The survival, as binding material, of a single folio written in Beneventan script and neumes provides evidence for the existence of the Ambrosian antiphoner prior to 1058 and the earliest diastematic source for several melodies. A certain confusion on the part of the Beneventan scribe suggests that the Ambrosian liturgy was not familiar to him, and from this we may infer that, in the eleventh century at least, it was not usual in his region. Since the purpose of the book to which the fragment belonged was not practical, we may speculate that the prompting for its production was a scholarly interest in the liturgy presumably practised by the Ostrogoth and Lombard rulers of the south from the sixth to the eighth century, former Arians whose forebears had been converted to orthodoxy while residing in Ambrosian territory.

Of the liturgical ceremonies enacted by the papal court in the Middle Ages, few were as distinctive as the ‘double offices’ that occurred on nights before high feasts of the Sanctorale. These consisted of two night offices, a private ‘vigil’ enacted by the pope and his entourage at dusk and a public office at the normal hour of Matins. Even as this custom flourished in Rome through the twelfth century, it concomitantly migrated north to cathedrals throughout Tuscany. Typically comprising only one nocturn, the Tuscan vigils shed their once private character, presenting a selection of the plainsong and lessons of the night office at a convenient hour for the laity. They likewise acquired distinctively civic overtones as cathedral clerics employed them in honour of local patron saints. Nowhere was this transformation more evident than in Florence and Lucca, where the vigils of Sts Zenobius and Reparata, Regulus and Martin emerged as eminently public spectacles. In this way, Tuscan clerics transformed a venerable Roman tradition into an emblem of civic as well as ecclesiastical prestige.

One of the earliest forms of Christian psalmody, the alleluia psalmody, is difficult to explore since in most rites it is preserved only in part. Comparisons between direct and indirect traces of alleluia psalmody from Milan, Rome, Byzantium and Gaul as well as between alleluia psalmody and other genres of chant, especially the Mass alleluia, allow some conclusions about distinctive melodic characteristics. As one result, there seem to be common features in the Italian traditions that are missing in the Gallican tradition.

The first recording to be made from the new Liber Antiphonarius, volume 1, of 2005, a volume that bears the old title Antiphonale Monasticum on its cover, offers twenty-four antiphons and a brief responsory from that volume; six communions and an introit from the Graduale Triplex; and five responsories from the Liber Hymnarius (no. 1 in the list below). All the chants are chosen for the words of our Lord that are quoted in the texts, which recounts the life of Christ from Cana to Emmaus. Some of these chants have been re-edited from the 1934 edition, but half of the group heard here are newly created, including one, Venite ad me, that has a new melody for a text still assigned to the same office of the Sacred Heart. Essential to understanding the method of editing these chants is Dom Daniel Saulnier’s article in Études Grégoriennes (15056 in Günther Paucker’s chant bibliography). The singing is exquisite in the semiological style.