PERFORMANCE PRACTICES OF TRANSYLVANIAN LATIN IN ECCLESIASTICAL MUSIC

Abstract

The question of Ecclesiastical Latin pronunciation continues to be a subject of debate in the performing arts circles. While Latin is often labeled a “dead” language, one may argue that it remains vividly alive through performances – whether in liturgical or concert practices. For this reason, the pronunciation of Ecclesiastical Latin is not only an academic concern but an essential aspect of vocal authenticity within established religious aesthetics. Although it is widely acknowledged that no regional form of Ecclesiastical Latin mirrors the Classical Latin pronunciation of antiquity, the question today is whether performers should follow the scholarly reconstruction of local practices or adhere to Papal standardization. This is also the case with Transylvanian Ecclesiastical Music, which, based on historical evidence proves its alignment with the Hungarian-Germanic practices. Today, the performer’s pronunciation of Latin in Transylvania is often a hybrid language, blending Germanic and Italianate features. Using the International Phonetic Alphabet, this paper analyzes the fixed forms of the Ordinarium Missae comparing the German pronunciation suggested by Valentin Lanzrein with the Italian pronunciation model instructed by Michael de Angelis as per Vatican’s requirements, while describing the Transylvanian performing practices in its main communities: Hungarian, Saxon and Romanian. Ultimately, this study argues the local need for development of specialized vocal performance programs focused on Western sacred repertoire, a curriculum distinct from those centered on opera and Byzantine music.