Anyone have a recording of the Prayer of the Faithful (General Intercessions) sung to that familiar Byzantine setting? It starts out with the cantor singing "let us pray to the *Lord*" and then the congregation often sings their "Lord" at the same time, finishing with "hear our prayer" (of course). Know the setting I'm talking about? I could use a recording to send to a planning committee for a big Mass we're doing . . .
Somewhat off topic, but I was just thinking about this chant the other day. I was internally lamenting the sung intercessions we must use, and I was also thinking how nice and simple the Byzantine setting is. However, the simultaneous "Lord" intonation/response always bugged me. I always want to shout, "stop interrupting!"
Further off topic: I once heard a priest giving a talk about the nature of prayer and the inappropriateness of many of our intercessions. He punctuated his talk at one point by sing that tune with the words, "Gimme gimme gimme More! More! More!"
I have never heard this done with the congregation joining in on the cantor's (supplicant's?) 'Lord'. This seems rather bizzare to me. The congregation are supposed to assent to the supplication (or 'intention') with 'Lord, have mercy', or 'Lord, hear our prayer' after the intention. This is essential for the completion of the action of Intention-supplication. Just singing 'Lord' when the cantor gets to that word make absolutely no sense.
While on this subject there are other tones for the universal prayers than the Byzantine one, Fr Earthman used one at the co-cathedral recently as follows: Supplicant: For peace in the world we pray to the Lord ...................f......f.......f...f......f......f.....e.....g...g....a
Congregation: Lord we ask you hear our prayer ........................f.......e....d......c.......d.......e.......f
This last example is somewhat gracious, more so than the rather commonplace Byzantine one, which is getting to be rather old hat.
Another performance practice sometimes heard with impressive results is, on the Byzantine chant, to have the choir-people begin their 'Lord have mercy' just a shade before the cantor's '...to the Lord' has been let go of.., resulting in just a smidgen of overlap. This really sets up a give and take, and a wonderful rhythm between cantor & people.
Going back to the Byzantine tone, the peoples response can be effectively done in parts, thus:.We..pray..to..the...Lord..|..Lord...hear...our...prayer...OR...Lord...have...mer..cy ..........c......g.....b...b.......c...........c.......d.......b........c.......OR.......c.......d.......b.....c C:................................................I.......II.63...V........I .
If, indeed, you should do these in parts (and they are effective so done) these should be the ONLY chants of the mass sung in parts. These chants are actually Byzantine and singing them in parts is stylistically correct. Do not, though, hamonise ANY other chant of the mass unless you are singing Anglican Chant. All other chants of the mass of the Gregorian repertory and are unison chants... PERIOD.
Note that whatever tones are used there should ideally be no (absolutely nil) pause, break, wait or anything between the cantor's intention and the peoples' response. One should pick up from the other without batting an eye. It's actually like a sacred 'game', if you will, between cantor and choir-congregation. The same is true of every dialogue of the mass.
I'm a cradle Roman-Rite Catholic, and only recently attended a Byzantine Catholic Divine Liturgy. What I experienced was what you described as a smidgen of overlap, just enough time to get the note between the call and response. I was very inspired by the Divine Liturgy and expect that I will be a regular visitor in the future.
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