The traditional Latin Mass revised by St. Pius V removed all sorts of local creations with respect to the Kyrie, and restored the ancient usage in the Roman Rite of 3 Kyrie Eleisons to God the Father, 3 Christe Eleisons to God the Son, and 3 Kyrie Eleisons for God the Holy Ghost, no invocations, no farcing, no additions to the prayer to fill in the chant. This is fitting also for the Trinitarian aspect of the prayers.
Now the medieval custom which the reform of Pius V put to rest was a musical device called "farcing". Farcing a text means that where the notes are long, the text will be filled in with other words or invocations. This was not limited to the Kyrie but also found realization in the Gloria, Agnus Dei, and many of the Church's antiphons and sequences which themselves were an innovation although useful at their inception.
The style would go something like this: Kyrie eleison, redemptor mundi et rex creationis, Christe eleison filius David, etc. Or it would work the other way Princeps pacis qui salvare nos venire, Kyire eleison, Redemptor mundi Kyrie eleison, or again Precamur te Domine, Christe eleison, etc. It is possible that this grew out of the litany tradition of the Gallican rite which continued uninterrupted in some places in spite of Charlemagne.
Although it ought to be noted that the names for certain Kyries, such as Orbis factor come from the first farcing of the Kyrie chants of the middle ages. In the event one is curious about the Byzantine sounding nature of the chant, that is generally because all northern European chant was founded on the Eastern rite tradition imparted to the west in the Gallican rite, which is an eastern liturgy, probably from Antioch according to most sources, and later melds with the Roman tradition spread by Charlemagne.
Nevertheless, by the high and late middle ages the practice of farcing was getting out of control, the number and enormity of the texts were ridiculous and even some heresies were beginning to be introduced. Since the character of the Roman Rite is noble simplicity, St. Pius V's reform eliminated from the use of the Church the farcing of texts. This having been said the third time he signs again that Kyrie Eleison be said. And when they have completed it nine times he signs that they should stop.
The medieval commentators are fond of connecting the nine-fold invocation with the nine choirs of angels Durandus, "Rationale", IV, xii. From a very early time the solemnity of the Kyrie was marked by a long and ornate chant. In the Eastern rites, too, it is always sung to long neums. It is still the most elaborate of all our plainsong melodies.
In the Middle Ages the Kyrie was constantly farced with other words to fill up the long neums. As an example of these innumerable and often very long farcings, this comparatively short one from the Sarum Missal may serve: Kyrie, rex genitor ingenite, vera essentia, eleyson.
Kyrie, luminis fons rerumque conditor, eleyson. Christe, Dei forma humana particeps, eleyson. Christe, lux oriens per quem sunt omnia, eleyson. Christe, qui perfecta es sapientia, eleyson.
Kyrie, utriqusque vapor in quo cuncta, eleyson. Burntisland, Lord, Fount of light and Creator of all things, have mercy on us. Lord, Thou who hast signed us with the seal of Thine image, have mercy on us. Christ, True God and True Man, have mercy on us.
Christ, Rising Sun, through whom are all things, have mercy on us. Christ, Perfection of Wisdom, have mercy on us. Lord, vivifying Spirit and power of life, have mercy on us. Lord, Breath of the Father and the Son, in Whom are all things, have mercy on us. Lord, Purger of sin and Almoner of grace, we beseech Thee abandon us not because of our Sins, O Consoler of the sorrowing soul , have mercy on us. Notice the greater length of the last farcing to fit the neums of the last Kyrie, which are always longer.
Sometimes the essential words are mixed up with the farcing in a very curious mixture of Latin and Greek: "Conditor Kyrie omnium ymas creaturarum eleyson " Ib. The reformed Missal of Pius V happily abolished these and all other farcings of the liturgical text.
In the Roman Rite In the Mass, the three groups of invocations are sung by the choir immediately after the Introit. They form the beginnings of the choir's part of the Ordinary.
A number of plainsong Masses are provided in the Gradual, each characterized and named after the Kyrie that begins it. Although each Mass is appointed for a certain occasion e. Moreover, except on ferias , which keep their very simple chants, the various parts Kyrie, Gloria, etc. The new Vatican edition also provides a series of other chants, including eleven Kyries, ad libitum.
The Kyrie Eleison as all the Ordinary and proper of the choir may also be sung to figured music that does not offend against the rules of Pius X's "Motu proprio" on church music 22 Nov.
Meanwhile the celebrant, having incensed the altar and read the Introit at the Epistle side, says the Kyrie there with joined hands alternately with the deacon , sub-deacon, and surrounding servers. At low Mass the celebrant after the Introit comes to the middle of the altar and there says the Kyrie alternately with the server "Ritus celebr.
The Kyrie is said in this way at every Mass with the exception of Holy Saturday and also of the Mass on Whitsun Eve at which the prophecies and litany are chanted. On these occasions the cantors finish the litany by singing the nine invocations of the Kyrie. After the prayers at the foot of the altar the celebrant goes up, incenses the altar, and then at once intones the Gloria. But he should say the Kyrie in a low voice himself first.
It is sung after the Responsorium at funerals, said at marriages and on many other occasions for blessings and consecrations. In these cases it generally precedes the Pater Noster. It also begins and ends the Litany of the Saints.
As an imitation of this, it is always placed at the beginning of the various other private litanies which are imitations of the official one. In other rites In the first place, the invocation Christe Eleison is purely Roman. With one exception, obviously a Roman interpolation in the Mozarabic Rite, it does not occur in any other use. Search within Article contents 1. Early history. Early melodies. Bibliography See also. Show Summary Details Kyrie eleison. Kyrie eleison.
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