palestrina includes numerous Marian masses:
The Marian music in thebaroque period is strongly influenced by the Latin tradition, but develops its own characteristics. Marian songs venerate her exceptional sanctity. Many Marian songs have the form of litanies, expressing veneration of Mary. Others moralize the faithful in light of her virtuous life.[18] InPoland andHungary, baroque Marian compositions stress her national protective powers for the Polish and Hungarian nation, an aspect largely missing in Italy, France, and Germany, where Mary is likely to be called upon to protect a city or region rather than a nation.[19] Many Latin Marian hymns are now translated into a vernacular language, especially in Germany under the influence of Lutheran use of thevernacular inliturgy. Latin texts are often enriched with flowery reverences and Marian praises. Like Marian poetry, Marian music has flourished most in Italy, Spain, Portugal, and France, countries uninfluenced by the reformation.[20]
Before the Germansecularisations of 1802 many religious congregations had their own composers. In the monastery ofAndechs, Father Nonnosus Madleder, inOttobeuren, Father Franx Schnizer, inIrsee, Father Meinrad Spiess, and in Banz, FatherValentin Rathgeber, OSB, (1682–1750): 43 Masses, 164 offertories, 24 concerts, and 44 Marian antiphones.[further explanation needed]
Besides the above-mentioned Vespers,Joseph Haydn wrote several Mariancompositions including two famous Marian Masses, theMissa Cellensis in honorem Beatissimae Virginis Mariae, No. 5 in E flat major, also known as theGrosse Orgelmesse (Great Organ Mass) (H. 22/4) (1766) and theMissa Cellensis in honorem Beatissimae Virginis Mariae No. 3 in C major (H. 22/5) (1766–73).
Severalmotets by Anton Bruckner are related to Mary, including three settings ofAve Maria. Max Reger composed the motetUnser lieben Frauen Traum in 1914.
Francis Poulenc composedLitanies à la Vierge Noire and aStabat Mater in 1950. Arvo Pärt composed several works related to Mary, including aMagnificat in 1989 and aSalve Regina in 2001.
The FranciscanHelmut Schlegel wrote in 2009 a hymn, "Glauben können wie du", addressing Mary and wanting to imitate her virtuesfaith, hope and love. It was included in 2015 in an oratorio,Laudato si', which narrates stations of her life, quoting theMagnificat.
