Pub Date : 2018-10-01DOI: 10.1017/s0961137118000104
K. Ihnat
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Pub Date : 2018-10-01DOI: 10.1017/S0961137118000098
Jennifer Bain
ABSTRACT Only two large collections of Hildegard of Bingen's music are extant, today housed in the Katholieke Universiteit in Leuven (B-LVu, no shelf number) and in the Hochschul-und Landesbibliothek RheinMain in Wiesbaden (D-WI1 2, the so-called ‘Riesencodex’). The Riesencodex, though, was almost lost during World War II. It survived both bombing and plundering in Dresden in February 1945, only to be appropriated by the Soviet Administration in 1947. Using archival records from the Hessisches Hauptstaatsarchiv in Wiesbaden from the 1940s and 1950s, I detail the efforts of a number of people to retrieve the manuscript after the war and bring it back to Wiesbaden. Franz Götting, the director of the Wiesbaden library, spent several years trying to recover the manuscript through official channels. Its eventual return to Wiesbaden in 1948, however, came about surreptitiously, largely through the efforts of Margarete Kühn at the German Academy in East Berlin and an American woman, Caroline Walsh, in Berlin as a military spouse.
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Pub Date : 2018-10-01DOI: 10.1017/S0961137118000086
Karin Lagergren
ABSTRACT This is the first study to examine the seven invitatory antiphons of the Birgittine weekly Office, the Cantus sororum, offering complete transcriptions of the melodies and texts. An important general finding is that these invitatories share many melodic similarities with great responsories, but on a more detailed level this article investigates precisely how these chants relate to known models, both complete melodies as well as individual melodic motives. Four patterns of composition among the Cantus sororum invitatories emerge: (1) unique texts may be combined with melodies that resemble other known chants outside the Cantus sororum; (2) texts and melodies that resemble other variants outside the Cantus sororum may be combined in new ways; (3) both text and melody are unknown outside the Cantus sororum. Overall, these invitatory antiphons, like the rest of the Cantus sororum, represent creative work with existing melodies and texts, including reworkings, borrowings and consistent use of melodic motifs, comprising a significant part of a repertoire at once distinctly Birgittine in character and yet conforming to the common stock of Gregorian Chant. Melodic correspondences within the Cantus sororum as well as in the Birgittine Mass repertoire thus afford an interesting perspective on a soundscape in which the Birgittines functioned and where, through music, their identity was created and maintained.
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Pub Date : 2018-04-01DOI: 10.1017/S0961137117000171
Michael L. Norton
cantorum who had been granted as subdeacons the privilegium of wearing the mitre in the exercise of their office. Another case study of transformation is Anna de Bakker’s examination of the Office of Arnulf de Villers (d. 1228), a Cistercian lay brother. The fact that a prose vita was adapted for a liturgical observance is hardly remarkable, but de Bakker illustrates how Goswin, the author of the saint’s office (and vita), shaped the ‘dialogue’ between responsories and readings to define his subject as not just a local holy man but an ‘eternal figure’ (p. 338). The responsory Egressus igitur, for example, invokes Abraham as one who, like Arnulf, departed ‘de terra et cognatione sua’. The extreme penances and mortification which the saintly Arnulf imposed upon himself are recorded in grisly detail in a hymn which begins (incongruously?) Gaude mater ecclesia (Table 18.1). The closing essay by Claire Taylor Jones on the reformer Johannes Meyer (d. 1485) has little relationship to the title of the book. She chronicles Meyer’s strenuous endeavours to impose on convents of Dominican nuns a strict Observance of the Rule of Augustine and the customs of the Order. Meyer copied, translated and edited ‘sistersbooks’ (histories of convents composed in German by the sisters themselves) and other materials related to his mission, in which he was assisted by reforming nuns. Meyer laid particular stress on education, so that the choir nuns would understand the Latin of the office they were bound to recite. Any reader who takes this book from the library shelf will surely be able to find chapters that relate to his or her interests. Not to be found, however, is much information about ‘medieval cantors and their craft’. That might require a different kind of research in archives, ordinals and customaries. York Medieval Press has done an excellent job of producing a readable text in a sturdy binding. The manuscript illustrations are of serviceable quality, though Rankin’s ‘Plate X’ (p. 57) seems to have gone astray.
康托勒姆作为副执事被授予在执行职务时戴冠状帽的特权。另一个关于转变的案例是安娜·德·巴克对阿努夫·德·维尔斯办公室(1228年)的调查，阿努夫·德·维尔斯是一位西多会的平信徒兄弟。散文生活被改编为礼拜仪式的事实并不引人注目，但德巴克说明了圣徒办公室(和生活)的作者高斯温如何塑造了责任和阅读之间的“对话”，以定义他的主题不仅仅是一个当地的圣人，而是一个“永恒的人物”(第338页)。回应词Egressus igitur，例如，调用亚伯拉罕作为一个人，像阿努夫一样，离开了" de terra et cognationsua "。神圣的阿努夫对自己的极端忏悔和苦行，在一首赞美诗中被详细地记录了下来，这首诗的开头(不太协调?)Gaude matter ecclesia(表18.1)克莱尔·泰勒·琼斯关于改革家约翰内斯·迈耶(1485年)的结语与本书的标题没有什么关系。她记录了迈耶的艰苦努力强加给修道院的多米尼加修女一个严格遵守奥古斯丁的规则和秩序的习俗。迈耶抄写、翻译和编辑了“修女书”(修女们自己用德语撰写的修道院历史)和其他与他的使命有关的材料，在这些材料中，他得到了改革修女的帮助。迈耶特别强调教育，这样唱诗班的修女们就能听懂她们必须背诵的拉丁文。任何读者从图书馆的书架上拿起这本书，一定能找到与他或她的兴趣相关的章节。然而，没有找到很多关于“中世纪唱诗班和他们的手艺”的信息。这可能需要对档案、顺序和习惯进行不同的研究。约克中世纪出版社做了一个出色的工作，生产一个可读的文本在一个坚固的装订。手稿插图的质量是可以使用的，虽然兰金的“X版”(第57页)似乎已经误入歧途。
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Pub Date : 2018-04-01DOI: 10.1017/S0961137118000037
K. Steiner
ABSTRACT The singular Office of St Columba in the Inchcolm Antiphoner, a unique relic celebrated for its distinct Scottish chant, was composed in the late thirteenth century amidst a battle for the claim of Scotland's patron saint. Previous studies of the office have suggested that unique chants reflect a pre-Norman tradition of Celtic chant. This article demonstrates that the office was not only composed much later, and severely edited in the fifteenth century, but also almost entirely composed of contrafacta. Some of these engage directly with the cult of St Andrew, the other saint with a major claim to the patronage of Scottish royalty. Three chants in the office connect the celebration of St Columba at Inchcolm Abbey to music from St Andrews Cathedral as recorded in a St Andrews antiphoner and W1. The office thus bears witness to the authority of music for St Andrew and the association of W1 with his cathedral in the early fourteenth century. The music of the office is not distinctly Scottish, but the office constructed for St Columba reflects the competition between the cults of St Andrew and St Columba in the construction of Scottish identity.
在13世纪晚期，在一场争夺苏格兰保护神的战斗中，印科尔姆安提福内尔(Inchcolm Antiphoner)的圣哥伦布教堂(Office of St Columba)以其独特的苏格兰圣歌而闻名。此前对该教堂的研究表明，独特的圣歌反映了诺曼人之前的凯尔特圣歌传统。这篇文章表明，《办公室》不仅写得很晚，而且在15世纪被严格编辑，而且几乎完全由契约组成。其中一些直接与圣安德鲁的崇拜有关，圣安德鲁是另一位声称受到苏格兰皇室庇护的圣人。办公室里的三首圣歌将印科尔姆修道院的圣哥伦布庆祝活动与圣安德鲁斯大教堂的音乐联系起来，这些音乐是用圣安德鲁斯对唱机和W1录制的。因此，这个办公室见证了圣安德鲁音乐的权威，以及14世纪初W1与他的大教堂的联系。办公室的音乐没有明显的苏格兰风格，但为圣哥伦布建造的办公室反映了圣安德鲁和圣哥伦布的邪教在苏格兰身份建设方面的竞争。
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Pub Date : 2018-04-01DOI: 10.1017/S0961137118000013
T. Bailey
ABSTRACT The exposition of an analytical method that reveals the simple basis of the melodic structure of Western liturgical chants belonging to the two general categories of responsory and antiphon. Included are historical observations meant to explain the origin and evolution of chant-melody in the period from the seventh to the thirteenth century.
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Pub Date : 2018-04-01DOI: 10.1017/S0961137117000158
M. Teeuwen
and commentaries, drawing upon a wide knowledge of patristic texts and biblical exegesis. That the explanations are occasionally rather wordy is hardly a drawback, given the nature of the material and the clarity of the exposition. The riches of these volumes extend right to the end. There is a word concordance with over 1,400 entries, an index of proper names, another of divine names, a fourteenpage bibliography, an index of sequences by Latin incipit (not just Notker’s but all others cited as well), an index of melody titles with classificatory codes to denote their distribution and an index of manuscripts. Bower’s hives are indeed well stocked. My enthusiasm for this magnificent achievement will have become obvious. Calvin Bower has at last provided for these remarkable compositions the edition they deserve. And much more than an edition: a comprehensive exposition of what Notker’s creative effort signified, of the intellectual and spiritual world in which it was accomplished and of the musical dimensions of this liturgical poetry. I should not omit to point out that these volumes, by including a fully fledged musical edition, mark a significant new departure among the publications of the Henry Bradshaw Society (henrybradshawsociety.org). It is no coincidence that the Chairman of the Society’s Council, Susan Rankin, is herself a musicologist with an unrivalled knowledge of early St Gall chant books. It bears repeating that Notker would not have composed his texts the way he did if the melodies had not already been ringing in his ears. He wrote many other Latin works, including the famous prose Gesta Karoli Magni, a metrical life of St Gallus, and some office hymns in conventional metre. The longissimae melodiae presented a quite different challenge, which Bower never lets out of his sight. These volumes raise Notker studies to a quite new level, one to which I sincerely hope not only medievalists but also musical performers may rise. I was interested to note Bower’s recollection of singing the pieces from an older edition some four decades ago. To scale the celestial heights of Congaudent angelorum chori, to chant the whole history of redemption in Laudes salvatori, is indeed a wonderful experience for any singer. Notker’s sequences could enliven many a Mass. Who could fail to respond to the culminating assertion of the Dedication sequence Psallat ecclesia: ‘Hac domo Trinitáti laus et glória semper resúltant’ (‘In this house praise and glory to the Trinity re-echo without end’)? May Calvin Bower’s ‘libelli’ persuade us to enter these gates of rich musical as well as scholarly experience.
和注释，借鉴了教父文本和圣经注释的广泛知识。考虑到材料的性质和阐述的清晰性，解释有时相当冗长并不是一个缺点。这些卷的丰富一直延伸到最后。有一个包含1400多个条目的单词索引，一个专有名称索引，另一个神名索引，一个14页的参考书目，一个拉丁首字母序列索引(不仅是诺克的，还有所有引用的)，一个旋律标题索引，用分类代码表示它们的分布，还有一个手稿索引。鲍尔的蜂箱确实储备充足。我对这一伟大成就的热情将变得显而易见。卡尔文·鲍尔终于为这些杰出的作品提供了他们应得的版本。这不仅仅是一个版本:它全面地阐述了诺克的创造性努力所代表的意义，它所完成的智力和精神世界，以及这首礼拜诗的音乐维度。我不应该忽略指出，这些卷，包括一个完全成熟的音乐版本，标志着亨利·布拉德肖协会的出版物中一个重要的新开端。协会理事会主席苏珊·兰金本身就是一位音乐学家，对早期圣歌书有着无与伦比的了解，这并非巧合。值得重复的是，如果旋律没有在他的耳朵里回响，诺克不会以这样的方式创作他的文本。他还写了许多其他的拉丁语作品，包括著名的散文《Gesta Karoli Magni》、《St Gallus的格律生活》和一些传统格律的办公室赞美诗。最长的旋律呈现出一种完全不同的挑战，鲍尔从未让它离开他的视线。这些书把对诺克的研究提升到了一个全新的水平，我真诚地希望不仅中世纪学者，而且音乐表演者也能达到这个水平。我很感兴趣地注意到，鲍尔回忆起大约40年前唱过老版本的歌曲。登上《天使颂》(conaudent angelorum chori)的天堂之巅，在《救世主颂》(Laudes salvatori)中吟唱救赎的整个历史，对任何歌手来说都是一种美妙的体验。诺克的序列可以使许多弥撒活跃起来。谁能不回应奉献序列Psallat ecclesia的最后断言:“Hac domo Trinitáti laus et glória semper resúltant”(“在这所房子里，对三位一体的赞美和荣耀不断回响”)?愿加尔文·鲍尔的“利贝利”能说服我们进入丰富的音乐和学术体验的大门。
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