Music for saints holds a special place in the repertoire of chant. In the first centuries of Christianity a cult of saints developed, and long before the invention of musical notation a considerable repertoire of music for saints had already been established. However, the bulk of that kind of music had yet to come, since in quite a lot of cases the composition of a mass or an office-cycle dedicated to the memory of a certain saint was delayed by some hundreds of years.
Throughout the liturgical year many saints are honoured in different ways. Some of them are simply commemorated, others have full cycles of chants dedicated to certain facts in (or after) their saintly life – this of course changing according to traditions at specific dioceses. Chants composed for these occasions usually have a close textual connection to one or more of the vitas describing the saint’s life, virtues, death etc. Zimmern (2007) has shown how these vitas give an insight into their political, social and cultural context, how they highlight the importance of the cult of saints at all levels of society and how they demonstrate the value and versatility of hagiography as a means of storytelling.
As an example of this we can turn to the seventh-century ‘Belgian’ saint Lambertus (c.630-c.700). It was only two hundred years after the death of Lambertus (a bishop of Maastricht, murdered in dubious circumstances) that Etienne, bishop of Liège, composed an office for Lambertus. The texts for this cycle were based on a Vita that Etienne probably wrote himself (Auda 1923), in its turn based on an older, anonymous Vita. In a project called ‘Gesta Sancti Lamberti’, I have been revisiting the hagiologyst chant repertoire in general via the story of Lambertus – as a kind of case study. This was a logical step to take, for four reasons.
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