A Dictionary of Music and Musicians/Litaniæ Lauretanæ
LITANIÆ LAURETANÆ (Litany of Loreto). A solemn Litany, sung in honour of the Blessed Virgin Mary.
It is no longer possible to ascertain when, where, or by whom, this Litany was originally written: but, if we may trust the very generally received tradition that it was first chaunted at Loreto, and carried thence, by Pilgrims, to all parts of the world, it cannot be of earlier date than the closing years of the 13th century. It has, undoubtedly, been chaunted there, every evening, from time immemorial. In other places, it is most frequently sung, either in solemn Processions, or, during the Exposition of the Blessed Sacrament at Benediction: but its use—especially on the Continent—is by no means restricted to those particular occasions. In Rome, for instance, it is constantly sung, at almost every popular Service, to a simple Plain Chaunt melody, familiar to all Italians, and printed, in its purest form, in the new Ratisbon edition of the 'Directorium Chori.' This is, probably, the oldest music to which the words were ever adapted. Its date, like theirs, is uncertain: but it is at least old enough to have attracted the attention of the great Polyphonic Composers of the 16th century, some of whom have treated it in their best, and most devout style, and, when adopting it as a Canto fermo, have carefully abstained from destroying the simplicity of its character by the introduction of vain and irrelevant conceits.
Palestrina was especially devoted to the Litany; and, in 1593, published a volume, containing, in two books, ten different settings, of exquisite beauty, composed for the use of the 'Confraternity of the Holy Rosary.' One of the most beautiful divisions of the work is reprinted in the fourth volume of Proske's 'Musica Divina': but a great number of the Composer's finest Litanies still remain in MS.
Another volume of Litanies, by various authors, was published at Munich, in 1596, by Georgius Victorinus, under the title of 'Thesaurus Litaniarum.' We here find, among other interesting works, a charming Litany, by Orlando di Lasso, founded entirely upon the Plain Chaunt Canto fermo, and so simple in construction that the most modest Choir need feel no hesitation in attempting it. This Litany is also reprinted, entire, in the fourth volume of 'Musica Divina,' together with some others from the same rare work, which, fortunately, is not the only collection that has been preserved to us from the 16th century. Under the title of Litaniæ Catholicæ ad Christum, Beatam Virginem, et Sanctos, a highly interesting work was printed by Wolfgang Eder, at Ingolstadt, in 1589. Another, called Sacræ Litaniæ variæ, was published at Antwerp, in 1595. A precious volume, believed to be unique, wanting the title and first nine pages—and, therefore, without date—is preserved in the Library bequeathed by Dr. Proske to the cathedral of Ratisbon. And many other printed collections are still extant, containing quite a little treasury of Art.
At Notre Dame de Paris, the Litany is annually sung, in grand Procession, on the afternoon of the Feast of the Assumption, to a form of the First Tone, which, set with the melody in the Tenor, produces an indescribably solemn effect.