Visitacio sepulchri
Schola Georgiana · Schola Gregoriana (Pragensis)

Church of St. John the Baptist, Velíz
(Kostel Narození sv. Jana Křtitele na Velízu)




Visitacio sepulchri

The Benedictine convent established at the collegiate church of St. George at Prague Castle in 973 was probably the first convent on the territory of Bohemia. Its foundation was very closely linked to the establishment of the Prague bishopric the same year – it was to assist in the propagation of Latin liturgy in the state formation being newly constituted in Eastern Europe. The convent of St. George soon became the centre of education of young girls from among the nobility. The most important stage in its history was the time under Abbess Kunhuta, the sister of Václav II, in early 14th century (1302–1321). A rare collection of several notated manuscripts (mostly processionals and offices) that are documents of an intensive choral singing activity at the convent has been preserved from that time. With only a few exceptions, their content has remained unknown to both modern listeners and interpreters. One such exception is the Easter play Visitacio sepulchri which has been staged on two occasions in this century (1940 and 1991). The present recording of choral chants written mainly for the Holy week was made to fill in at least partially this gap in the discography of Czech music.

The introductory antiphon „Cum audisset populus” and the „Gloria, laus et honor” hymn used to be sung during Palm Sunday processions. The three antiphons, „Mandatum novum”, „Postquam surrexit Dominus” and „Ubi est caritas” were part of the evening mass on Maundy Thursday. All three accompanied the ritual of washing the feet of twelve old men.

The following lamentations are an introduction to the liturgy of Good Friday. In the nocturnal hours from Maundy Thursday to Holy Saturday, excerpts from the Lamentations (Lam 1-4) used to be sung. In the National Museum (XII B 7) antiphonary, a unique poetic treatment of the suffering of Jesus Christ in the form of lamentations was discovered in the first Good Friday nocturn in their place. The text is full of very expressive words, and ends with Jeremiah's call on the people of Jerusalem to repent, typical of the lamentations.

The „Audi nos, Christe” litanies are not exactly part of the liturgy of the Holy Week (they had been intended for the Friday following Ash Wednesday) but they fit in perfectly in the atmosphere of Good Friday. This is one of the chants whose notation can be found only in the St. George manuscripts of Prague and was, supposedly, written in Bohemia. The litanies lack the typical invocation and, by their nature, are closer rather to interpellations.

Marginally related to Passion plays were the Czech Marian plaints recorded, in a unique way, in the National Library manuscript (XIV G 17) of the late 14th century. They are a very suggestive description of the dolour of Virgin Mary, reflecting the sufferings of Christ. After the introductory recited prologue follows the first part – a chant in seven verses, „Pro Buoh račte postdpati”. At the end of this part enters apostle John trying to calm Mary down. The second part of the plaint, „Pláči mému hodina”, has the form of a sequence of short melodies repeated twice, with the rising pitch reflecting the gradated drama of the situation.

Among the chants hailing Resurrection, the tropes to Benedicamus Domino (thanksgiving at the end of the office) play an important role. In terms of their form they are very close to the mediaeval cantio, and thanks to their melodiousness will certainly be liked also by contemporary listeners.

Of the many existing forms of Passion plays, the present record features the variant with three scenes (manuscript UK VII G 16): the scene at the grave, i. e. the meeting of the three Marys with the angel, the scene depicting the apparition of Jesus Christ to Mary Magdalene, and the scene with apostles, preceded by a part of the sequence Victimae paschali laudes, and a liturgic insertion typical of the Czech Lands. The individual scenes are accompanied by a „commentary” in the singing of the convent (i. e. the chorus of nuns). The play culminates in a Te Deum, and an old Czech spiritual song, Buóh všemohúci, which, according to records from St. George's, probably used to be sung at this place.

Hana Vlhová

Church of St. John the Baptist, Velíz