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Czech rorate chants, Missa Rorate, and Charles IVs foundation of votive officium in Prague cathedral : the testament of choral melodies to the long-term retention of repertoire

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Slavický T.

Hudební věda (Musicology)

2018

vol. 55

issue 3-4

239-264

The question of the long-standing tradition of the Czech Rorate chants was the subject of lively discussions even among the first hymnologists. This study points to the continuity between the shortterm tradition of the votive office to the Virgin Mary, based on the wishes of Charles IV at the Prague cathedral, and the later, long-term, tradition of Czech-language Rorate chants, which caught on in Utraquist milieu and was retained as late as the 19th and 20th centuries. The comparability of sung melodies is evidence of the fact that the melodic fund of the Czech Rorate chants retained the proprium Rorate caeli as found in sources from the 14th century. We may thus consider the long life of the Rorate melodies (roramina), including some typical late-Medieval forms (sequences, tropes), as not only a significant example of Czech uniqueness, but also as a representative example of the tradition of “longue durée,” which, over the course of 600 years, passed through various traditions and transformations of different religious denominations.

Ecce nomen Domini - Haja pupaia - Hajej můj andílku: další příspěvek k historii jednoho putovního motivu

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Slavický T., Dramlitsch I.

Hudební věda (Musicology)

2006

vol. 43

issue 4

369-384

The article deals with the origins of the much discussed travelling motive, made popular by B. Smetana, who used it in his opera Hubička (1874). As a lullaby, this motive appears in the Bohemian collections of folkloric songs, and in the 17th–19th century Christmas pastorellas. Recent research revealed its existence also in the Austrian and South-German folklore, as well as in the (mainly pastoral) works by other composers, such as J. S. Bach, M. Haydn, or W. A. Mozart. The search for its origins lead back to the late medieval Christmas antiphon Resonet in laudibus, known as contrafactum Joseph lieber, Joseph mein. The existence of a Bohemian contrafactum, Publisher in the 17th century Czech Catholic hymn-books, (such as J. Hlohovský, F. Bridel, or M. V. Šteyer), and relating to the cantio Magnum nomen Domini , found in the important 15th and 16th century sources, (among others the Jistebnice Gradual, and the Franus Hymn-book), as well as to the earlier xantip Ecce nomen Domini, helped to add substantially to the picture of the origins and reception of the motive, which appears in the music of several centuries, and links together music history, hymnography and ethnomusicology.

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2 Hudební věda (Musicology)

2 Slavický T.

1 Dramlitsch I.

1 2018

1 2006

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Czech rorate chants, Missa Rorate, and Charles IVs foundation of votive officium in Prague cathedral : the testament of choral melodies to the long-term retention of repertoire

Ecce nomen Domini - Haja pupaia - Hajej můj andílku: další příspěvek k historii jednoho putovního motivu