Miniaturas de Granell. Música revelada. Santiago de Compostela: A Central Folque, 2012. (original) (raw)
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Revista portuguesa de musicologia, 2021
The repertoire of Alleluias has been the subject of a certain inventiveness, which makes it one of the most interesting chants of Mass. The missal held in Salamanca (second half of the twelfth or early thirteenth century) contains a particularly high number of Alleluias, some of them being very little widespread, or even specific to this manuscript. The same observation can be done for other manuscripts from the Iberian Peninsula: Madrid, Biblioteca de la Real Academia de la Historia, ms 51 (San Millán de la Cogolla or Silos, twelfth century); Madrid, Biblioteca Nacional, M/1361 (Toledo?, thirteenth century); Braga, Arquivo da Sé, ms 34 (Braga Cathedral, early sixteenth century), and the Codex Calixtinus. Melodic comparisons have highlighted Iberian specificities as well as Cluniac variants, the latter pointing to Northern France traditions. They also show similarities between Iberian manuscripts and liturgical traditions from the South of France. However, these parallels do not point to a single direction but demonstrate that the manuscripts of the corpus suffered several influences. Three annexes complete this study: the edition of the Alleluias composed on new melodies, the edition of the melodic variants of the Iberian repertoire, and the edition of melodic variants of the Cluniac repertoire.
The missal of Salamanca, now fully digitalized and available in the Portuguese Early Music Database (PEM), was notated in the second half of the twelfth century or the beginning of the thirteenth century. Although it is usually said to come from Silos or San Millán de la Cogolla, none of these hypotheses can be considered as certain. The aim of this article is to present a description and analysis of the manuscript in order to propose some possible answers concerning its origin. I thus analysed the script and the notation, the sanctoral, the alleluias, the chants for the processions, the Kyriale and the Prosarium (both incomplete) and also some noteworthy chants (particularly two troped Benedicamus domino and two particular masses). Three appendices with the litanies of the saints, the alleluias and the chants for the processions complete this overview. At the end of this study, the origin of the manuscript remains uncertain. The sanctoral shows the strong influence of French sanctorals with several saints from the North West of France, and overall, it does not correspond to the sanctoral of the manuscripts from Silos or San Millán. On the other hand, the musical repertories have many things in common with those of the South of France: several antiphons for the processions, troped Kyries and also some alleluias were only sung in these regions. But other alleluias and some additions (two troped Benedicamus domino, a prosa and a troped Kyrie) can be found only in manuscripts from the Iberian Peninsula.