The St Gall Passion Play: Music and Performance

461 Pages·2007·4.101 MB·English

by  Peter Macardle

The St Gall Passion Play
» LUDUS «
Medieval and Early Renaissance Theatre and Drama
10
Edited by
Peter Happé and Wim Hüsken
Volume 1: English Parish Drama
Volume 2: Civic Ritual and Drama
Volume 3: Between Folk and Liturgy
Volume 4: Carnival and the Carnivalesque
Volume 5: Moving Subjects
Volume 6: Farce and Farcical Elements
Volume 7: Cyclic Form and the English Mystery Plays
Volume 8: Acts and Texts
Volume 9: Interludes and Early Modern Society
Volume 10: The St Gall Passion Play
The St Gall Passion Play
Music and Performance
by
Peter Macardle
Amsterdam – New York, NY 2007
Cover design: Studio Pollmann
The illustration on the cover of this book is from a15th-century antiphonal
fragment, Karlsruhe, Generallandesarchiv, 65/738, fols. 35r.
All titles in the Ludus - Medieval and Early Renaissance Theatre and Drama
series (from 2002 onwards) are available to download from the Ingenta web-
site http://www.ingentaconnect.com
The paper on which this book is printed meets the requirements of “ISO
9706:1994, Information and documentation - Paper for documents -
Requirements for permanence”.
Le papier sur lequel le présent ouvrage est imprimé remplit les prescriptions
de "ISO 9706:1994, Information et documentation - Papier pour documents -
Prescriptions pour la permanence".
ISBN: 978-90-420-2346-8
©Editions Rodopi B.V., Amsterdam – New York, NY 2007
Printed in The Netherlands
Table of contents
Acknowledgements 7
Introduction 11
I The Text and the Problem 21
II Liturgy and Localization 45
III Approaches 79
IV Cantat dicat respondeat :
Directions and Performers 93
A note on the transcription and editing of text and notation 119
V Localizing the Play 123
VI Before the Passion 165
VII The Passion (1) 227
VIII The Passion (2) 281
IX The Resurrection and the Harrowing of Hell 321
X The Empty Tomb 357
XI Conclusions 391
Bibliography 397

Acknowledgements
n Africa they know it takes a whole village to bring up a single
child. Similarly, bringing out a single book is impossible without
the help and support of the academic village, and it gives me the
greatest of pleasure to acknowledge my indebtedness to many of
its members.
Thehelp I havereceivedfromtwooutstandingscholarsinthefield
of medieval German theatre, Prof. Emeritus Hansjürgen Linke and
Prof. Ulrich Mehler, both of the University of Cologne, has been in-
valuable. They have advised, encouraged, and given me access to the
uniquely rich medieval drama collection at the Institut für Deutsche
Sprache und Literatur of the University of Cologne. To Prof. Her-
mann Reifenberg, the pioneer of modern scholarly study of the Mainz
liturgy, go my sincere thanks for detailed information at an early stage
of the project. Another student of Mainz liturgical tradition, Dr Kon-
rad Wiedemann of the Universitätsbibliothek, Landesbibliothek und
Murhardsche Bibliothek, Kassel, most generously put unpublished
material from his own researche at my disposal.
Assembling the material for this book involved research in many
librariesand archives, whereI oftenreceivedassistanceandadvicefar
beyond the call of duty. First and foremost I must thank the Durham
libraries in which I have spent so much of my time: theUniversity Li-
brary, especially Sheila Hingley, Beth Rainey, Ian Doyle and all the
ever-helpful staff at Palace Green; the Cathedral Dean and Chapter
Library, especially Roger Norris; and the Library of Ushaw College,
especially Michael Sharratt and Alistair MacGregor.
Further afield, there are nearly thirty libraries and archives to be
acknowledged: the library of the Institut für Deutsche Sprache und
The St Gall Passion Play
Literatur of the University of Cologne, especially Frau Hiltrud Hoff-
mann-Richter; the Universitäts- und Landesbibliothek, Darmstadt; the
Bruno-Stäblein-Archiv of the Institut für Musikwissenschaft of the
University of Erlangen, especially Prof. Andreas Haug; the Stadt- und
Universitätsbibliothek, Frankfurt am Main, especially Dr Gerhardt
Powitz and Dr Bernhard Tönnies; the Universitätsbibliothek, Heidel-
berg; the Badische Landesbibliothek, Karlsruhe, especially Dr Ute
Obhof; the Generallandesarchiv, Karlsruhe; the Universitätsbiblio-
thek, Landesbibliothek und Murhardsche Bibliothek, Kassel; the Brit-
ish Library, London; the Institute of Germanic Studies and the War-
burg Institute, University of London, the Martinusbibliothek of the
Bischöfliches Priesterseminar, Mainz; the library of the Gutenberg-
museum, Mainz; the Stadtbibliothek, Mainz, especially Frau Annelen
Ottermann; the John Rylands Library, University of Manchester; the
Bayerische Staatsbibliothek, Munich; the Bibliothek des Me-
tropolitankapitels, Munich; the Germanisches Nationalmuseum, Nur-
emberg; the Taylor Institution Library, Oxford; the Bibliothèque Ma-
zarine, Paris; the Pfälzische Landesbibliothek, Speyer; the Bibliothek
des Gymnasiums am Kaiserdom, Speyer; the Archiv des Bistums
Speyer, especially Dr Hans Ammerich; theBiblioteca Apostolica Vati-
cana, Vatican City; the Herzog August Bibliothek, Wolfenbüttel; the
Stadtarchiv, Worms; the Stadtbibliothek, Worms.
Specialized information, constructive criticism and best of all, in-
terest and encouragement, hascomeinabundance from my colleagues
in Durhamand elsewhere, especially JeffAshcroft,Jenny andRichard
Britnell, Anna Carrdus, Andrew Davis, John Flood, Peter Ganz, the
late Colin Good, Margaret Harvey, Kevin Hilliard, Tim Jackson, Jona-
than Long, John McKinnell, Ann Moss, Nigel Palmer, Nicholas Saul,
Peter Scott, Michael Shields, Jane Taylor, Dick Watson and Chris
Wells. Special words of appreciation must go to my son Killian, for IT
assistance, to Gabriele Fischer and Michael Straeter, for vital help and
support in Cologne; and to Alfons Pyka, former director of the Mar-
tinusbibliothek, Mainz, and Mrs Pyka, for both bibliographical assis-
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Acknowledgements
tance and extraordinarily generous hospitality on several research vis-
its to Mainz.
My most important debt is to my wife Fiona. Shehasfreely shared
her musical expertise, and has been of enormous practical help in
processing the chant texts. More importantly, without her unstinting
support, material and emotional, over many years, this book would
simply never have seen the light of day. I dedicate it to her in gratitude
and love.
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