Q: What is the origin of the congregation reading parts of the Passion Narrative and do you think it’s a good thing?
My view is that this is ‘false participation’ – that the role of the congregation is to listen to the word proclaimed. I am intrigued about its origins. My assumption is that the use of C in people’s booklets was equated with Congregation as the same letter was used for Congregational responses in the Order of Mass.
I was interested to see reference to the practice (and discouraging it) in Gabe Huck’s Three Days. And also reference in Don Neumann’s book on Holy Week – which also made the point I had been thinking about – why do I have to identify with the crowd why can’t I identify with Peter – or as he notes why can’t the priest also be liable to say ‘Crucify him’.
Historically as I understand it the Synagoga part was divided between an individual voice and the earliest Sung passions – I can think of example by Victoria and Byrd have a choral Turba part – it is probably more familiar to many from the choruses in the Bach Passions.
However I note that the Introduction to the Chant edition of the Passions does not mention this.
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A: Here’s a previous post: https://paulturner.org/appropriate-acclamations/. I’ve also got material on this on p. 17 of Glory in the Cross.
I admit I’ve almost always included the congregation in the Passion. I think many in the US would feel left out if we did not. But I see your points and believe they have merit.
I’m not sure about the origins, but your theory is likely. It may just be very hard to prove.