The Refrain to "Veni Emmanuel"
  • Randolph Nichols
    Posts: 398
    Listening to “O Come, O Come, Emmanuel” in the previous Chant in the Mall post as well as viewing Francis’ chant notation of the same hymn in his Solemn Vespers reminds me that depending on our sources we sing the refrain differently. The big three Catholic publishers make the last syllable of “Emmanuel” a sustained note, whereas the Episcopal hymnals (1940 and 1982), Marier’s “Hymns Psalms and Spiritual Canticles,” and Erik Routley’s oft overlooked hymnal “Rejoice” follow the 1720 Cologne printing and have no break in the rhythm between “Emmanuel” and “shall.” I’m used to and prefer the latter, but Francis’ chant version with both a horizontal episema on “el” followed by a quarter bar makes one wonder if this is in fact the original version. Can someone clarify the discrepancy? Which version do you prefer?
  • Maureen
    Posts: 674
    Which original? Neale's original way of setting the tune, or the French funeral song's notation in the manuscript?
  • Randolph Nichols
    Posts: 398
    But does the 15th c. French requiem processional melody, which is reputed to be the original of our cherished hymn tune, sustain the syllable in question? The chant scores of "Veni Emmanuel" I have seen do hold that particular neum while the early English hymnal settings do not. In terms of the more interesting musical line, I prefer the latter. Obviously, the editors of the prevailing Catholic hymnals/missalettes disagree. Why?
  • dad29
    Posts: 2,217
    B/C that is what editors DO!
  • RobertRobert
    Posts: 343
    I don't think you would find explicit indications to lengthen notes in 15th century manuscripts. Some would infer lengthening from the way the notes are arranged, but it's clear that the main purpose of the notation of this time period is to indicate pitch, not duration.
  • francis
    Posts: 10,668
    Musical variations are interesting developments and don't get my goat as much as variants in the translations. They drive us into theological discussions among our staff. For instance the O Antiphon (Rex) in the LoTH seemed to wander away from the meaning. Somehow the focus was on joy in that translation so I always am driven to return to the Latin and compare them before assuming it is correct.
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