성가SUNGGA
성가 게시판
| 제목 | Dies irae와 Victimae Paschali 비교 | |||
|---|---|---|---|---|
| 이전글 | 이전 글이 없습니다. | |||
| 다음글 | 오르간 소품 "사제 입당" | |||
작성자유원택
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작성일1999-12-15 | 조회수1,027 | 추천수2 |
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| Lawrence Heiman 교수님의 글입니다. Dear Wontaek, In response to your question about the two sequences, let me give you a brief answer and then give you a few references. Both the "Dies irae" and the "Victimae paschali laudes" are Sequences (from the Latin word "sequere" to follow) "Dies irae" (abbreviated DI) has the normal structure of a sequence, AABBCCDD etc. "Victinae paschali laudes" (abbreviated VPL) also is pretty sequence-like: ABBCCD. Both are essentially syllabic, and in that sense they are similar. Both are in the first mode and therefore both have la for the dominant and re for the final. However, VPL is for a joyful occasion (Easter) and thus the extensive range is understandable, whereas DI appears in the Mass for the Dead and thus the restricted, more reserved range is appropriate. VPL is attributed to Wipo of Burgundy, who died c. 1048. DI is attributed to Thomas of Celano, who died c. 1250. Attributions are not proven facts, so we don't know for sure who wrote either one of these sequences. The strict adherence to form in the DI makes sense if it was written in the 13th century, when the trend was toward uniformity. Was DI, the later piece, based on VPL? I doubt if anyone can prove this. However, in addition to their identity of mode and style (essentially syllabic) notice that the notations for the "Amen" and the phrase immediately preceding it are quite similar. Bearing in mind that many Gregorian melodies were composed by the use of centonization (patching together bits of pre-existing melodies in the same mode), Thomas could very well have depended somewhat on Wipo in places. Another consideration, the notation for the Amen is a very common first mode notation for Amens. So our composers needed notes for the Amen. So they used what they knew. Noone knows who used it first. There were no copyright laws! I mentioned above that the word "sequence" comes from "sequere" to follow. A sequence, following something and growing out of it, is therefore a trope, that is, an addition within or after another piece. Some think that the DI may have originally been a trope based on "Dies illa, dies irae" in the Responsory, "Libera me" in the Burial service (page 1767, line 6 in the Liber Usualis). The words and the notation are very similar. For additional information on these two sequences, you might check the following: 1. Purdue Humanities Library No. 780.902H778M. This is Richard Hoppin's MEDIEVAL MUSIC. Someone has this book presently, but the librarian could recall it for you. 2. Purdue Humanities Library No. 783.5AP22G. This is Willi Apel's GREGORIAN CHANT. This book is available. 3. THE NEW GROVE'S DICTIONARY OF MUSIC AND MUSICIANS under such articles as Dies Irae, Victimae paschali laudes, Sequence. In John Caldwell's article on Victimae paschali laudes, you will note that he states that the VPL was apparently not an accommodation of a previously composed melody. Next summer's Chant Institute is tentatively scheduled for June 20-27 and will be in 2 parts. Part 1 will be for new students and also for returning students who wish to attend, Part 2 will be for those who will have attended Part I and also for returning students who took the l998 or l999 Institute for credit. One graduate credit will be available for those taking Part 1 (unless they already have this credit from 1998 or 1999). One graduate credit will also be available for Part 2. Anyone may audit either Part 1 or Part 2 or both. I will be honored to have you for either or both parts. More information will be available later and I shall be sure to send you this. I am honored that you wish to send my other e-mail to your friends in Korea. Please feel free to do so. I am also happy that you have friends who might wish to enroll in our Program. If you will be kind enough to send me names and addresses, Ishall be grateful. All good wishes of this holy season and for the New Year. Fr. Larry Heiman | ||||
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