I've never heard it used, but this Responsory is prescribed for use
upon the (re-)entrance into the church after the Palm Sunday procession,
just before the mass itself begins.
Here's an English translation
from Cantica Nova; it's easy to see why it is used at this particular moment in the liturgy. The chant score is below.
R.
As the Lord entered the holy city, the children of the Hebrews
proclaimed the resurrection of life. Waving their branches of palm, they
cried: Hosanna in the highest.
V, When the people
heard that Jesus was coming to Jerusalem, they went out to meet him.
Waving their branches of palm, they cried: Hosanna in the highest.
The chapter titled "
The Palm Sunday Procession in Medieval Chartres" in the book
The Divine Office in the Latin Middle Ages mentions
Ingrediente domino,
describing it as "a Matins responsory of Palm Sunday at Chartres and
elsewhere." Here's a description of the Palm Sunday Procession as it
moves to the cathedral for the mass:
[The
assembly] followed the Rue Saint-Pierre, which led from the Benedictine
house of Saint-Père up the hill and into the upper town (haute ville).
Along the route the succentor intoned and the multitude sang after him a
succession of antiphons and responsories, the texts of which were
mainly reworkings of the four evangelists' accounts of Christ's entry
into Jerusalem: A. Ceperunt omnes, A. Cum audiesset populus, A. Ante sex dies, R. Cum audisset turbe, R. Dominus Jhesus ante sex dies, and R. Ingrediente domino.
At the Porte Cendreuse, one of the half-dozen gates leading through the
old walls into the upper town of Chartres, the clergy sang this last
responsory, Ingredient domino. This chant, a Matins responsory
of Palm Sunday at Chartres and elsewhere, was reserved for this special
moment of "entry into Jerusalem" here in Chartres and in most of the
other dioceses in northern France. Finally, as the procession passed
through the west door of the cathedral of Notre-Dame, the spiritual
theme, as communicated in the text of the plainsong, switched from on
extolling Christ's triumph to one honoring the Virgin Mary (A. Letare virgo v. Post partum virgo).
Ingrediente domino has definitely been used in this way at the Palm Sunday mass since at least the Tridentine (1570) era (
see this page; change the date to 4-13-2014); however, I have not been able to find
Ingrediente domino listed as a Palm Sunday Matins Responsory at
Divinum Officium (or anywhere else), as described in the above paragraph. [
EDIT: I was wondering here why this was called a "Responsory," rather than an antiphon. Fr. Michael in comments points out that "It's a responsory because it has a Verse, sung by the cantor alone, and
then everyone again sings the latter half of the first portion." I hadn't ever really understood what defined a "Responsory" in particular, or why it was different from the many other kinds of call-response chants that exist - so thanks much to him.]
"
The Palm Sunday Procession in Medieval Chartres" continues this way, with more about the entrance into the Cathedral:
Although
this was a standard liturgical practice - to change to chants honoring
the patron of the church at the moment of entry - the transition from
chants for Palm Sunday to one for the Virgin is of interest here, for it
occurred beneath a similar thematic transition represented in sculpture
and glass. The typmpanum of the west side of the famous royal portal,
as is well known, is constructed around an imposing sculpture of Christ
in Majesty surrounded by four apocalyptic animals symbolizing the four
evangelists. Those in the procession celebrating the First Coming of
Christ looked up to vision of the ultimate prophecy, the majestic Second
Coming of Christ, when He would judge the quick and the dead.
Passing
through the portal and into the church, the sudden darkness brought to
light, then as now, three of the finest examples of stained glass ever
created, the dazzling twelfth-century lancet windows immediately below
the great west rose. The largest and most central of these lancet
windows, the one directly above the royal portal, is the Incarnation
Window, which recounts the story of the principal events in the life of
Christ up to, but not including, His passion and resurrection. At the
top of the central Incarnation Window are three panels depicting
Christ's entry into Jerusalem on Palm Sunday. The telling in glass of
the story of Palm Sunday concludes the history of His earthly life.
Accordingly, these panels are then immediately surmounted by a great
crowned Virgin and Child in Glory, a fitting capstone to the theme of
the Word made flesh. Thus, just as the processional chants proceed from
a theme commemorating Christ's final triumphant arrival to one honoring
the Virgin, so the sculpture and stained glass directly above the heads
of the clergy and laity of Chartres depict the same subjects. At this
moment musical and visual arts stood in perfect harmony.
As
the faithful reentered the cathedral the bells of the church rang
again. Inside a candelabrum holding seven candles was illuminated, and
the crosses and relics were left uncovered for the remainder of the
day. Having entered the chancel and mounted to their choir stalls, the
canons and chaplains of the cathedral again celebrated the office of
Terce, just as they had earlier that morning at Saint-Cheron. High Mass
then immediately followed.
Here's that "
Christ in Majesty," photo courtesy of
Vassil:
And here are the three "Entry into Jerusalem" stained glass panels from the
Incarnation Window: (all window images © Dr Stuart Whatling, 2011):
 |
| The Disciples |
 |
| Christ riding a donkey |
 |
| The City's Welcome |
Finally, this is the "great crowned Virgin and Child in Glory" at the top of the window, described above:
Here's some general introductory stuff about the Palm Sunday procession, from the beginning of the same chapter:
The
origin of the Palm Sunday procession in the Latin West can be traced
back to Jerusalem and the scriptural account of Christ's triumphant
entry into the Holy City as a prelude to His final great work of
Redemption. The joyful scene, described in varying degrees of detail in
the four Gospels, naturally lent itself to vivid re-creation. As early
as the late fourth century the nun Egeria, a pilgrim to the Holy Land
from Spain or southern France, observed the people of Jerusalem
reenacting the entry of the conquering Christ. From the top of the
Mount of Olives they led their bishop back to the celestial City, the
children running before him shouting "Blessed is he who comes in the
name of the Lord." From Jerusalem the Palm Sunday ceremony moved
westward, to th elands of the Gallican rite, undoubtedly carried by
pilgrims such as Egeria and by later monastic refugees fleeing the Holy
Lands. The Bobbio Missal, a Gallican source of the early eighth
century, contains a blessing of the palms ("Benedictio palme et olivae
super altario"), which implies that a procession followed thereafter
(Hermann Graef 1959, II; and Tyrer 1932, 50). And although there are
suggestions that a procession was known in Spain by this time, documents
of the ninth century originating in northern France are the first to
prove incontrovertibly its existence. Most important among these is the
statement by Amalarius of Metz indicating that the tradition of a Palm
Sunday procession was already widespread. Later, the custom was carried
into Italy, though apparently not until the twelfth century was it
officially adopted in Rome.
Thus, invoking Amalarius as
the witness, we can say with confidence that the clergy of the
principal monasteries and cathedrals of the Carolingian Empire were
accustomed to celebrate Palm Sunday with an appropriate procession by
the ninth century.
You can read Egeria's descriptions of
The Liturgy of Jerusalem during the 4th Century; the liturgies of Holy Week are among the most detailed. Here's the section titled "
Procession with Palms on the Mount of Olives":
Accordingly
at the seventh hour all the people go up to the Mount of Olives, that
is, to Eleona, and the bishop with them, to the church, where hymns and
antiphons suitable to the day and to the place are said, and lessons in
like manner. And when the ninth hour approaches they go up with hymns to
the Imbomon, that is, to the place whence the Lord ascended into
heaven, and there they sit down, for all the people are always bidden to
sit when the bishop is present; the deacons alone always stand. Hymns
and antiphons suitable to the day and to the place are said,
interspersed with lections and prayers.
And as the
eleventh hour approaches, the passage from the Gospel is read, where the
children, carrying branches and palms, met the Lord, saying; Blessed is
He that cometh in the name of the Lord, and the bishop immediately
rises, and all the people with him, and they all go on foot from the top
of the Mount of Olives, all the people going before him with hymns and
antiphons, answering one to another: Blessed is He that cometh in the
name of the Lord.
And all the children in the
neighbourhood, even those who are too young to walk, are carried by
their parents on their shoulders, all of them bearing branches, some of
palms and some of olives, and thus the bishop is escorted in the same
manner as the Lord was of old.
For all, even those of
rank, both matrons and men, accompany the bishop all the way on foot in
this manner, making these responses, from the top of the mount to the
city, and thence through the whole city to the Anastasis, going very
slowly lest the people should be wearied; and thus they arrive at the
Anastasis at a late hour. And on arriving, although it is late,
lucernare takes place, with prayer at the Cross; after which the people
are dismissed.
As you can see,
the procession in Jerusalem was stational; it moved from place to place
on the way to the Church of the Resurrection (called "the Anastasis" by
Egeria) many hours later. This was also the case in the Chartres
procession; in fact, the route of the procession was laid out to recall
the geography of Jerusalem itself. Again according to "
The Palm Sunday Procession in Medieval Chartres," and moving back to the beginning of the procession as it leaves the cathedral:
To
the sounds of now a great general pealing, they exited [the cathedral]
through the royal west door, preceded by crosses, Gospel books for the
clergy of each church, and feretories bearing the relics of saints. The
succentor soon sang forth the incipit of the first of the responsoria de historia,
the succession of nine great responsories that tell the story of
Christ's triumphant entry into Jerusalem. This cycle had already been
sung at the cathedral that morning at Matins and now was chanted again
as the procession made its way through the streets of Chartres. Moving
towards the east, the assembly passed beyond the walls of the city and
to the first station, a cemetery outside the priory of Saint-Barthélemy,
where it was joined by processions coming from other churches. The
route of the procession had obviously been chosen so as to traverse a
topography reminiscent of that of ancient Jerusalem. The cemetery at
Saint-Barthélemy corresponds to Golgotha, the site of Christ's
crucifixion to the east and beyond the walls of Jerusalem. From there
the procession of Chartres ascended a hill to the abbey church of
Saint-Cheron. Again, the topography was perfectly chosen.
Saint-Cheron, then as now, sits atop a hill, a substitute Mount of
Olives, whence one can see the celestial Jerusalem of Chartres some four
kilometers distant to the west.
.....
At
the great cross in the cemetery the clergy and populace stopped in
station and divided themselves into two distinct performing groups. The
bishop, cantor, priests, and deacons, and the multitude of townsfolk (populus multus)
remained on the est side of the cross looking west. The succentor,
subdeacons, and choir-boys, all in a prearranged order, moved to their
customary place (consuetus locus) on the west side and faced the
other group to the east. With the choirboys singing the verses and the
bishop's group and succentor's group alternating with the refrain, the
chanted the ninth-century processional hymn Gloria laus et honor [Palm Sunday: Gloria, laus et honor tibi ("All Glory, Laud, and Honor")]. This antiphonal singing of the Gloria laus was a musical and dramatic high point of the ceremony.
Sounds great! And this was followed by an "Adoration of the Cross," including prostrations, to the singing of antiphons.
Here's another chant version of the responsory, sung by Giovanni Viannini:
And here's a polyphonic setting by Pandolfo Zallamella (1551 - 1591), sung by the Czech group Dyškanti: "Sacred Music from the Rosenberg Library," 14 May 2011 at the Church of the Virgin Mary in Ceské Budejovice:
ChristusRex.org has all the chant propers for today, sung by the Sao Paolo Benedictines:
Hebdomada SanctaDominica in Palmis de Passione Domini
Antiphona: Hosanna filio David (34.9s - 548 kb) score
Ad processionem
Procedamus (8.3s - 133 kb) score
Antiphona: Pueri... portantes (2m24.9s - 2266 kb) score
Antiphona: Pueri... vestimenta (1m18.4s - 1228 kb) score
Hymnus ad Christum Regem: Gloria, laus (2m43.7s - 2558 kb) score
Responsorium: Ingrediente Domino (3m34.2s - 3350 kb) score
Ad Missam
Tractus: Ps. 21, 2-9.18.19.22.24.32 Deus, Deus meus (1m54.7s - 1794 kb) score
Graduale: Phil. 2, 8. V. 9 Christus factus est (2m19.3s - 2178 kb) score
Offertorium: Ps. 68, 21.22 Improperium... et dederunt (2m40.2s - 2504 kb) score
Communio: Mt. 26, 42 Pater, si non potest (3m28.0s - 3252 kb) score
And here are Chantblog posts on some of these:
