Bohemorum sancti in caelesti Ierusalem
Czech Saints in Holy Jerusalem
Bohemorum
sancti in caelesti Ierusalem
Czech Saints in
Holy Jerusalem
"Hope, love and faith
accorded a place there to the good Czechs", reads the inscription
attached to a charming picture of Heavenly Jerusalem in the Prague
manuscript version of "De Civitate Dei" by the Latin Father St.
Augustine of Hippo (see CD cover). Respect shown to the
principal Czech patrons of Bohemia has permeated the history of a
nation that has identified its saints with its own spiritual essence.
Besides numerous shrines dedicated to their cult — including Prague’s
cathedral — this tradition gave rise, before the end of the 14th
century, to more than a few liturgical songs in their tribute. The
present recording is centred on that particular repertoire which
attests to the dynamic creative activities taking place in that field
in Bohemia during the high and late Middle Ages. One ought to bear in
mind there that 14th-century Prague was the seat of the Holy Roman
Emperor, and that together with Paris it was one of the two largest
cities north of the Alps. It grew to become a major cultural centre
whence emanated what was to be known as the "beautiful style" of Gothic
art. Likewise, the period living practice of liturgical singing is
documented by a good many surviving sources.
The introductory part is devoted to St. Adalbert,
the second Bishop of Prague who died a martyr’s death in 997 on a
missionary expedition to pagan Prussia. This is a brief cross-section
of a matins — or night office — reconstructed from
sources of the Prague cathedral. It opens with an invitatory;
a brief melody of the antiphon, Hodie exultandum
interposed between the individual verses of Psalm 94, Venite
exultemus.
Part and parcel of a matins are readings (here, from St. Augustine’s
sermon), each of them followed by a melodically developed form of
responsory. The responsories related to St. Adalbert, Alme
presul and O presul Cristi, are of a
relatively later date, which is reflected here both in the type of
texts (mediaeval poetry whose language is characterized by a specific
"flourish"), and in melodic differences involving the use of elaborate
ornaments that generate a somewhat "Baroque" impression. These
differences become particularly obvious when contrasted with songs of
the so-called "ancient repository" of Gregorian chants dating from the
time of the Carolingian Empire, represented on this album by the final
two sections (#22-26).
The following three antiphons, Laudes canens, Sic
Hester, and Salutem ex inimicis, are
parts of a rhymed office to St. Ludmila. Princess
of Bohemia and consort of the country’s first Christian ruler Borivoj,
she died by the hand of her pagan daughter-in-law in 921. The poetic
text of the office, which deals with the saint’s life, probably dates
from the 13th century. Interestingly, we even know the name of its
author, or more precisely, compiler, which is an exception in the
otherwise strictly anonymous domain of liturgical vocal literature of
this period. A note on the margin of one of the manuscript’s folios (Pu
IV C 17) refers to him as "Domazlaus predicator", or "preacher
Domazlaus", which may identify him as a Dominican, a member of the
"Order of Preachers". In the hymn, Lux vera, its
proper one-voice melody alternates with polyphonic treatment. Thereby,
it exemplifies the incorporation of early polyphony into the monodic
plainchant.
A similar compositional method is illustrated by the office to St.
Procopius, hermit and founder of Sazava Monastery. Once
again, all the texts are rhymed. The antiphon, Letare Bohemia,
is a remarkable, exceptionally dynamic composition posing considerable
demands on singers. The hymn, Confessor Dei,
clearly signals a departure from the original Gregorian modality. Its
melody resembles modern major tonality.
Foremost among Bohemia’s patrons is St. Wenceslas,
the country’s ascetic ruler and epitome of its consolidating
Christianity. Wenceslas was assassinated by his brother around 929,
while on his way to church. The block of compositions devoted to him
here opens with the oldest Czech sacred song, Svatý Václave.
Chronicler Benes Krabice of Weitmile referred to it
as "Cantio... ab olim cantari consueta" — "song that has been sung
since ancient times". That would have dated its origin to the 13th
century or earlier. It was traditionally sung during the coronations of
Bohemia’s kings. It is followed here by several songs from a mass in
honour of St. Wenceslas. The introit, In virtute tua,
is a late variant, reconstructed from the manuscript of the Prague
Metropolitan Chapter. The Kyrie’s prescribed trope for that particular
occasion is Fons bonitatis. Here, too (as in the
hymn, Lux vera), one-voice melody may alternate
with a two-voice version. The hymn, Dies venit victorie,
featuring a magnificent arching melody, is associated with the hour of
vespers. The part dedicated to St. Wenceslas closes with the Latin
sacred song, Wenceslao duci claro, which already
contains elements of regular rhythm.
Inspired by the mediaeval illuminator’s joyful vision of Bohemia’s
saints’ secure place in the Heavenly Jerusalem, we devoted the final
section of this programme to songs extolling the heavenly city
and the Virgin Mary, Queen of Saints.
David Eben
(Translation: Ivan Vomáčka)
bazilika Nanebevzetí Panny Marie na Strahově, Praha