Music, Liturgy, and the Veneration of Saints of the Medieval Irish Church in a European Context

406 Pages·2017·3.214 MB·English

by  Ann Buckley

Music, Liturgy, and the
Veneration of Saints
of the Medieval Irish Church
in a European Context
RItuS Et ARtES
General Editor
Nils Holger Petersen, University of Copenhagen
Editorial Board
Gunilla Iversen, Stockholm University
Richard utz, Georgia Institute of Technology
Nicolas Bell, Trinity College, Cambridge
Mette B. Bruun, University of Copenhagen
Eyolf Østrem, University of Copenhagen
Previously published volumes in this series are listed at the back of the book
Volume 8
Music, Liturgy, and the
Veneration of Saints
of the Medieval Irish Church
in a European Context
Edited by
Ann Buckley
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library.
© 2017, Brepols Publishers n.v., Turnhout, Belgium
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of the publisher.
D/2017/0095/83
ISBN: 978-2-503-53470-1
e-ISBN: 978-2-503-54020-7
DOI: 10.1484/M.RITUS-EB.5.111038
Printed on acid-free paper
IN MEMORIAM
Michel Huglo
1921–2012
Contents
List of Illustrations ix
Acknowledgements xiii
Abbreviations xiv
Introduction xvii
Chant in the Early Irish Church
A Study of Early Irish Chant
MICHEL HuGLO 1
Issues of time and Place
Proper Offices for Saints and the Historia: Their History and
Historiography, and the Case of the Historia for St Livinus
BARBARA HAGGH-HuGLO 23
Locality and Distance in Cults of Saints in Medi eval Norway
NILS HOLGER PEtERSEN 51
Offices of the Saints
Continental Sources
Omnes sancti chori Hiberniae sanctorum orate pro nobis:
Manu script Evidence for the Cult of Irish Saints in Medi eval Europe
JEAN-MICHEL PICARD 67
Songs for the Peregrini: Propers for Irish Saints
in Continental Manu scripts
SARA G. CASEy 79
Contents vii
The Historia of St Fintan of Rheinau
BERNHARD HANGARtNER 101
Letetur Hybernia, Jubilans Antverpia:
The Chant and Cult of St Dympna of Gheel
PIEtER MANNAERtS 123
Insular Sources: Ireland
From Hymn to Historia: Liturgical Veneration
of Local Saints in the Medi eval Irish Church
ANN BuCkLEy 161
The Medi eval Office of St Patrick
SENAN FuRLONG OSB 185
A Divine Office Celebration for the Feast
of St Canice at kilkenny Cathedral
PAtRICk BRANNON 205
Insular Sources: Scotland and Wales
Possible Irish Influences in the Office for St kentigern,
Patron Saint of Glasgow
BEtty I. kNOtt 223
Why St Andrew? Why Not St Columba
as Patron Saint of Scotland?
GREtA-MARy HAIR 231
Reconstructing First Vespers for the Feast of St Brendan,
Abbot of Clonfert, from the Common Office of
a Confessor Abbot, According to the Sarum Rite
CIARAN O’DRISCOLL 237
Shaping an ‘Indigenous’ Liturgy: The Case for Medi eval Wales
SALLy HARPER 253
viii Contents
Liturgy: Theory and Practice
The Significance of the Liturgia Horarium in the Nauigatio
sancti Brendani in its Modelling of a Sacramental Christian Life
PAtRICIA M. RuMSEy 267
The use of the Eucharistic Chrismal in Pre-Norman Ireland
NEIL XAVIER O’DONOGHuE 279
Celtic Mists: The Search for a Celtic Rite
LIAM tRACEy 291
Bibliography 305
Index of Manuscripts 341
General Index 347
List of Illustrations
Michel Huglo
Music Example 1.1. The alleluiaticum (Pss 148–50)....................... 9
Music Example 1.2. Old Irish Antiphons................................ 11
Music Example 1.3. The Scales of Late Antiquity......................... 12
Music Example 1.4. Communion Antiphons. ........................... 14
Music Example 1.5. Melody of the Te Deum............................. 16
Music Example 1.6. ‘tu Patris sempiternus es Filius’, from the
Te Deum, set as organum duplum in the Musica enchiriadis. ........... 19
Figure 1.1. The Irish Hymn Spiritus lumen lucis gloriae from Echternach ... 17
Figure 1.2. The Te Deum from Echternach. ............................. 18
Figure 1.3. Antiphons from the Antiphonary of Bangor. ................. 21
Barbara Haggh-Huglo
Figure 2.1. Final melisma of respon sory Sacerdos Dei. .................... 45
Figure 2.2. Invitatory antiphon Personis trinum, at ‘laudemus’. ............ 46
Figure 2.3. Matins antiphon Turbavit regni, at ‘rex’. ...................... 47
Figure 2.4. Initial phrase of responsory verse Inter deflentes. .............. 47
Figure 2.5. Matins antiphon Spiritus in specierum. ....................... 47
table 2.1. tonal characteristics: Prague Office for Livinus................. 48
x list of iLLUSTRATIONS
Sara G. Casey
Music Example 5.1. Responsory and verse Beatus Gallus,
from Prague, Národni knihovna, MS VI F 16, fol. 119r. ............... 86
Music Example 5.2. Sequence A solis occasu, from Würzburg,
universitätsbibliothek, MS M. Ch. F. 283, fols 343v–345r.............. 88
Music Example 5.3. Antiphon O crux benedicta, from the
Liber Usualis (tournai: Desclée, 1959), p. 1631. ..................... 93
Figure 5.1. Map of Francia.  ........................................... 98
table 5.1. Notated chants for Irish saints................................ 84
table 5.2. Manu script sources for the responsory and verse Beatus Gallus... 85
table 5.3. Manu script sources for the sequence A solis occasu. ............. 87
table 5.4. Melodic characteristics of chants in insular manu scripts......... 91
table 5.5. Characteristics of chants from the Gallican tradition............ 92
table 5.6. Chants from the Gregorian tradition.......................... 94
table 5.7. West-Frankish sequences. ................................... 97
Bernhard Hangartner
Plate I. Rheinau Gradual (c. 1200), Detail of dedication image...........105
Plate II. A composite manu script of the eleventh century
containing the oldest surviving copy of Historia Sancti Findani.. ......106
Plate III. Breviary with psalter which may have come originally
from Weissenau. The melodies are written in German neumes
and are provided with tonary letters. ...............................107
Plate IV. A composite manu script from the eleventh and
twelfth centuries containing a troper, gradual, and hymnal,
which has preserved part of an antiphon for First Vespers
for St Fintan from the mid-twelfth century. ........................108