Liner Notes for O rex orbis – Officium in festo sancti Karoli – Medieval Plainchant and Renaissance Polyphony for the Feast of Saint Charlemagne (original) (raw)

Corpus Troporum XII. Tropes du Gloria : Vol. 2. Aperçu des manuscrits

2014

The present volume is an edition of medieval liturgical tropes to the most extensive chants of the Roman Mass, Gloria in excelsis Deo. Following the editions of tropes to the Agnus Dei and Sanctus by the same editor in the series Corpus Troporum, this is the third part dedicated to Ordinary tropes. It is based on 137 manuscripts dating from the ninth through the thirteenth centuries. Volume 1 contains an introduction presenting the Gloria chant, its history and its interpretation by medieval commentators. Iversen presents the various compositional methods used by medieval compilers, who, combining 'wandering' verses, could vary the form of the troped chant in almost unlimited ways. The innovative aspect of this edition is to present for the reader as much material from this extensive poetic tradition while keeping faithful to the manuscript witnesses. Thus the main part of the first volume contains the critical edition of 152 tropes and prosulas amounting to thousands of verses, in various ways and at various points inserted into the Gloria chanted in the medieval Mass. Volume 2 publishes 32 plates from the manuscripts used in the edition. It then provides an overview of the entire Gloria repertory, listing all the manuscripts by place of provenance (coinciding with the order of collation) and detailing information on the place of insertion of each verse in the tropes and prosulas, including liturgical rubrics and melodies. French musicologist Marie Noël Colette contributes to this volume with musical transcriptions and annotations of a selection of troped Gloria chants. Indices and bibliography conclude the volume.

Liturgical chant bibliography 30

Plainsong and Medieval Music

(a) Davide CROFF, 'Presentation', ix-x. (b) Roberto CALABRETTO, Luisa ZANONCELLI, 'Preface', xi-xii. (c) James BORDERS, 'Foreword to the Meeting', xiii. (d) Nausica MORANDI, 'Opening address', xiv. (e) Andreas PFISTERER, 'Zur Bedeutung von Oxeia/Acutus/Virga in den griechischen und lateinischen Neumenschriften', 3-8. (f) Laura ALBIERO, 'From France to northern Italy: specific features in "Comasca" notation', 9-18. (g) Elsa DE LUCA, 'A methodology for studying Old Hispanic notation: some preliminary thoughts', 19-40. (h) David CATALUNYA, 'The "codification" of new Latin song in early twelfth century: codicological insights into F-Pn fonds latin 1139', 43-7. (i) Marco GOZZI, 'Manuscripts in Cortona: fragments and liturgical books in the Archivio storico diocesano', 49-60. (j) Karin Strinnholm LAGERGREN, 'The Birgittine Abbey of Maria Refugie: Five hundred years of manuscript production', 61-71. (k) Santiago RUIZ TORRES, Juan Pablo RUBIO SADIA, 'Liturgical fragments of the diocese of Sigüenza (eleventh-sixteenth centuries)', 73-82. (l) Rebekka SANDMEIER, 'Imposing European culture on the Cape Colony: medieval manuscripts in the Grey collection', 83-93. (m) James BORDERS, 'A northern Italian intermediary between Avignon and Rome? Oxford, Bodleian Library, MS. Canonici Liturgical 375 and the chants of the 1485 Pontificale Romanum', 95-106. (n) Jurij SNOJ, 'The antiphoner of Izola', 107-16. (o) Réka MIKLÓS, 'Der Seckauer Liber ordinarius von ca. 1595 (A-Gu 1566) als letztes Dokument der mittelalterlichen Salzburger-Seckauer Liturgie und Musik', 117-34. (p) Andreas HAUG, 'Towards a semiotically informed transcription practice', 137-42. (q) Konstantin VOIGT, 'Reconstructing acts of writing. Editorial consequences of writing scenarios assumed for the versus Annus novus in Paris 1139', 143-50. (r) Elaine Stratton HILD, 'Working realities of the New Philology: considering the potential of 157 Liturgical chant bibliography 30 https://www.cambridge.org/core/terms.

The Ordinary Chants of the Roman Mass, with their Tropes: The Odyssey of an Edition

2016

When, in the summer of 1976, Bruno Stäblein invited me to prepare an edition of the melodies for the Sanctus and Agnus Dei of the Roman mass, together with their tropes, for the series Monumenta Monodica Medii Aevi, 1 I had to say that I would be happy to do so, but would not be able to work on the project right away because of other commitments. Little did I know that it would be over thirty years, and that the world would go through at least two great recessions, the United States would elect six different presidents and engage in two different wars before I could finish even one part of the project, and that the edition would appear in a completely different series and in a completely different format from that for which it was originally conceived. 2 Rather than being an edition of the Sanctus and Agnus Dei and their tropes, the edition will now comprise the Kyrie and Gloria of the Roman mass and their prosulas and tropes as well. 3 The fact that I am writing this article (and gave the lecture upon which it is based) is one positive sign that work on the edition is well under way. But much water has flowed under the bridge between the inception of the project and its present state. Granted, there are a number of things that kept me from completing this edition any sooner. One was a series of articles and then a book How to cite this book chapter:

The offertories of Old-Roman chant : a musico-liturgical investigation /

1971

Chapter XXII is devoted to the alleluias of tho Old-Roman Paschal Vespers and some possible relationships with By~antino melodics. V Analysis of If free'• melodic in\l'ention has tended to remain rudimentary a~d to be linked with esthetic considerations and the "expressiveness" of the melody.l As fine and informative as sane of these studios are they do not pretend to a systBnatic investigation of groups of chants with an eye to dEmonstrating interrelationships and principles of organization. Kenneth Levy in a series of articles on Byzantine and Western chant has devoted his attention to the motiv1c relationships existing within specific chants and amongrelated chants. 2 CHAPTER V. THE TEXTS OF THE OFFERTORIES. • •• • • • • • • • '1' Sourcos of tho Texts (13l)-Tcxtua1 Centonization (132)-Commonts on Table 1 (134)-Tcxts of tno Offertory Versos (143)