The ordinary of mass chants and the sequences

14 Pages·2009·1.01 MB·English

by  David Hiley

The ordinary of mass chants and the sequences
David Hiley
Notes p.78
Several writers — most notable among materially affect the study: we could
the recent ones being Max Liitolf, Rudolf proceed even if we knew nothing about the
Flotzinger and Edward Roesner1 — have likely history of the manuscript.
commented on the choice of liturgical chants
set in the additions to the main layer of
Parisian polyphony in Wl. The point of such
comment is that by tracing concordances for
those liturgical chants a clearer idea may
be gained of the affiliations of Wl among ORDINARY OF MASS CHANTS
the chant traditions of Britain and North
France. The additions to Wl are more useful
for this purpose than the main body of I have already published a diagram and
organa. The latter are settings of chants a brief discussion of the interrelationships
which were for the most part very widely between North French and British collections
known. Relatively few of them are unusual of ordinary of mass melodies and tropes.1*
enough to permit speculation about the Taking a broad view, one may say that whereas
church for which Wl was compiled, or about up to the beginning of the 13th century
the liturgical use to which it most nearly British books (that is the Winchester tropers,
corresponds. So far as the organa are con- the gradual of Christchurch, Canterbury, and
-cerned, I do not feel that much advance the two St.Albans books5) show a rather
can be made upon the careful discussion in .diffuse set of affiliations with a variety
Professor Roesner's article. of North French traditions, those of the 13th
I propose, however, to enlarge the century and later display connections more
discussion of two genres of chant which are with Parisian collections than with any other
found among the additions to Wl: the ordinary continental ones. Lacunae make the situation
of mass chants and the sequences. There are less than ideally clear: we have no Paris
two good reasons for concentrating upon collections prior to the 13th century; and
these chants. Firstly, since they amount to no collections at all from such centres as
37 out of the 59 added pieces (I omit the Amiens, and many English secular cathedrals.
additions to fascicle 102), they constitute Surviving Rouen collections6 are late and
a majority: there are eight ordinary of mass so individual as to make one wonder if they
items among the additions to fascicles 3, 8 have not been revised since the 13th century.
and 9, and in fascicle 11 there are fifteen But with all due reservation the evidence
ordinary of mass items and fourteen sequences. seems to point clearly enough in one
Secondly, they have been more thoroughly direction.
catalogued than any of the other genres: we
I discuss in turn those groups of books
have the catalogues of Melnicki, Bosse,
which form the requisite background for
Thannabaur and Schildbach for ordinary of
examination of Wl.
mass chants, and my own catalogue of
ordinary of mass chants in North France,
Britain and Sicily; and the volumes of
Parisian collections
sequence texts in Analecta Liturgica and
Analecta Hymnica for sequences.3 Among the various interrelated tradi-
Because of the two responsories for -tions present in Paris itself, that of the
St.Andrew added to fascicle 3 (ff.xxii/18v- cathedral of Notre Dame is followed in a
xxiii-19v), and because Wl was at St.Andrews majority of surviving sources.7 The ordinary
by the early 14th century, St.Andrews is of mass pieces in these books are not always
the most likely place for which the manu- exactly the same, but the differences are
script might have been destined. But no few, and unimportant in the present context.
gradual, antiphoner or troper has survived The following troped items are found (the
from St.Andrews. So this part of our joint numbering system established in the catalogues
article cannot 'locate' Wl geographically. of Melnicki, etc., is followed here)8: Kyrie
It can only suggest a place for it among 16 tr.l Orbis factor, 18 tr.l Cunctipotens,
several interrelated liturgical traditions. 48 tr.l Kyrie fons bonitatis , 48 tr.9 Kyrie
What follows is a study of repertories, pater eterne , 58 tr.l Pater cuncta, 102 tr.l
which does not concern itself so much with Clemens rector; Gloria 23 tr.104 Spiritus
the assignment of individual chants to et alme; Agnus 226 tr.105 Qui sedes. And,
specific places of origin as with the but very rarely, Sanctus 49 tr.151 Perpetuo
interplay of groups of pieces favoured in numine and tr.159 Plebs tibi mente.
different areas or among different groups Surviving books following the use of
of churches. That Wl can be assigned more St.Victor9 do not usually have any troped
or less confidently to mid-13th-century items at all. It is noteworthy that although
St.Andrews is something which does not their ordinary of mass collections are small
they are nevertheless quite distinct from
68 Wl — Hiley: Sequences
those of the main Paris city tradition by 12th-century Norman (French, not English)
including Kyrie 57 and omitting Kyries 102 books, and is also found in the Worcester
and 155, apart from other idiosyncracies. gradual (Worcester, Chapter Lib., F160,
More interesting collections are found first half of the 13th century). Sanctus
on the periphery of the Paris traditions. 177 was well known outside France, but its
Bari, S.Nicola, 88 is from the chapel of the only English-French point of contact is
Angevin rulers of South Italy, whose use was Assisi 695. Agnus 101 appears patchily in
originally imported from Paris.10 After an France. And Gloria 23 tr.104 was very well
uninteresting selection of Kyries there known. This leaves six melodies (a not insig-
appear in this manuscript several Sanctus nificant proportion) as distinctively
and Agnus not found in the more common Paris Sarum.
books: Sanctus 116, 177, 202 and 203; Agnus One special collection, London, British
34, 100, 114, 220 and 267. Lib., Add.17001, adds a few pieces from
An even more interesting complement to outside this fairly stable nucleus: Kyrie
Paris use appears in Assisi, Bibl.Comunale, 14, 95, Gloria 12, Agnus 34, 114. Kyrie 14 is
695.11 The various main sections of this known otherwise only from Oxford, Bodleian
manuscript were all written by the same hand Lib., Lat.lit.b.5 (York diocese); Gloria 12
(or hands, if we assume the notator different and Agnus 114 are common enough in England,
from the text scribe), but from a variety of but are not to be found in any other Sarum
exemplars. In the first section of the manu- collection. Agnus 34 has only two English
-script we have an ordinary of mass collection concordances: Shrewsbury School XXX (15th-
enclosing farced lessons, the Genealogies, century collection added to a late-12th
Exultet and Laudes Regiae, etc. The Laudes century book, from Haughmond) and Oxford
are in a Reims version; there are two Lat.lit.b.5 again; and two significant
melodies for 0 vedemptor sume carmen, the foreign concordances: Paris, Bibl.Nationale,
first being labelled "secundum usum Parisi- lat.904 (Rouen) and Bari 88. Kyrie 95 is
-ensis ecclesie". The rich collection of not otherwise known in England at all, but
ordinary of mass chants has no parallel is to be found in Paris, Bibl.Nationale,
among regular Paris books, although it lat.830 (Paris) and the two Rouen books
includes practically everything found in Paris 905 and 904. These continental
them. But since surviving Reims collections concordances are not, O'f course, sure
for the ordinary of mass (in Reims, Bibl. evidence of contact between York and Paris
Municipale, 224 and 266) are so meagre, it or Rouen. The melodies are also to be found
is impossible to say whether Assisi 695 has in other late sources; we are less well-
Reims or Paris items without studying informed about continental 15th-century
variant readings in these and a wide range collections than about 13th-century ones,
of other sources. This is not yet and a wider survey of these late books is
accomplished. necessary before the position of London
17001 is as clear among them as it is
In Assisi 695 there follows the first among English sources.
of three consecutive collections of sequen-
ces. This is definitely an amalgam of
Reims and Paris, Reims sequences being
easily detectable through concordances, with English non-Sarum books
Paris versions of some common pieces becoming
Several sources stand mid-way between
apparent when variant readings are compared.12
the older Benedictine traditions (which do
The second and third collections are overwhel-
not impinge upon the repertory in Wl), and
-mingly composed of Parisian sequences, though
the new 13th-century repertories of which
a few strangers among the regular Paris books
Sarum books are one example. These include
are again to be found, and numerous unusual
Worcester F160 and London, British Lib.,
melodies for well-known texts.
Harley 3965 (from Hereford): they are quite
Looking for a personage who might have distinct from each other and from Sarum.
commissioned a book containing such a mixture Two others are less so: Oxford, Bodleian Lib.,
of Reims and Paris material, de Manteyer Lyell 9 (possibly from the Augustinian house
lighted upon Renaud de Corbeil, Archdeacon of Breamore, Hants.) and Oxford, University
of Reims, elected Bishop of Paris in 1250, College, 148 (from Chichester).
who died in 1268; and this hypothesis about
Paris, Bibl. de 1'Arsenal, 135 is
the origin of the collection has remained
considerably different. Although following
the most plausible to date. Unfortunately,
on from, and copied in the same hand as, a
illuminated initials which might have helped
Sarum noted missal, it is in no sense a
to localize and date the ibook have been Sarum collection.13 It has more troped items
excised. Of all books connected with Paris,
than any other 13th-century English book,
indeed of all continental books, Assisi 695
and so, not surprisingly, it scores the
has the most interesting links with British
highest number of concordances with, among
manuscripts and with Wl, and it is regret-
others, Paris books, particularly with the
-table that it appears rather exceptional
largest collection Assisi 695. What is more
among 13th-century North French manuscripts
significant is that it actually discriminates
and that its origin is still somewhat
in favour of those pieces, omitting several
mysterious.
melodies and tropes well established in
Sarum and other English uses.
The ordinary of mass collection in
Sarum books
Arsenal 135 has been somewhat unlucky, in
Sarum collections, which appear from that Melnicki catalogued two of its Kyries
the 13th century onward (the earliest appears into Parma, Bibl .Palatina, 98,11* Bosse's
to be that in Manchester, John Rylands Lib., Gloria catalogue did not use the manuscript,
lat.24) contain several items not known in and Schlldbach's Agnus catalogue omitted
England before: Kyrie 67, Gloria 9 and 23, three of its tropes.15 Of these omissions
Sanctus 41, 82, 130, 177, and Agnus 55, 101, the Gloria melody and one of the Agnus tropes
217 (late Sarum books only); and tr.2 Kyrie have concordances in Wl.
rex splendens for Kyrie 24, and tr.104 The ninth to fifteenth Kyries in
Spiritus et alme for Gloria 23. Not all of Arsenal 135 are for the Blessed Virgin Mary.
these are unique to Sarum of course. For There follow three other troped Kyries,
instance, Kyrie rex splendens appears in bringing the total to eighteen. Then comes
Wl — Hiley: Sequences 69
a melody without trope, then the text The collections in Wl
(without trope) for five more melodies After this rapid survey of Parisian and
whose music was never entered. There are English collections of ordinary chants, I now
seven Glorias, the sixth being also in Wl give concordance tables for the melodies and
(albeit with significant variants in the tropes in Wl. Table 1 (see over) covers
melody), and the seventh having the Spiritus fascicles 3, 8 and 9. To the French sources
et alme trope for the B.V.M. Fourteen troped already cited I have added some others to
Sanctus follow, of which the eighth to the broaden the picture so far presented. Several
twelfth are Marian; then come six untroped of the books mentioned above are defective,
and one more troped Sanctus. There are in that they lack Sanctus and Agnus collections,
seventeen Agnus Dei, and all but the last and so they do not appear on Table 1. The
two are troped. The ninth to the fifteenth import of Wl's concordances is clear enough.
have Marian texts. On f.300v is another It is related to Bari 88 and Assisi 695 more
troped Kyrie. If we exclude the Glorias than to the more usual Paris collections.
(Glorias were very rarely sung with tropes Highest scorer overall is Arsenal 135. It
from the 13th century onwards, except for may be noted that the tropes are decisive,
the Spiritus et alme piece) there are in since six of the melodies are long established
all 58 items in this collection, of which in North France and England, five of them being
no less than 49 have tropes. This, and the in regular Paris books.
large blocks of chants for the B.V.M., make
I should interpret this to mean that this
Arsenal 135 unique among English sources,
part of Wl's collection belongs to a relatively
and it is tantalizing that, as with Assisi
new (i.e. 13th-century) English tradition which
695, its origins are obscure. I follow
is in some sort of contact with Parisian
Christopher Hohler16 in believing it
repertories.
likely to have been intended for a London
The evidence of fascicle 11 is more
church.
difficult to evaluate, since this collection
Associated rather distantly with (and also the pieces added at the end of
Arsenal 135, with each other, and with fascicle 102) are designed for services in
Iondon 17001, but not with other English honour of the B.V.M., whether a weekly
books, are two collections from York: Oxford Saturday mass (as seems possible for fascicle
Lat.lit.b.5 (from East Drayton, Notts.), 11, since its sequences seem to some extent
whose literary text agrees with York secular to be intended for different seasons of
use, and which is our only surviving witness the church year) or for a daily commemoration
to the York ordinary of mass repertory; and during the octave of a major feast such as
Cambridge, St.John's College, D.27, a 15th- the Assumption (as seems possible for the
century ordinal from St.Mary's Abbey, York. fascicle 10 cycles). From this fact we should
The unusual pieces in these manuscripts are expect to find concordances with the Marian
the following: pieces in Arsenal 135 and Cambridge D.27,
Oxford Lat.lit.b.5 — Kyrie 14; Gloria which have special provision for such litur-
24; Sanctus 32 tr.31 Clangat hodie , -gical occasions.
49 tr.119 0 mater dei, 116 tr.238 Table 2 sets out concordances for the
Voae vita; Agnus 34, 114 tr.36 Kyries and Gloria, for which a larger spread
Faatus homo. of sources is available than for the Sanctus
Cambridge D.27 - Kyrie 39 tr.4 Lux et and Agnus.
gloria, 47 tr.(8) Kyrie virginei Neither the Paris nor Sarum books score
lux, 48 tr.3 Kyrie virginitatis very highly here. Wl has none of the pieces
amator, 70 tr.(7) Conditor Marie, which, I hazarded above, might have originated
Kyrie trope Kyrie pater alme17; with Sarum use in the early 13th century.
Sanctus 32 tr.238 Voae vita; Agnus (This was true for the Sanctus and Agnus in
114 tr.36 Faatus homo, 136 tr.53 Table 1 as well.) Arsenal 135 has all the
Lux angelorum. melodies again, but only three of the tropes.
The combinations aanctus 32 tr.31 and 49 tr. It is Cambridge D.27, with five of the seven
119 are unique to Oxford Lat.lit.b.5. Kyrie tropes, which has most concordances.
Gloria 24 was known at St.Victor, Paris, Finally, in Table 3 I give concordances
and a few other French centres. Kyrie 14 for the Sanctus and Agnus in fascicle 11. This
and Agnus 34 we have seen above in London time, Cambridge D.27's chants are not presented
17001, Bari 88 and Rouen. Sanctus 116 tr. in the section of the ordinal especially for
238 is added to Assisi 695 in two-voice Lady masses, but it still scores well; as
polyphony. Agnus 114 tr.36 is an important does the other York book. The Bari, Rouen
and interesting case, found elsewhere in books and Arsenal 135 have all the melodies.
Cambridge D.27 and Assisi 695 - it is
one of very few significant links with the
St.Mary's book. Conclusions
Cambridge D.27 is altogether more indi-
The only English sources of Sanctus and
vidual. It has two unique Kyrie tropes (47
Agnus tropes from the 13th century onward are
tr.(8) and Kyrie pater alme); Kyrie 39 tr.4
Worcester F160, Arsenal 135, Oxford
and 48 tr.3 found in Arsenal 135; and Kyrie
Lat.lit.b.5, Cambridge D.27 and Wl. The
70 tr.(7) - these last three all to be found
only substantial English collections of
in Wl. The combination Sanctus 32 tr.238 is
ordinary of mass chants for the Blessed
known otherwise only from Arsenal 135.
Virgin Mary are in Arsenal 135, Cambridge
Unfortunately the witness of Cambridge D.27
D.27 (Kyries and Gloria only) and Wl. And
is marred by lacunae. At the beginning of
it is with these limiting factors in mind
the book come the Sanctus and Agnus, all
that we have to assess the evidence presented
that remains of what would undoubtedly have
above. Statistically, Arsenal 135 has the
been a complete collection of ordinary of
outstanding number of concordances with Wl:
mass chants. But in the ordinal, Kyries and
all the melodies and 13 of the 22 tropes.
the Gloria with trope Spiritus et alme are
Although Oxford Lat.lit.b.5 has some tropes
specified in some detail for masses of the
which are in Wl but not in Arsenal 135, the
Blessed Virgin Mary; not, however, Sanctus
connection with Wl is compromised in these
and Agnus.I8
cases by concordances with Assisi 695. This
leaves only Cambridge D.27 as a serious
rival to Arsenal 135, since it has three
70 Wl — Hiley: Sequences
TABLE 1
ORDINARY OF MASS ITEMS, Wl FASCICLES 3, 8 AND 9
x signifies melody concordance
/ signifies trope concordance
* signifies an addition to the manuscript "H Q< w
13 c;
q Q> CD
3 q *H
a 0 0
<D *H s
0 3
E E <u •f-t
3 0 13 o "H
In 3 tu o
s 4J c^ <8 01 •H •a 3
<u "H
(J a. E 01 CO
c H OJ 3 ^ 3 w
us <1) 3 o 0) 3 H
to tt.n o s: C| >-3 Q
N•n o tN CN VO 00 CN m s s
tfi CT•i inH• to1—1tfi o ,-H <V^4>m,-«H mJJ CowN m.up. CwNiJnuJ g B
c c c c c c g En
nJ 10 (0 <c
n CO CO CO •4 < <
Durham Univ.Lib. Cosin W6 (Christch. Canterbury, late lithe.) X / X / X / x / 4 4
London B.L. Royal 2.B.IV (St.Albans, late 12th c.) x / X / X / X / X / X / 6 6
Worcester Chapter Lib. F.16O (Worcester, mid 13th c.) X / X / X X / X / X / X / 7 6
Paris Bibl. de l'Arsenal 135 (?London, late 13th c.) X / X X / X / X / X / X / X / 8 7
Shrewsbury School XXX (Haughmond, 15th c.) x X X X X X x X 8 -
Oxford Bodleian Lib. Lat.lat.b.5 (York dioc, 15th c.) X X X / X X X / X X / 8 3
Cambridge St.John's Coll. D.27 (St.Mary's York, 15th c.) X / X X X X / X / X 7 3
Manchester John Rylands Lib. lat.24 (Sarum, mid 13th c.) X X X X X X 6 -
Oxford Bodleian Lib. Rawl.lit.d.3 (Sarum, mid 13th c.) X X X X x X 6 -
Bologna Bibl.Universitaria 2565 (Sarum, late 13th c.) X X X X X X 6 -
Cambridge Univ.Lib. Add.710 (Sarum, early 14th c.) . X X X X X X X 7 -
Parma Bibl.Palatina 98 (Sarum, late 14th c.) x X X x X X x 7 -
London B.L. Lansdowne 462 (Sarum, late 14th c.) X X X X X X 6 -
London B.L. Add.17001 (Sarum, late 14th c.) X X X X X X X X 8 -
London B.L. Royal 8.C.XIII (?Normandy, 11th c.) X X X X X / 5 1
Paris B.N. lat.10508 (St.Evroult, 12th c.) X / X / X X / X / X / 6 5
Rouen Bibl.Mun. 276 (St.Ouen Rouen, 13th c. - text inc. only) / / / / / - 5
Paris B.N. lat.905 (Rouen Cathedral, 15th c.) X X X X X X X 7 -
Paris B.N. lat.904 (Rouen Cathedral, 15th c.) X X X X X 5 -
Limoges Bibl.Mun. 2 (Fontevrault, 14th c.) X X X X X X 6 -
Arras Bibl.Mun. 444 (St.Vaast Arras, late 13th c.) X X X 3 -
Laon Bibl.Mun. 263 (Laon, late 12th c.) X / X / X * 3 2
Paris B.N. lat.13252 (St.Magloire Paris, 11th c.) X X * X 3 -
Paris B.N. lat.1107 (St.Denis, late 13th c.) X X X X X 5 -
Paris B.N. lat.830 (Paris, late 13th c.) X X X x X 5 -
London B.L. Add.38723 (Paris, late 13th c.) X X X x 4 -
Paris B.N. lat.1112 (Paris, mid 13th c.) X X / X X X 5 1
Paris B.N. lat.861 (Paris, late 13th c.) X X X X x 5 -
London B.L. Add.16905 (Paris, late 13th c.) X x X X X 5 -
Paris B.N. lat.14452 (St.Victor Paris, mid 13th c.) X X X X X 5 -
Rouen Bibl.Mun. 249 (St.Laurent Eu, Victorine, 14th c.) x x X X 4 _
Bari San Nicola 85 (Bari, 14th c.) 4 -
Bari San Nicola 88 (Bari, late 13th c.)
Assisi Bibl.Comunale 695 (?Paris, late 13th c.) x / x / * * x / x / x/ 6 5
Wl — Hiley: Sequences 71
TABLE 2
KYRIES AND GLORIA, Wl FASCICLE 11
x signifies melody concordance | .=
/ signifies trope concordance § " w w
* signifies an addition to the manuscript ~H .w ^ ^ ;*
•H -u o QJ m cv
(see Table 1 for date and provenance of mss. not given here) • to -H -H 8 «i '2 I
3 in M --H 0 Clj 0)
• H f - H ^ M Q J O *H Q*
^ ID i> VH -H -U in
"H 4J "H • rg T3 nj QJ U]
^ Q J t H Q J S C QJ a .H
rji -H o ^H M tn
QJ 3 3i id "iS O O.
Cy ^ ^ i£ —. r-i —. r-{ <N JO
CD <r * r~-cooo H fl o r* f^ £0 ir> KQ M CC
ri n n ^r ^ —-^jmix) —•t^^'i-t — ~~~ S H
QJMCJ^QJkQJMQJMQJMQJM >H^ tJ ^
•H 4J -iH +J -H +J -iH 4J -H 4-1 -H 4J -^ +J U 4-1 < <
Oxford Bodleian Lib. Bodley 775 (Winchester, late 11th c. supplement) x x x x xx 6-
Durham Univ. Lib. Cos in W6 x x xx 4 -
Oxford Bodleian Lib. Laud misc. 358 (St.Albans, late 12th c .) x / x x x xx 61
London B.L. Royal 2.B.IV x x x x xx 6 -
Shrewsbury School XXX (Haughmond, late 12th c .) x x x x xx 6-
London B.L. Cotton Caligula A.XIV (?Bristol, 12-13th c .) x / x x xx 51
Worcester Chapter Lib. F.16O x / x x x x xx 71
Oxford Bodleian Lib. Lyell 9 (Breamore, late 13th c .) x x x x xx 6-
Paris Bibl. de 1"Arsenal 135 x / x / x x / x x x x 83
Oxford University Coll. 1 48 (Chichester, late 13th c .) x / x x x x xx 71
London B.L. Harley 3965 (Hereford, 15th c .) x / x x x x xx 71
Oxford Bodleian Lib. Lat.lit.b.5 . x /x x x xx 61
Cambridge St.John's Coll. D.27 / / / /x / 15
Manchester John Rylands Lib. lat.24; Bologna Bibl.Universitaria 2565 x / x x x xx 61
Oxford Bodleian Lib. Rawl.lit.d.3; Parma Bibl.Palatina 98; x x x x xx 6-
London B.L. Lansdowne 462; London B.L. Add.17001
Cambridge Univ.Lib. Add.710 x / x x x * x xx 71
London B.L. Royal 8.C.XIII; Paris B.N. lat.10508 x x x x 4 -
Rouen Bibl.Mun. 2 76 x x xx 4-
Paris B.N. lat.905 x /x x x 41
Paris B.N. lat.904 x 1
Limoges Bibl.Mun. 2 x / x xx x 5l
Arras Bibl.Mun. 4 44 x x x x 4 -
Laon Bibl.Mun. 263 x x x x xx 6-
Paris B.N. lat.13252 x x x * x 4 -
Paris B.N. lat.1107 x x 2 -
Paris B.N. lat.830; London B.L. Add.38723, 16905 x x 2 -
Paris B.N. lat.1112, 861 x x x 3 -
Paris B.N. lat.14452; Rouen Bibl.Mun. 249 x x x x 4 -
Bristol Central Lib. 2 (St.Augustine's Bristol, 14th c .) x x xx 4 -
Bari San Nicola 85 x x 2
Bari San Nicola 88 x x x x 4 -
Assisi Bibl. Comunale 695 x/ x xx x 51
72 Wl — Hiley: Sequences
TABLE 3
SANCTUS AND AGNUS, Wl FASCICLE 11
x signifies melody concordance
/ signifies trope concordance
* signifies an addition to the manuscript
(see Table 1 for date and provenance of mss.)
S kH M
•c; "o o
10 0 3
s (*H E Ol 3
O CmD CM r- OHo
13OBa0J l VP^D• -3cOcptO -UCP• N - c3PO m -MHP• Mi•JH I(30 -Up -^p V44J
Durham Univ. Lib. Cos in W6
London B.L. Royal 2.B.IV 3 -
Worcester Chapter Lib. F.16O x / 4 1
Paris Bibl. de l'Arsenal 135 x / / / 4 4
Shrewsbury School XXX (Haughmond, 15th c.) X 4 -
Oxford Bodleian Lib. Lat.lit.b.5 x / 4 2
Cambridge St.John's Coll. D.27 x / / 3 2
Manchester John Hyland's Lib. lat.24; Oxford Bodleian Lib. 2 -
Rawl.lit.d.3
Bologna Bibl. Universitaria 2565; Cambridge Univ.Lib. Add.710; 3 -
Parma Bibl. Palatina 98; London B.L. Lansdowne 462
London B.L. Add.17001 4 -
London B.L. Royal 8.C.XIII; Paris B.N. lat.10508; Rouen 1 -
Bibl.Mun. 276
Paris B.N. lat.905 4 -
Paris B.N. lat.904 3 -
Limoges Bibl.Mun. 2 1 -
Arras Bibl.Mun. 444
Laon Bibl.Mun. 26 3 1 -
Paris B.N. lat.13252 1 -
Paris B.N. lat.1107 2 -
Paris B.N. lat.830; London B.L. Add.38723; Paris B.N. lat.1112; 1 -
Paris B.N. lat.871; London B.L. Add.16905
Paris B.N. lat.14452; Rouen Bibl.Mun. 249 1 -
Bari San Nicola 85 1 -
Bari San Nicola 88 4 -
Assisi Bibl.Comunale 695 2 1
Wl — Hi ley: Sequences 73
Kyrie tropes concordant with Wl which are with a polyphonic setting different from
not in Arsenal 135. Wl). Paris, Bibl. de 1'Arsenal (from ?London
But whether Wl is related more to — its sequentiary, like its kyriale, is not
Arsenal 135 or to Cambridge D.27, all a Sarum collection) does know the more usual
three books, together with Oxford Lat.lit. continental melody, using it for Gabrieli
b.5, Assisi 695 and Bari 88, should by oclesti nunaio, which reworks material from
virtue of their concordances be seen as a the Paranymphus text. So Virgo parens, and
group, standing together against all to some extent Paranymphus, suggest that Wl
other sources. They are a witness to new is British.
enterprise in the composition of ordinary In a collection of this small size
of mass chants in the 13th century, some it is a little surprising to find three
of it directed specifically towards the unica; and it is also somewhat unexpected
increasingly popular masses for the B.V.M. that three contrafacta of older sequences
There are of course 13th-century manu- should appear {Virgini Marie laudes from
scripts from other parts of Europe
Victime pasohali laudes, Laudes Christo
telling the same tale: but these six
decantemus from Laudes oruais attollamus ,
sources form one wing of the new movement.
and Reginarum dominum from Epzphaniam
If Wl were written at St.Andrews, then
domino). It seems possible that the compiler
the wing would cover the most important
of this little collection, wishing to provide
centres on the way from Scotland to Paris.
for a year's cycle of Marian sequences, had
(If Wl were prepared in the south of
insufficient items to hand; either because
England, say, Oxford or London, then the
the new Marian sequences composed in the
concordances with Cambridge D.27, from
13th century in such enormous quantities
St.Mary's, York, would be more unexpected,
had not yet become available, or because
although the net effect would be to make
Cambridge D.27 seem more dependent on he was too far removed from the cultural
southern initiative.) The picture is at centres where they were available.20
least plausible. And in conclusion it may Because of the inconclusive nature of
be noted that the additions to fascicles their evidence for present purposes, I have
3, 8 and 9 fit the picture just as well not here analyzed at length the collections
as the ordinary of mass items in fascicle cited in Table 4. At least one may perhaps
11. say that concordances with such books as
Arsenal 135, which has itself significant
continental concordances, suggest that the
repertory has come from the same milieu as
the ordinary of mass collections. But for
II
more specific pointers to the affiliations
of Wl's sequence collection we shall have
SEQUENCES
to adopt a different approach.
Concordances Variants
The 17 melodies and 22 tropes for the By comparing variant readings in the
ordinary of mass in Wl constitute a group text and music of the sequences we may hope
whose size is at the lower limit of what to discover significant correspondences
can be discussed sensibly as a repertory. between Wl and one or more of the sources
If a repertory is too small, single pieces cited above.
begin to affect disproportionately the For this purpose it would be possible,
assessment of concordance patterns. That though somewhat arduous, to allow weight to
the necessary number of items is not present every variant down to the smallest ortho-
in the 14 sequences in Wl 19 is shown quite -graphic detail. Yet a moment's consideration
clearly by the totals of concordances occasions doubts as to the wisdom of such a
in Table 4. Three of the sequences are policy. All variants may not be of equal
unica; of the remaining eleven, no less significance. It seems desirable to attempt
than nine are present in five sources, a rough division into at least two types
and two more sources can muster eight of variant: (a) those which might have been
concordances. Since these sources are perpetrated independently by more than one
spread across both England and North France, copyist or editor; (b) those significant enough
the simple counting of concordances is to be unlikely to have occurred independently
clearly insufficient for deciding the to more than one copyist or editor, thus
affiliations of Wl. This is emphasized by possible evidence of a definite copying
the fact that Oxford Lat.lit.b.5, London tradition. Clearly there is room for dis-
37519 and the Evreux missal of 1497 have -agreement in the choice of variants which
exactly the same nine concordances, despite should count as 'significant'; but doubtful
the fact that there is no discernible direct cases are usually, in my experience, a
link between any of those three uses. negligible proportion of those which may
In fact, with the exception of Virgo be isolated.21
parens , all the sequences in Wl which are In group (a) I class such text variants
not unica are known from both English and as those where only one letter is involved,
French sources. At first glance, Paranymphus where an abbreviation has been expanded in
salutat virginem may suggest a continental different ways, where case ending or declen-
interest on Wl's part, but in fact the -sion differ, where word order is reversed:
evidence points the other way: most e.g. quam/ quern , suarn / suum , superat / euperet,
continental sources known to me (to those calcans/calcet, matremque faciat seoum
on Table 4 may be added Aachen, Dombibl., participem / secumque fatiat matrem
12 and Paris, Bibl.Nationale, lat.10502) have participem.
a melody different from that in Wl. The only
sources known to me with the same melody as
Wl are Reims, Bibl.Municipale, 2S5 and 'Wor-
cester Fragment' XXX (folios c-c verso,
74 Wl — Hiley: Sequences
TABLE 4
SEQUENCES, Wl FASCICLE 11
o
CO
2;
x signifies concordance
* signifies an addition to the manuscript 6 m a.
m 3 oj <u
tri 3 01 (H -H
I
13 -c:
8 £
E
mq H0i
&i TJ to
»H 3 to
Paris Bibl. de I1Arsenal 135 (?London, late 13th c.) 8 40
London B.L. Add.37519 (Oxford, 14th c.) X X X X X X X 9 34
Oxford Bodleian Lib. Lyell 9 (Breamore, late 13th c.) X XX 4 8
Oxford University Coll. 148 (Chichester, late 13th c.) X X X X X 7 16
Oxford University Coll. 169 (Barking, 14th c.) X X X X X X 7 11
Oxford Bodleian Lib. Lat.lit.b.5 (York diocese, 15th c.) X X X X X X X 9 17
Cambridge St.John's Coll. D.27 (St.Mary's York, 15th c.) XX XX X 6 25
Manchester John Rylands Lib. lat.24 (Sarum, mid 13th c.) XXX X 6 28
London B.L. Lansdowne 462 (and most other Sarum sources) X X XX X 7 12
Cambridge Univ.Lib. Add.710 (Sarum, early 14th c.) X X X X X X 7 56
London B.L. Add.11414 (Sarum, 15th c.) X X X X X X 9 40
Rouen Bibl.Mun. 277 (Rouen Cathedral, mid 13th c.) X X XX X 7 23
Paris B.N. lat.904 (Rouen Cathedral, 13th c.) X X X X X 7 16
Rouen Bibl.Mun. 276 (St.Ouen Rouen, 13th c.) XX X 5 10
Limoges Bibl.Mun. 2 (Fontevrault, 14th c.) X X X X X 7 34
Arras Bibl.Mun. 437 (St.Vaast Arras, 13th c.) X XX X 5 9
Douai Bibl.Mun. 114 (Marchiennes, 14th c.) X X X X X 6 9
Douai Bibl.Mun. 124 (Anchin, 15-16th c.) X X X X 6 16
Cambrai Bibl.Mun. 32 (Maubeuge — ?Paris — late 13th c.) X X X X X X X 8 32
Paris B.N. lat.17318 (and other mss. from St.Corneille Compiegne) X X X X X 7 22
Paris B.N. lat.1107 (St.Denis, late 13th c.) X X 4 18
London B.L. Add.38723 (Paris, late 13th c.) X XX 4 15
London B.L. Add.16905 (Paris, late 13th c.) * X X X * 4 13
London B.L. Harley 2891 (Ste.Chapelle Paris, 14th c.) X" X X X 5 13
Bari San Nicola 1 (Paris, late 13th c.) X X X X X X 7 26
Assisi Bibl.Comunale 695 (?Paris, late 13th c. — three series) 3 2 1 1 11 1 9 31
London B.L. Add.23935 (Dominican, mid 13th c.) X X X X 5 15
Paris B.N. lat.14452 (St.Victor Paris, mid 13th c.) 1 8
Rouen Bibl.Mun. 249 (St.Laurent Eu, 14th c.) 3 10
printed missals:
Evreux (1497) X X X X X X 9 22
Lisieux (1504) X XX X 7 17
Coutances (1499) X X X X 7 20
Avranches (1505) X X X X X X 7 13
Arras (1491) 4 16
Liege (1485) 5 12
Therouanne (1516) 4 25
Amiens (1487) XX X 6 19
Beauvais (1514) X X X X 7 18
Chalons-sur-Marne (1489) X XX 6 11
Senlis (1524) X X X X 7 20
Wl — Hiley: Sequences 75
In group (a) I class such music wl
variants as concern liquescents, passing
or anticipatory notes, and differences
in pitch which do not alter the direction
a - men di - cat om - nis ho - mo
of the melodic movement: e.g. f/ff liquescent
> Limoges 2
gf e d/g liquescent jj The differences
e
between the following six versions of the
same phrase seem insignificant according
to this reasoning:
Bari 1
i •* Q ^
Parls 904; Oxford Lyell 9
Arsenal
135
not Paris
Rouen 277
Rouen
277
Oxford 148
Oxford jfl—
Lat.lit.b.5 V37~
Assisi 695
Bari 1;
Cambridge '•§ *
710
Oxford Lat.lit.b.5
Assisi
695
quam per te re - ce - pit ho - mo
(All variants given so far are from Mittit
ad virginem.) For only eight of the fourteen
Class (b) variants include added lines sequences in Wl are there two more sources
or parts of lines (or their omission), or with music with which Wl may be compared.
the reversal of whole lines; also cases One of them, Virgini Marie laudes, pro-
where the appearance of a word is quite -vided no significant variants at all. In
different even if the sense remains similar fact, for only two individual sequences, Ave
(but not cases where the appearance is Maria gratia plena and Ave mundi spes Maria,
hardly altered but the sense strongly were there enough variants for a pattern
altered, as in a grammatical error): e.g. of manuscript affiliations to emerge. In
domina/regina, obvia/valida (from Hodierne Ave Maria gratia plena Wl belongs to a
lux diei) . An example of a variant where 'central' group with the books from
the direction of the melody is affected is Salisbury (Manchester lat.24), Chichester
the following (taken from Mittit ad virginem (Oxford 148), Dublin (Cambridge 710), Bari
again): and Rouen (Paris 904, Rouen 277), while other
books are less firmly allied to only one
or two of these sources and are not related
Wl; Oxford: •o to each other. For Ave mundi spes Maria the
Bari 1;
"* -^- 'central' group is Wl, Salisbury, ?London
Oxford Lat.
(Arsenal 135), Dublin, Breamore (Oxford
lit.b.5
Lyell 9) and York (Oxford Lat.lit.b.5).
Table 5 gives the number of readings
common to Wl and the other sources for each
Assisi 695; Arsenal: D sequence separately; and from this it is
Cambridge 710; clear that different patterns of agreements
Rouen 277; are present for each sequence. Table 6,
Arsenal 135 which gives the cumulative totals of
agreements between all the sources for
all sequences combined, should therefore
be regarded with some caution. The figures,
In the next example (next column), no less
for what they are worth, are translated
than seven versions significantly different
into percentages and then given graphic
from Wl are to be found, in a line from Ave
representation in Diagram 1, drawn up by
mundi spes Maria.
a method first used for musicological
I have chosen to regard as statistically purposes by the monks of Solesmes.22
neutral those variants which occur in one
source only (as in the case of the text of That the results of this survey are
Oxford Lat.lit.b.5 in the next example), not entirely arbitrary seems to be confirmed
since these merely 'distance' the source by the close proximity in Diagram 1 of the
in question from all others, making groups two manuscripts from Rouen (Paris 904 and
and interrelationships between sources no Rouen 277), and the almost equally close
easier to distinguish. I have counted such alliance between manuscripts in the main
unique readings as equivalent to lacunae. English group. Although Wl is certainly,
on this evidence, part of the mainstream
76 Wl — Hiley: Sequences
TABLE 5
POINTS OF VARIANCE
NUMBER OF AGREEMENTS, Wl AND OTHER SOURCES
For each entry, the top figure gives the
number of agreements between Wl and the
ms. in question; the lower figure gives
a
the total of points of variance isolated . .
for the sequence, minus lacunae. n 38723 1 i 695 904 277 es 2 ester lat al 135 d 148 idge 710 d Lye11 9 d Lat.lit
o s s n g h n r r r r
d i i i e o c e o b o o
n r s r u m n s f m f f
o a s a o i a r x a x x
L B A P R L M A O C O O
3 3 1 2 1 2
Mittit ad virginem
6 6 6 6 6 6
8 12 8 9 7 8 9 13 14 11 13 10
Ave Maria gratia plena
17 18 18 18 18 17 18 18 18 18 18 18
4 1 3 2 4 1 4 5 4_ 4 3 3
Hodierne lux diei
6 6 6 6 6 5 6 6 6 6 6 6
7 8 4 7 9 4 11 11 8 11 10 12
Ave mundi spes Maria
13 12 12 12 12 12 13 ' 13 12 13 12 13
2 3 1 1 3 5 2 2 4 1
Missus Gabriel de celis
5 5 5 5 4 5 4 4 5 5
3 1 1 1 1 1 2 2 1 3 2 3
Hac clara die turma
3 3 3 3 3 3 3 3 3 3 3 3
2 2 1 1 2 1 1 1 1 2
Verbum bonum et suave
2 2 2 2 2 2 2 2 2 2 2
22 29 24 21 24 19 33 36 30 36 30 33
TOTAL
38 52 51 46 52 43 47 52 45 53 41 53
PERCENTAGE AGREEMENT WITH Wl 58 56 47 46 46 44 70 69 67 68 73 62
DIAGRAM 1
INTERRELATIONSHIPS BETWEEN SOURCES, THE SEVEN MARIAN SEQUENCES
similarity of 75-79% Limoges 2
70-74%
65-69%
60-64%
Manchester lat.24 Oxford 148 Arsenal
4 \ -
vXcambridge 710