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The Magnificat antiphons for the Ferial Office

Published online by Cambridge University Press:  14 July 2009

JoAnn Udovich
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Extract

The research for this article was conducted at the Catholic University of America in Washington, D.C. The microfilms of chant manuscripts consulted in its preparation are from the collection assembled by Dr.Ruth Steiner with funding provided by the Dom Mocquereau Foundation.

Type
Research Article
Information
Journal of the Plainsong & Mediaeval Music Society , Volume 3 , January 1980 , pp. 1 - 25
Copyright
© The Plainsong and Medieval Music Society 1980

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References

Notes

1 (p.1) The only previous study of the antiphons of the ferial office is Claire, Dom Jean: ‘Les répertoires liturgiques latins avant l'octoéchos: I. L'office férial romano-franc’, Études grégoriennes, 15 (1975), pp.5–192 Google Scholar. Dom Claire's work concentrates on the antiphons for the psalms rather than those for the canticles.

2 (p.1) Le Roux, Dom Raymond: ‘Aux origines de l'office festif: les antiennes et les psaumes de matines et de laudes pour Noël et le ler janvier’, Études grégoriennes, 4 (1961), p.116 Google Scholar

3 (p.1) The numbering of the antiphons in this study is that of Hesbert, René–Jean: Corpus Antiphonalium Officii (hereafter cited as CAO), vol.iii (Rome, 1968)Google Scholar. The two additional antiphons not found among the twelve sources used by Hesbert are inserted in the proper alphabetical location and given the suffix X.

4 (p.1) CAO, vol.i, p.XVII Google Scholar

5 (p.1) CAO, vol.ii, p.VI Google Scholar

6 (p.2) Cardine, Dom Eugene's Semiologia Gregoriana (Rome, 1968 – French translation in Études grégoriennes, 11, (1970, pp.1–158)Google Scholar is an extended study of the St.Gall neumes and their rhythmic significance.

7 (p.2) CAO, vol.ii, p.XI Google Scholar

8 (p.2) Wagner, Peter: Einführung in die Gregorianischen Melodien, I: Ursprung und Entwicklung der liturgischen Gesangsformen (Leipzig, 1911), pp.148–149 Google Scholar

9 (p.2) CAO, vol.i, p.XIX Google Scholar. Possible Liège provenance is suggested by le Roux, Dom Raymond: ‘Les répons ‘De Psalmis’ pour les matines de l'Épiphanie à la Septuagésime’, Études grégoriennes, 6 (1963), p.43 Google Scholar, where the manuscript is designated Liè 1.

10 (p.2) CAO, vol.ii, p.XV Google Scholar; Renaudin, André: ‘Deux antiphonaires de Saint-Maur’, Études grégoriennes, 13 (1972), pp.53–150 Google Scholar

11 (p.2) Catalogue général des manuscrits des bibliothèques publiques des départements, vol.25, p.235 Google Scholar

12 (p.2) Ibid., vol.5, pp.497–498

13 (p.2) Ibid., vol.17, p.10

14 (p.2) CAO, vol.i, p.XX Google Scholar

15 (p.2) The ‘Index alphabetique des sigles’ in the article by Le Roux cited above (n.9), pp.40–46, lists and dates a large number of office manuscripts. The dating given here of the Italian sources follows this list unless otherwise noted.

16 (p.2) Paléographie musicale, vol.ix: Le codex 601 de la bibliothèque de Lucques (Tournai, 1906), p.12 Google Scholar

17 (p.2) Huglo, Michel: Les tonaires – inventaire, analyse, comparaison (Paris, 1971), p.174 Google Scholar

18 (p.2) Paléographie musicale, vol.xii: Le codex F 160 de la bibliothèque de la cathédral de Worcester (Tournai, 1921), p.10 Google Scholar. The facsimile includes only the antiphoner, processional and hymnal.

19 (p.3) Frere, Walter Howard: Antiphonale Sarisburiense (London, 1901–1924; repr. Farnborough, 1966), vol.i, p.1 Google Scholar

20 (p. 3) The chant Beatam me dicent (Hesbert no.1574) based on verse 48 and using the word ‘ancillam’ appears in many manuscripts as a proper antiphon for Monday in the third week of Advent. It is net part of the repertory for the ferial office.

21 (p. 7) Apel, Willi: Gregorian Chant (Bloomington, 1958), pp.392–393 Google Scholar

22 (p. 7) Frere, op.cit. (n.19), vol.i, pp.64–76; Gevaert, François A.: La mélopée antique dans le chant de l'église latine (Gand, 1895), pp. 83–381 Google Scholar

23 (p.9) Frere, op.cit. (n.19), vol.i, p.65

24 (p.9) This is not to imply that the deuterus modal assignment of this melody is an invention of the 13th century, as a mode 3 classification is found in Regino's tonary in the Brussels Codex (c.950), published as a facsimile by de Coussemaker, Charles Edmond Henri: Scriptorum de musica medii aevi novam seriam (Paris, 1894), vol.ii, pp.1–73 Google Scholar.

25 (p.9) This observation is consistent with Regino's statement, in the treatise which accompanies his tonary: ‘Illud autem summopere prudens cantor observare debet, ut semper magis principium antiphonae … attendat in toni sonoritate, quam finem.’ (‘But what the expert cantor ought mainly to observe is that he always attend more to the beginning of the antiphon … in the sounding of the mode than the end.’) – translated by SisterLe Roux, Mary Protase: The ‘De Harmonica Institutione’ and ‘Tonarius’ of Regino of Prüm (Ph.D. dissertation, Catholic University of America, 1965), p.26 Google Scholar.

26 (p. 9) A lower case alphabetical suffix is added to the Hesbert number for those texts which have more than one melody.

27 (p.23) An additional melody for the longer text of Fecit michi is found in the abbreviated ferial office of the 11th century Aquitanian antiphoner, E-Tc 44.2.