Betrifft die Handschrift Cod. der Burgerbibliothek Bern. Antiphonale missarum sextuplex. René-Jean Hesbert Published in in Bruxelles by Vromant. Services. Reference details. Antiphonale missarum sextuplex: d’après le graduel de Monza, et les antiphonaires de Rheinau, du Mont-Blandin, de Compiègne, de Corbie et de Senlis.
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Skip to main content. Log In Misdarum Up. These two leaves are bound as rear endleaves to an early manuscript from Bobbio containing various ecclesiastical texts2.
According to Bischoff, the two folios I am particularly grateful to Prof.
Susan Rankin Cambridge for directing me to this source, as well as for her invaluable comments on earlier drafts of this paper. My sincere gratitude goes to Calvin Bower Ohio State University for his help with the complex world of the early Sequence. Finally, I wish to wholeheartedly thank Dr.
Eduardo Henrik Aubert for the conference organisation and for his constant and vital support through the writing of my study, missarum which I am greatly indebted. Laon – Paderborn, Wiesbaden: This paper aims to review the origin of this fragment — about which Bischoff himself was not sure — and to discuss the date when these folios antiphonaale written.
In the course of the discussion, I will additionally indicate the relevance of this source for the history of the early written transmission of chant.
Although the present state of the folios presents serious challenges to study more on this belowtheir contents can be identified4. The first folio f. The recto of the second folio f. The specific contents of each of these groups sextupllex entries will be of aid in evaluating the fragments. It is thus extremely important for our investigation that sextuplxe fragments are not only partially notated, but also prepared for canonicae septem.
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His inventory is in thirty handwritten volumes and was published in facsimile by the Biblioteca Ambrosiana in Studies in Honor antiphonalle Edward H. This provides an important starting sxtuplex from which to evaluate these membra disiecta. Finally, the late ninth century is also a period of more general changes in book production, and especially in standards of writing. This is still another aspect that requires careful consideration in a reassessment of theses leaves.
This study will thus proceed by analysing the fragments from three complementary points of view: Evidence gathered from each of these three layers corroborates each of the others, pointing to a slightly later date than that proposed by Bischoff, and a place of origin in northern Italy.
Emulation ad Innovation, Cambridge: Cambridge University Press,p. Cambridge University Press,esp. Milan, bibliotheca Ambrosiana, B antiphhonale sup. The erasure has been so thorough that the legibility of the fragments is scarcely increased by the use of a UV lamp.
They have also been trimmed, presumably when originally bound to manuscript B 48 SUP.
In the light of this, we could argue that ff. The pages are dry-point ruled and the interlinear space is 9. There are antlphonale 17 lines per page, but it is impossible to know exactly how many there originally were and it is problematic to give even an estimate.
It may be possible to calculate the loss by looking at the average space occupied by the anitphons for on Sunday after Pentecost: Therefore we may legitimately infer that the original page may have contained lines of sexhuplex. Pricking holes are still visible on the left hand margin of f. From observation of the positioning of the ruled surface in relation to un-ruled marginal space it is possible to reconstruct the relation of the surviving pieces to the original folios see Fig.
It is anti;honale doubtful that the two folios were two parts of a bifolium. However, evidence suggests that they were in close proximity, and possibly coming from the same gathering8.
Reconstruction of the original placement and ruling of ff. Extra horizontal space between either syllables or words has been left in order to accommodate musical notation, and confirms that the original manuscript antiphohale prepared for musical notation.
This is particularly evident in the Alleluia series on f. However, the project seems to have never been completed and neumatic notation is only found in the top half of f. The incipits of the first antiphon for each Sunday after Pentecost on f. Rubrics, instead, are in a fourth script, Rustic capital, slightly smaller in size mm. In the chant texts there are very few antihponale -que and xpo and ligatures are also restricted to et or -etin the form of ampersand, ct and st very narrow — the latter also very tall — and with the horizontal stroke of the letter t always touching the sextulpex letter.
Analysis of the letter-forms of the Caroline minuscule script and of the display scripts raises no argument against the attribution of the two sextupelx to a single scribal hand.
Armando Petrucci discusses some of the features just mentioned and their importance for dating Italian Caroline minuscule scripts, on the basis of a sample of dated manuscripts from the ninth to the twelfth centuries. As explained by the late Italian palaeographer in the introduction to his article, these indications should 10 The feature of highlighting chant incipits by means of a different script is a practice shared with other sources from the centre of the Carolingian Empire.
Essays in Honour of Donald A. Ashgate Variorum,Chapter VI. The Alleluias on f. Some comments about northern-Italian ninth-century abbreviations can be found in B. Further elements, however, remarked upon by both Petrucci and Giulio Battelli, press, at least, for placing the fragment closer to but maybe later than to Regarding general aspects of the script, one could point to an overall roundness, the irregular ascenders — but usually with no variation in their breadth — as well as to an irregular inclination of the script, between straight and bent to the right.
As far as specific letter-forms are concerned, relevant features include presence of only Uncial and usually straight-backed a, and usually closed g. One should also note the use of e instead of the diphthong ae While these elements point to a date around or slightly later, the minuscule script is a Caroline minuscule difficult to localise An important element is provided by the consideration of the Uncial script, especially where it can be more easily read on f. The horizontal, very short ascender of Uncial d, and the bifurcated horizontal finials on T and L are typical elements of the Roman Uncial model that was developed in the late sixth century, copied as far as Wearmouth-Jarrow and northern France since the eighth century, but that kept being used in ninth-century Rome and many of whose elements were adopted in the Roman Caroline and in the minuscola romanesca, as shown by Armando Petrucci and Paola Supino Martini.
III, 9p. Scuola Vaticana di Paleografia e Diplomatica, misdarum, p. This lends weight to the hypothesis that will be further developed in the next sections, according to which these membra disiecta were written in northern Italy. At this point, as a simple addendum to the preceding analysis, one could briefly contrast the writing of the Ambrosiana fragments with two very compa- antiphonald books, in terms of book typology Gradual and Gradual-Antiphoner and of similar date and localisation as proposed by Bischoff northern France, late ninth century: At sexhuplex same time, there are elements suggesting that Italy might be a more likely origin than France.
The analysis of the liturgy will help us to further support and refine these arguments. Origini, sviluppo e diffusione di una stilizza- zione grafica altomediovale sec. As mentioned above, some parts of f. There are very few traces left on the page to attempt a reconstruction of the material for the 23rd and 24th Sundays after Pentecost.
Cross references between initials and a particular formula could provide some evidence for the identification of a few of the chants, but we would still be left with a large degree of uncertainty. Therefore, my choice was to provide a proposed identification in the transcription and to include in the table only those chants for which a plausible correspondence could be provided Sources have been divided into five groups. The first two are drawn from the 18 In particular Dom.
There is indeed a high probability for these correspon- dences, but we should, however, treat these data with prudence. Firstly, while these groups of chants for individual feasts do not have an entirely consistent tradition throughout the sources, the results have revealed a general agreement, above all with the sources of the secular cursus.
Sextuples particular, the highest level of concordance is with Italian and French sources, while there is less agreement with other sources, including central- and southern-Italian, and sextiplex such as Missarun, Graz, Utrecht, Toledo antiphonape Worcester.
Therefore, sources with the best level of correspondence seem to have originated in central France or northern Italy. However, this comparison would have benefited greatly missraum extending it to other sets of chants such as those on f. Therefore we should treat these results as a general framework into which to place the Ambrosiana fragments and not yet as a definite claim about their original liturgical context.
XX post Pentecosten A. Videntes autem turbe – – – – – -! XXI post Pentecosten A. Sankt Gallen, Stiftsbibliothek, 2.
Lucca, Biblioteca Capitolare, MS 8.
cantus planus – antiphonale missarum sextuplex
Oxford, Bodleian Library, MS. Aosta, Seminario Maggiore, Biblioteca 6 9. Vercelli, Biblioteca Capitolare, MS 62 Utrecth, Universiteitsbibliotheek, MS olim 3 J 7 5. Liturgical table for the post-Pentecostal Antiphons. The composition of a set of masses for each day of the week beginning with a Missa de Sancta Trintate has been attributed — but with little evidence — to Alcuin of york The earliest known surviving source for the Trinity mass is a mid-ninth century sacramentary in Oxford including the chant texts in the original hand Bodleian Library, Auct.
These Trinity chants in the Ambrosiana fragment present some interesting peculiarities. One should especially note the inclusion of the sequence Benedicta semper sit sancta Trinitas, of the Offertory Benedictus sit Deus with two verses Benedicamus patrem and Benedictus es and, finally, what could be two Communions — Benedicimus deum and a second, incomplete and only partially legible text see Table 2. All of this will be useful for dating and localising the two folios All of these elements will be considered on the basis of a comparative table that will be presented and discussed below Before we get to this, however, separate consideration of the sequence Benedicta semper is in order.
See also The Church at Prayer, vol. The Liturgical Press,p. Benedica- mus patrem, RG. Domine dominus noster, ALL.