We
are now in the holiest week of the year.
Sunday was Palm Sunday, and we head into the Easter Tridium. I wanted to offer this beautiful Easter chant,
Victimae paschali laudes, for your listening pleasure and hopefully inspire you to strive for greater
holiness this coming weekend.
Of
course I’ll have to provide some background.
Victimae paschali laudes, literally “Praise to the Paschal Victim,” is sung
in chant—monophonic and unaccompanied—with an evolving melody. It was written in the eleventh century and
its authorship is in dispute, attributed to at least four people. Technically the chant is a sequence, which
means it’s set as part of a liturgical celebration, in this case for Easter
Sunday celebration. Apparently even some
Protestant denominations, such as Lutherans, preserved it for their
celebrations as well.
First
listen to the hymn and I’ll go through the melody after.
Here
are the lyrics, copied from Wikipedia.
(1) Victimae paschali
laudes [8 syllables]
immolent Christiani. [7]
(2) Agnus redemit oves: [7]
Christus innocens Patri [7]
reconciliavit [6]
peccatores. [4]
(3) Mors et vita duello [7]
conflixere mirando: [7]
dux vitae mortuus, [6]
regnat vivus. [4]
(4) Dic nobis Maria, [6+1]
quid vidisti in via? [7]
Sepulcrum Christi
viventis, [8]
et gloriam vidi
resurgentis: [10]
(5) Angelicos testes, [6+1]
sudarium, et vestes. [7]
Surrexit Christus spes
mea: [8]
praecedet suos in
Galilaeam. [10]
(6) [Credendum est magis
soli [8]
Mariae veraci [6]
Quam Judaeorum Turbae
fallaci.] [10]
(7) Scimus Christum
surrexisse [8]
a mortuis vere: [6]
tu nobis, victor Rex,
miserere. [10]
[Amen.] [Alleluia.] [6]
Let’s
look at the construction of the hymn. This
appears to be some dispute on how you arrange the stanzas when you look across
the internet for the lyrics. I would
arrange it as above into seven stanzas. First
note that stanza six is in brackets because it is often eliminated from a
performance. Also the “Amen” and “Alleluia”
were added to the hymn later as part of its use in liturgy.
Each
line of a stanza has four, six, seven, eight, or ten syllables. I’ve listed the number of syllables off to
the right of each line. Setting aside
the initial stanza for now, you can see that the stanzas two and three are a
matching set, four and five match, and six and seven match. The two concluding lines of stanzas two and
three both contain six and four syllables, which add up to ten, which matches
the concluding lines of stanzas four, five, six. and seven. This means that all stanzas except the first
end with ten syllables, whether from a single line or the sum of the last two. Stanzas two through five all have their first
two lines with seven syllables. Four and
five actually contain six syllables in their first lines but the melody adds an
extra syllable by repeating the last in the line. All of this has the effect of creating unity,
despite what appears to be several melodies throughout. More on the melodies further down.
The
rhyme scheme is also interesting. Here’s
how I map the ending rhymes, with the stanza number following in parentheses:
AB
(Stanza 1), ABBA (2), CCDD (3), EEFF (4),
AAGG (5), HHH (6), JJJ (7).
So
stanzas two through five are quatrains, while the two concluding stanzas are triplets. If you take stanzas one and two together you
have an interlocking rhyme scheme of As and Bs.
Stanzas three, four, and five are quatrains of couplets, with the fifth
stanza bringing back the A rhyme (“es”) from the beginning. So stanzas one through five also project a
sense of interlocking. The final two stanzas
of triplets provide a wonderful sense of conclusion.
So
what does this mean to the musical melody?
I hear the hymn as having three melodies, each varying on its
predecessor, concluding in the climaxing triplets. First stanza serves as an introduction which leads
into the first melody in stanzas two and three.
Notice how the penultimate syllable is of a longer note in the lines of those
stanzas. Stanzas four and five have a similar melody
but subtly different because I think the lines are of different length. The third melody are formed from the triplets
again being of different length. But are
they of different length? The first line
of eight syllables borrows one from the second line, so in effect they could be
seen as two lines of seven syllables.
And the last line of ten could be broken up into two lines of four and
six, thereby matching stanzas two through five.
It’s only because of the rhyme scheme that causes us to envision those
stanzas as triplets.
All
this creates a marvelous interconnecting sounds and line lengths to form a
harmonious whole. My concluding thought
is that the absence of accompaniment forces the composer to craft in such an
elaborate fashion. I don’t think you see
this very often in modern song writing.
It’s
extraordinarily beautiful.
Thank you for this post, Manny. You really are well-learned.
ReplyDeleteGod bless you.
Thank you. Learning is a life long passion.
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