Praying with Gregorian Chant, Part V: a Musical Lectio Divina for Michaelmas
Mass Gradual from Braga Cathedral, Portugal | Ms. 034, folio 330 | early 16th century
Two years ago I sat down to write a blog post about a process of Musical Lectio Divina with Gregorian chant. Little did I know the extent of the project I was undertaking. That initial post became 3 posts…and then 5. Except the final installment has been on pause since December of last year. Along the way I discovered Hildegard von Bingen and her music, and started a transcription project for her Symphonia. I also wrote two articles about Gregorian chant for Pastoral Music (a national magazine for church musicians). I also reworked the Online Chant Course - Level I into a newly expanded and more accessible format, which is now ready for enrollment.
A sincere thank you for your patience, dear reader, and welcome back!
I. Revelation Chapter 8, and the offertory chant, Stetit angelus
With Michaelmas just around the corner (September 29), I thought I would introduce Musical Lectio Divina by way of a particularly beloved chant, the offertory for Michaelmas: Stetit angelus. The text of Stetit angelus comes from the Book of Revelation, a book full of symbolism and imagery. The chant is based upon verses 3 and 4 of Chapter 8. The Revelation narrative already well underway, and particular imagery already established, Chapter 8 begins with the opening of the scroll’s seventh seal.
Let us start with some context for Chapter 8, looking to Pope Benedict XVI:
“[The scroll] contains God’s plan for events and for people; it is hermetically sealed by seven seals and no one can read it. In the face of this human inability to scrutinize God’s design, John feels a deep sadness that causes him to weep. Yet there is a remedy to man’s bewilderment before the mystery of history; someone is able to open the scroll and to enlighten him.
“And here the third symbol appears: Christ, the Lamb immolated in the sacrifice of the Cross but who is standing, which is a sign of his Resurrection. And it is the Lamb himself, Christ who died and is Risen, who breaks open the seals one by one and reveals God’s plan, the profound meaning of history.[…]”
“[These symbols] remind us of the way to take to be able to interpret the events of history and of our own life. By raising our gaze to God’s Heaven, in a constant relationship with Christ, opening our hearts and minds to him in personal and community prayer, we learn to see things in a new light and to perceive their truest meaning. Prayer is, as it were, an open window that enables us to keep our gaze turned to God, not only to remember the destination towards which we are bound but also to let God’s will illuminate our earthly pilgrimage and help us live it with intensity and commitment.”
— Pope Benedict XVI's General Audience on September 12, 2012
angel and censer from Revelation Chapter 8 | Douce Apocalypse | Bodleian Ms180 - p.022 | c. 1265-1270
When delving into this apocalyptic book, one might be tempted to jump directly into an analysis of its imagery. Indeed, there is much symbolism to be found therein.
The number “7”
"7" signifies wholeness, perfection, and holiness. There are 7 days of Creation. The Sabbath (or Lord’s Day, or Day of Rest) is prescribed to be observed on the seventh day. (More on the number 7 in Judeo-Christian numberology here)
The Trumpet
“[I]n the Christian understanding, the trumpet serves both as a symbol of hope and warning—a call to readiness, repentance, and joyful expectation. It connects believers to the rich traditions of the Hebrew Scriptures, where trumpets announced God’s interventions, while also projecting forward to the ultimate restoration of all creation under the lordship of Christ. Every blast is a reminder that history is not random or meaningless, but is moving toward a decisive, glorious fulfillment orchestrated by the hand of God Himself.”
— "Feast of Trumpets (Rosh Hashanah): A Christian Perspective" by Dr. Eitan Bar
Seven trumpets
In the Old Testament, seven trumpets are also blown. When Joshua and the Israelites are prevented from entering into the Promised Land by the walled city of Jericho, they are instructed by the Lord to send the priests before the Ark of the Covenant, marching around the city walls seven times, and blowing the seven trumpets (the “seven trumpets, which are used in the jubilee” Joshua 6: 4-6), at which time all the Israelites were instructed to shout together, and the walls of the city fall down. Rosh Hashanah, the Jewish Near Year, still commemorates the Feast of Trumpets every year.
Censer with burning coals from the altar
Incense is an aromatic substance made from spices and resins that produces a sweet-smelling smoke when burned. In Leviticus, The Lord requires that Aaron and his sons offer incense before entering the Holy of Holies. Incense could only be offered by the priest, who acts as a mediator between God and his people. It symbolizes the importance of purity and holiness in worship, and the presence of God among His people. Frankincense, a key ingredient in the incense used in worship, was one of the gifts of the Three Kings to the Christ Child, foreshadowing his role as the Great High Priest. (More on the Scriptural symbolism of incense here)
Archetype of the Sacred Liturgy
See Monsignor Charles Pope's article from September 6, 2010.
II. Musical Lectio Divina: an introduction
Lectio Divina (divine reading) is a meditative way of reading the Bible in which the reader sets aside one’s own agenda, opening their mind and heart to a personal encounter with God through the work of the Holy Spirit.
Gregorian chant is a special form of music in which melody is at the service of the word. In a Musical Lectio Divina, the Gregorian melodies themselves are studied insofar as they amplify the sacred texts.
”Just as a man who draws water from a well does not worry if he cannot empty the well, so too a person who studies the divine Scriptures should not be saddened if he cannot grasp the full depth of the mysteries they contain. For the more one draws and learns from them, the more one discovers their inestimable wealth.”
— Bede the Venerable, Homilies on the Gospels, Homily 1.7
Sacred Scripture is the living word of God, and has many levels or “senses”.
Literal | Words have meaning. What is going on here? History is part of the story and the meaning. If we think of this level as bringing us to an absolute grasp of the author’s original intention, we have moved beyond what is possible in relationship to the text.
Allegorical / Christological | There is a sense of the text that will only be evident to the eyes of faith. How does this passage relate to and shed light on the mystery of Christ?
Moral / Tropological | Teaching how we should act in response to the text. There is a direct summons to our life in the text.
Unitive / Anagogical / Mystical | Eternal spiritual realities. At this level the Scriptures become the organizing principle of our life and our intelligence.
Contemplatio | “To pray is to remain tranquil in spirit in order to enjoy God for as long a time as possible.” (William of Saint-Thierry 12c.) In Contemplatio, we rest in presence of God. Here, w let go of reasoning, thinking, and feeling. Silence is the ground in which this prayer takes root.
This synopsis of the 5 senses of Scripture was based on an article from www.contemplative.org which, unfortunately, appears to be no longer available.
III. Gregorian Chant and Lectio Divina
Preparation:
Set aside 30-60 minutes, or 60-90 minutes if meeting with a group.
Have available a Bible of your preferred translation (or use the one below) and a copy of the chant Stetit angelus
Consider asking a priest, a friend, or a group to join you in the exercise.
Find a quiet place for your Lectio, and silence all distractions.
Begin with a prayer.
(Recommended: Prayer to the Holy Spirit (here is the prayer set as a Latin chant), followed by the Lord's Prayer)
STAGE 1: Study the text.
Read the scripture text slowly, from start to finish, without analysis or commentary. (If undertaking Lectio with another person or in a group, ask one person to read the text aloud.)
Revelation Chapter 8:1-6 (Latin Vulgate, with Douay-Rheims translation into English)
1. et cum aperuisset sigillum septimum factum est silentium in caelo quasi media hora
And when he had opened the seventh seal, there was silence in heaven, as it were for half an hour.
2. et vidi septem angelos stantes in conspectu Dei et datae sunt illis septem tubae
And I saw seven angels standing in the presence of God: and there were given to them seven trumpets.
3. et alius angelus venit et stetit ante altare habens turibulum aureum et data sunt illi incensa multa ut daret orationibus sanctorum omnium super altare aureum quod est ante thronum
And another angel came and stood before the altar, having a golden censer: and there was given to him much incense, that he should offer of the prayers of all saints, upon the golden altar which is before the throne of God.
4. et ascendit fumus incensorum de orationibus sanctorum de manu angeli coram Deo
And the smoke of the incense of the prayers of the saints ascended up before God from the hand of the angel.
5. et accepit angelus turibulum et implevit illud de igne altaris et misit in terram et facta sunt tonitrua et voces et fulgora et terraemotus
And the angel took the censer and filled it with the fire of the altar and cast it on the earth: and there were thunders and voices and lightnings and a great earthquake.
6. et septem angeli qui habebant septem tubas paraverunt se ut tuba canerent
And the seven angels who had the seven trumpets prepared themselves to sound the trumpet.
Now, read the text again. (If undertaking Lectio with another person or in a group, this time read it in silence.)
Identify key words or short phrases that strike you. Repeat them aloud. Don't analyze or provide explanations why. Then keep a time of silence, simply remaining present to the sacred text. (When we desire to spend time with someone whom we love, it is a joy simply to be present to them, accepting them as they are.)
Who are the characters in these verses?
What do these characters say? What do these characters do?
Do I see any apparent contradictions with other parts of scripture? With other words of Jesus? As the divinely inspired Word of God, there are no real contradictions in Sacred Scripture. Just as God is far greater than what can be grasped by the human mind, Sacred Scripture frequently contains passages which are difficult to resolve. For example: Matthew 15:4 "Honor thy father and mother..."and Luke 14:26 "If any man come to me, and hate not his father and mother...he cannot be my disciple.” The Holy Spirit seeks to reveal deeper truths to us as we grapple with these seeming inconsistencies.
The text of the chant, Stetit angelus, is based upon verses 3 and 4 from above.
Stetit Angelus juxta aram templi,
[Stood Angel close-to altar/shelter/sanctuary of-the-temple]
An angel stood near the altar of the temple,
habens thuríbulum áureum in manu sua:
[having thurible golden in hand his-own]
holding a golden censer in his hand:
et data sunt ei incénsa multa,
[and given was to-him incense much]
and there was given to him much incense,
et ascéndit fumus aromátum in conspéctu Dei, allelúia.
[and ascended smoke of-aromatics in the-sight of-God, alleluia.]
and the smoke of the perfumes ascended before God, alleluia.
A liturgical note: According to the Cantus Index, Stetit angelus has been variously prescibed as the offertory chant for
Michaelmas (Sept. 29); the Dedication of Mont-Saint-Michel (Oct 16); the Apparition of Saint Michael the Archangel on Mount Gargano in Italy (May 8)
Raphael the Archangel (Oct. 24); Gabriel the Archangel (March 18); Guardian angels (Oct. 2)
votive Mass for the angels; votive Mass to implore the assistance/suffrages of the angels
dedication of a church; dedication of an altar
Saints Cosmos and Damian (Sept. 27)
All Saints' Day (Nov. 1)
Monday of the Octave of Pentecost
The mission of the International Chant Academy is to keep the beauty and meaningfulness of Gregorian Chant and Early Sacred Music alive and relevant. We foster understanding of these art forms, and teach the musical and vocal skills necessary to excellent performance.
Visit our website.
STAGE 2: Study the melody
Lisen to the Choir of Benedictine Moniales from the Abbey of Sainte-Marie Des Deux-Montagnes sing Stetit angelus.
Where is/are the highest points in the melody? On which word/s do they occur?
Where is/are the lowest points in the melody? On which word/s do they occur?
Where are the half bar and full bar lines? How do they relate to the text?
Are there any melismas? On which word/s do they occur?
Structural pitches
The final (also called the tonic, fundamental, or finalis) of a chant usually conveys the feeling of arriving home. Which phrases end on the final? (in this chant, the final is RE or D) What is the effect at these moments?
Which phrases end on a pitch (FA or F) that is not the final? What is the musical effect at these moments?
How do other structural pitches relate to the text? e.g. Stetit = FA or F; Angelus = LA or A; juxta = SOL or G; aram = soft descent of SOL-FA-MI-RE-DO or G-F-E-D-C; templi = ascent and descent of RE-FA-LA-FA-RE or D-F-A-F-D
Musical phrases/motifs
Where do we see the same pitch three times consecutively? (Stetit) Why does such a musical figure occur on this particular word?
Which musical figures occur more than once, or are closely related to each other? Do these motifs indicate a closer relationship among the words that share them?
Pacing
What is the significance of the ascending, open fifth, and the long melisma on "ascendit"? Why does the musical phrase return to the top of its ambitus (upper DO or C) four times during this word?
On the whole, would you say the words and syllables of the text are fairly evenly spaced out within the melody, or do you see considerable variance between long melismas and syllabic phrases? Unlike the introit, which as a genre has fairly evenly spaced syllables that enhance the feeling of steady movement appropriate to an entrance procession, an offertory chant can exhibit either style. In Stetit angelus, what is the musical effect of the syllabic spacing?
What about the occurrence and timing of the three lowest phrases? RE-LA-DO-RE... or D-A-C-D... Do they symbolize anything in connection to the action of incensing?
The bottom line: How does this melody amplify this text?
In his book, Chants of the Vatican Gradual, Dom Johner provides a beautiful description of the manner in which this chant and the liturgical action join together:
"Practically at the same time that we are singing ['ascendit'], clouds of incense are ascending at the altar during a solemn high Mass. Thus song and liturgical action are joined. The melody graphically describes how the sweet-smelling incense is wafted upward, how at the top of the canopy the clouds disperse and slowly settle, only to be borne aloft again by new clouds. From the angel's golden censer came rays of heat and the glow of fire. In a similar manner the soul of the creative or imitative artist must glow. That which proceeds from the soul must ascend upward to the presence of God, must seek to glorify Him. Only then will our chant lift the hearts of the faithful aloft to God."
[...]
"The angel stood very near to the altar. Formerly that also was the place assigned to the singers. If in many instances they are now physically distant from the altar, they should strive the more to be very near it in spirit."
STAGE 3: What is the light that I receive from this text?
How do I receive this text?
Do I see any contradictions with what I live?
What is God trying to show me through this chant?
Will this scripture passage and/or offertory chant change anything in my life?
Conclusion
Read the scripture passage again and write down one phrase that struck you. Meditate on it during the day and coming week.
Remember what Pope Benedict XVI was saying earlier about how the Book of Revelation can become a "school of prayer"?
"Prayer is, as it were, an open window that enables us to keep our gaze turned to God, not only to remember the destination towards which we are bound but also to let God’s will illuminate our earthly pilgrimage and help us live it with intensity and commitment."
He continues:
“The Book of Revelation tells us that prayer nourishes this vision of light and of deep hope in each one of us and in our communities: it invites us not to let ourselves be overcome by evil, but to overcome evil with good, to look at the Crucified and Risen Christ who associates us with his victory…Prayer teaches us above all to see God’s signs, his presence and his action, indeed, to be lights of goodness ourselves, spreading hope and showing that the victory is God’s.”
9.5.26 General Audience: Prayer in the first part of Revelation (Rev. 1:4 - 3:22)
9.12.26 General Audience: Prayer in the second part of the Book of Revelation (Rev. 4:1 - 22:21)
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