"Epithalamica": An Easter Sequence by Peter AbelardAuthor(s): Chrysogonus WaddellSource: The Musical Quarterly, Vol. 72, No. 2 (1986), pp. 239-271Published by: Oxford University PressStable URL: http://www.jstor.org/stable/948122Accessed: 10/03/2010 17:07

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Epithalamica: An Easter Sequence by Peter Abelard

FATHER CHRYSOGONUS WADDELL

BY the time the district agents of Nogent-sur-Seine finally auctioned off, in late summer of 1795, the library of the recently suppressed Abbey of the Paraclete, the books they had to offer were relatively few-a mere 173 volumes-and unimportant: Madame Charlotte de Roucy, last of the long line of Paraclete abbesses, had realized that the Revolutionary whirl- wind sweeping away the other monastic establishments of France would make no exception even for the abbey founded by the star-crossed lovers Abelard and Heloise. She had had the foresight to parcel out to select friends and retainers of the doomed community its more valuable books and manuscripts.' Among Madame de Roucy's beneficiaries was a certain Monsieur Colin (or Collin). His literary tastes did not extend, apparently, to books of piety and equally tedious subjects, because, for the better part of a quarter of a century, the Paraclete books and manuscripts lay stashed away in his attic. Around 1817 one of the Colin sons struck a bargin with the Biblioth~que Royale (now the Biblioth6que Nationale): in return for one of the eighteen-volume sets of Rousseau stocked at the Parisian library for such purposes of exchange, Colin fils would agree to part with one of the Paraclete manuscripts written, it was said and believed, by the hand of Abelard himself.

It was a shabby looking manuscript, and the contents of the diminutive volume were as uninteresting as its scruffy pigskin binding: some kind of liturgical directory with a few other odds and ends at the beginning and end.2 The text, in a decent enough Parisian hand of the late thirteenth The author is grateful to Prof. Peter Dronke of Cambridge University and to Prof. Calvin Bower of Notre Dame University for their helpful insights and encouragement. 1 For all details concerning the dispersion of the Paraclete library and manuscripts, see C. J. Mews, "La bibliotheque du Paraclet du XIIIe siecle a la Revolution," Studia monastica, XXVII (1985), 31-60.

2 The manuscript from f. 29r onwards has been edited by C. Waddell, The Old French Paraclete Ordinary, Cistercian Liturgy Series 4 (Trappist, Ky., 1983), with a schematic analysis of the contents, pp. xiv-xv of the companion volume, n. 3 in the same series, The Old French Paraclete Ordinary and the Paraclete Breviary: Introduction and Commentary (Trappist, Ky., 1985).

239

Epithalamica: An Easter Sequence by Peter Abelard

FATHER CHRYSOGONUS WADDELL

BY the time the district agents of Nogent-sur-Seine finally auctioned off, in late summer of 1795, the library of the recently suppressed Abbey of the Paraclete, the books they had to offer were relatively few-a mere 173 volumes-and unimportant: Madame Charlotte de Roucy, last of the long line of Paraclete abbesses, had realized that the Revolutionary whirl- wind sweeping away the other monastic establishments of France would make no exception even for the abbey founded by the star-crossed lovers Abelard and Heloise. She had had the foresight to parcel out to select friends and retainers of the doomed community its more valuable books and manuscripts.' Among Madame de Roucy's beneficiaries was a certain Monsieur Colin (or Collin). His literary tastes did not extend, apparently, to books of piety and equally tedious subjects, because, for the better part of a quarter of a century, the Paraclete books and manuscripts lay stashed away in his attic. Around 1817 one of the Colin sons struck a bargin with the Biblioth~que Royale (now the Biblioth6que Nationale): in return for one of the eighteen-volume sets of Rousseau stocked at the Parisian library for such purposes of exchange, Colin fils would agree to part with one of the Paraclete manuscripts written, it was said and believed, by the hand of Abelard himself.

It was a shabby looking manuscript, and the contents of the diminutive volume were as uninteresting as its scruffy pigskin binding: some kind of liturgical directory with a few other odds and ends at the beginning and end.2 The text, in a decent enough Parisian hand of the late thirteenth The author is grateful to Prof. Peter Dronke of Cambridge University and to Prof. Calvin Bower of Notre Dame University for their helpful insights and encouragement. 1 For all details concerning the dispersion of the Paraclete library and manuscripts, see C. J. Mews, "La bibliotheque du Paraclet du XIIIe siecle a la Revolution," Studia monastica, XXVII (1985), 31-60.

2 The manuscript from f. 29r onwards has been edited by C. Waddell, The Old French Paraclete Ordinary, Cistercian Liturgy Series 4 (Trappist, Ky., 1983), with a schematic analysis of the contents, pp. xiv-xv of the companion volume, n. 3 in the same series, The Old French Paraclete Ordinary and the Paraclete Breviary: Introduction and Commentary (Trappist, Ky., 1985).

239

Epithalamica: An Easter Sequence by Peter Abelard

FATHER CHRYSOGONUS WADDELL

BY the time the district agents of Nogent-sur-Seine finally auctioned off, in late summer of 1795, the library of the recently suppressed Abbey of the Paraclete, the books they had to offer were relatively few-a mere 173 volumes-and unimportant: Madame Charlotte de Roucy, last of the long line of Paraclete abbesses, had realized that the Revolutionary whirl- wind sweeping away the other monastic establishments of France would make no exception even for the abbey founded by the star-crossed lovers Abelard and Heloise. She had had the foresight to parcel out to select friends and retainers of the doomed community its more valuable books and manuscripts.' Among Madame de Roucy's beneficiaries was a certain Monsieur Colin (or Collin). His literary tastes did not extend, apparently, to books of piety and equally tedious subjects, because, for the better part of a quarter of a century, the Paraclete books and manuscripts lay stashed away in his attic. Around 1817 one of the Colin sons struck a bargin with the Biblioth~que Royale (now the Biblioth6que Nationale): in return for one of the eighteen-volume sets of Rousseau stocked at the Parisian library for such purposes of exchange, Colin fils would agree to part with one of the Paraclete manuscripts written, it was said and believed, by the hand of Abelard himself.

It was a shabby looking manuscript, and the contents of the diminutive volume were as uninteresting as its scruffy pigskin binding: some kind of liturgical directory with a few other odds and ends at the beginning and end.2 The text, in a decent enough Parisian hand of the late thirteenth The author is grateful to Prof. Peter Dronke of Cambridge University and to Prof. Calvin Bower of Notre Dame University for their helpful insights and encouragement. 1 For all details concerning the dispersion of the Paraclete library and manuscripts, see C. J. Mews, "La bibliotheque du Paraclet du XIIIe siecle a la Revolution," Studia monastica, XXVII (1985), 31-60.

2 The manuscript from f. 29r onwards has been edited by C. Waddell, The Old French Paraclete Ordinary, Cistercian Liturgy Series 4 (Trappist, Ky., 1983), with a schematic analysis of the contents, pp. xiv-xv of the companion volume, n. 3 in the same series, The Old French Paraclete Ordinary and the Paraclete Breviary: Introduction and Commentary (Trappist, Ky., 1985).

239

Epithalamica: An Easter Sequence by Peter Abelard

FATHER CHRYSOGONUS WADDELL

BY the time the district agents of Nogent-sur-Seine finally auctioned off, in late summer of 1795, the library of the recently suppressed Abbey of the Paraclete, the books they had to offer were relatively few-a mere 173 volumes-and unimportant: Madame Charlotte de Roucy, last of the long line of Paraclete abbesses, had realized that the Revolutionary whirl- wind sweeping away the other monastic establishments of France would make no exception even for the abbey founded by the star-crossed lovers Abelard and Heloise. She had had the foresight to parcel out to select friends and retainers of the doomed community its more valuable books and manuscripts.' Among Madame de Roucy's beneficiaries was a certain Monsieur Colin (or Collin). His literary tastes did not extend, apparently, to books of piety and equally tedious subjects, because, for the better part of a quarter of a century, the Paraclete books and manuscripts lay stashed away in his attic. Around 1817 one of the Colin sons struck a bargin with the Biblioth~que Royale (now the Biblioth6que Nationale): in return for one of the eighteen-volume sets of Rousseau stocked at the Parisian library for such purposes of exchange, Colin fils would agree to part with one of the Paraclete manuscripts written, it was said and believed, by the hand of Abelard himself.

It was a shabby looking manuscript, and the contents of the diminutive volume were as uninteresting as its scruffy pigskin binding: some kind of liturgical directory with a few other odds and ends at the beginning and end.2 The text, in a decent enough Parisian hand of the late thirteenth The author is grateful to Prof. Peter Dronke of Cambridge University and to Prof. Calvin Bower of Notre Dame University for their helpful insights and encouragement. 1 For all details concerning the dispersion of the Paraclete library and manuscripts, see C. J. Mews, "La bibliotheque du Paraclet du XIIIe siecle a la Revolution," Studia monastica, XXVII (1985), 31-60.

2 The manuscript from f. 29r onwards has been edited by C. Waddell, The Old French Paraclete Ordinary, Cistercian Liturgy Series 4 (Trappist, Ky., 1983), with a schematic analysis of the contents, pp. xiv-xv of the companion volume, n. 3 in the same series, The Old French Paraclete Ordinary and the Paraclete Breviary: Introduction and Commentary (Trappist, Ky., 1985).

239

The Musical Quarterly The Musical Quarterly The Musical Quarterly The Musical Quarterly

century, was written in a kind of Old French wildly incorrect even by the more flexible norms of thirteenth-century grammar and orthography But even if the grammar and syntax had been impeccably correct, the arcane liturgical and monkish jargon of the book would have evinced little notice even by the more dedicated specialists in Abelardian research. It was the noted medievalist, John Benton, who changed all this. At the 1972 Cluny colloquy devoted to Peter Abelard and Peter the Venerable, Professor Benton signaled to his colleagues the potential interest of this manuscript-Paris, Bibliotheque Nationale, MS franaais 14410-for future Paraclete studies.3 And in 1979, at another Abelard colloquy-held at Trier-the manuscript, now styled the "Paraclete Ordinal," was further discussed in a paper devoted to Abelard as creator of liturgical texts.4 Since then the Ordinal has been edited as part of a set devoted to Paraclete liturgica,5 and, thanks to this unlikely looking Ordinal, we now have suf- ficient source material to study Peter Abelard not only as creator of litur- gical texts, but as composer of melodies as well.

A few scholars have already studied Abelard's musical creativity, chiefly on the basis of a severely limited repertory of musical sources: a single hymn tune (the Saturday vespers hymn, O quanta qualia)6 and a single planctus (Dolorum solatium, David's lament for Jonathan and Saul), which alone are recoverable in staff notation.7 Valiant attempts have also been made to decipher the six planctus melodies noted in staffless neumes in the Vatican Library manuscript, Reginensis lat. 288.8 But the meagerness of the source material and the diversity of scholarly opinion concerning the rhythmic interpretation of the neumes has resulted in conflicting "solu- tions" that to suggest to the uninformed that the distinction between reason- able hypothesis and informed guesswork (mere flights of editorial fancy)

3 "Fraud, Fiction and Borrowing in the Correspondence of Abelard and Heloise," Pierre Abelard

-Pierre le Venerable. Les courants philosophiques, litteraires et artistiques en occident au milieu du XIIe siecle. Abbaye de Cluny 2 au 9 juillet 1972 (Paris, 1975), pp. 469-511, where references to the manuscript occur on pp. 474-75, 482, 488, 489, 491, 501.

4 C. Waddell, "Peter Abelard as Creator of Liturgical Texts," Petrus Abaelardus (1079-1142). Person, Werk und Wirkung, ed. R. Thomas (Trier, 1980), pp. 267-80.

5 See above, n. 2. The other volumes in the series, IIIA, B, and C (Cistercian Liturgy Series 5-7), are devoted to the Paraclete breviary, Chaumont 31. This series is distributed by Cistercian Publica- tions, Inc., WMU Station, Kalamazoo, Mich. 49008.

6 See pp. 302-6 of the article by L. Weinrich indicated in the next footnote for a recent edition with bibliographic references to manuscripts and other editions.

7 To the several transcriptions discussed by Lorenz Weinrich, "Peter Abelard as Musician," The Musical Quarterly, LV (1969), 295-312, 464-86, with special reference to pp. 304-12, concerning attempts at transcription, add the transcription by Ian Bent in Peter Dronke, Poetic Individuality in the Middle Ages, New Departures in Poetry 1000-1150 (Oxford, 1970), pp. 203-20 (with a note about the transcription, p. 202). For a more general discussion of Abelard as musician, see Michel Huglo, "Abelard, poete et musicien," Cahiers de civilisation medievale, XXII (1979), 349-61.

8 A photograph of a folio from the manuscript is reproduced facing p. 307 of the valuable article by Weinrich.

century, was written in a kind of Old French wildly incorrect even by the more flexible norms of thirteenth-century grammar and orthography But even if the grammar and syntax had been impeccably correct, the arcane liturgical and monkish jargon of the book would have evinced little notice even by the more dedicated specialists in Abelardian research. It was the noted medievalist, John Benton, who changed all this. At the 1972 Cluny colloquy devoted to Peter Abelard and Peter the Venerable, Professor Benton signaled to his colleagues the potential interest of this manuscript-Paris, Bibliotheque Nationale, MS franaais 14410-for future Paraclete studies.3 And in 1979, at another Abelard colloquy-held at Trier-the manuscript, now styled the "Paraclete Ordinal," was further discussed in a paper devoted to Abelard as creator of liturgical texts.4 Since then the Ordinal has been edited as part of a set devoted to Paraclete liturgica,5 and, thanks to this unlikely looking Ordinal, we now have suf- ficient source material to study Peter Abelard not only as creator of litur- gical texts, but as composer of melodies as well.

A few scholars have already studied Abelard's musical creativity, chiefly on the basis of a severely limited repertory of musical sources: a single hymn tune (the Saturday vespers hymn, O quanta qualia)6 and a single planctus (Dolorum solatium, David's lament for Jonathan and Saul), which alone are recoverable in staff notation.7 Valiant attempts have also been made to decipher the six planctus melodies noted in staffless neumes in the Vatican Library manuscript, Reginensis lat. 288.8 But the meagerness of the source material and the diversity of scholarly opinion concerning the rhythmic interpretation of the neumes has resulted in conflicting "solu- tions" that to suggest to the uninformed that the distinction between reason- able hypothesis and informed guesswork (mere flights of editorial fancy)

3 "Fraud, Fiction and Borrowing in the Correspondence of Abelard and Heloise," Pierre Abelard

-Pierre le Venerable. Les courants philosophiques, litteraires et artistiques en occident au milieu du XIIe siecle. Abbaye de Cluny 2 au 9 juillet 1972 (Paris, 1975), pp. 469-511, where references to the manuscript occur on pp. 474-75, 482, 488, 489, 491, 501.

4 C. Waddell, "Peter Abelard as Creator of Liturgical Texts," Petrus Abaelardus (1079-1142). Person, Werk und Wirkung, ed. R. Thomas (Trier, 1980), pp. 267-80.

5 See above, n. 2. The other volumes in the series, IIIA, B, and C (Cistercian Liturgy Series 5-7), are devoted to the Paraclete breviary, Chaumont 31. This series is distributed by Cistercian Publica- tions, Inc., WMU Station, Kalamazoo, Mich. 49008.

6 See pp. 302-6 of the article by L. Weinrich indicated in the next footnote for a recent edition with bibliographic references to manuscripts and other editions.

7 To the several transcriptions discussed by Lorenz Weinrich, "Peter Abelard as Musician," The Musical Quarterly, LV (1969), 295-312, 464-86, with special reference to pp. 304-12, concerning attempts at transcription, add the transcription by Ian Bent in Peter Dronke, Poetic Individuality in the Middle Ages, New Departures in Poetry 1000-1150 (Oxford, 1970), pp. 203-20 (with a note about the transcription, p. 202). For a more general discussion of Abelard as musician, see Michel Huglo, "Abelard, poete et musicien," Cahiers de civilisation medievale, XXII (1979), 349-61.

8 A photograph of a folio from the manuscript is reproduced facing p. 307 of the valuable article by Weinrich.

century, was written in a kind of Old French wildly incorrect even by the more flexible norms of thirteenth-century grammar and orthography But even if the grammar and syntax had been impeccably correct, the arcane liturgical and monkish jargon of the book would have evinced little notice even by the more dedicated specialists in Abelardian research. It was the noted medievalist, John Benton, who changed all this. At the 1972 Cluny colloquy devoted to Peter Abelard and Peter the Venerable, Professor Benton signaled to his colleagues the potential interest of this manuscript-Paris, Bibliotheque Nationale, MS franaais 14410-for future Paraclete studies.3 And in 1979, at another Abelard colloquy-held at Trier-the manuscript, now styled the "Paraclete Ordinal," was further discussed in a paper devoted to Abelard as creator of liturgical texts.4 Since then the Ordinal has been edited as part of a set devoted to Paraclete liturgica,5 and, thanks to this unlikely looking Ordinal, we now have suf- ficient source material to study Peter Abelard not only as creator of litur- gical texts, but as composer of melodies as well.

A few scholars have already studied Abelard's musical creativity, chiefly on the basis of a severely limited repertory of musical sources: a single hymn tune (the Saturday vespers hymn, O quanta qualia)6 and a single planctus (Dolorum solatium, David's lament for Jonathan and Saul), which alone are recoverable in staff notation.7 Valiant attempts have also been made to decipher the six planctus melodies noted in staffless neumes in the Vatican Library manuscript, Reginensis lat. 288.8 But the meagerness of the source material and the diversity of scholarly opinion concerning the rhythmic interpretation of the neumes has resulted in conflicting "solu- tions" that to suggest to the uninformed that the distinction between reason- able hypothesis and informed guesswork (mere flights of editorial fancy)

3 "Fraud, Fiction and Borrowing in the Correspondence of Abelard and Heloise," Pierre Abelard

-Pierre le Venerable. Les courants philosophiques, litteraires et artistiques en occident au milieu du XIIe siecle. Abbaye de Cluny 2 au 9 juillet 1972 (Paris, 1975), pp. 469-511, where references to the manuscript occur on pp. 474-75, 482, 488, 489, 491, 501.

4 C. Waddell, "Peter Abelard as Creator of Liturgical Texts," Petrus Abaelardus (1079-1142). Person, Werk und Wirkung, ed. R. Thomas (Trier, 1980), pp. 267-80.

5 See above, n. 2. The other volumes in the series, IIIA, B, and C (Cistercian Liturgy Series 5-7), are devoted to the Paraclete breviary, Chaumont 31. This series is distributed by Cistercian Publica- tions, Inc., WMU Station, Kalamazoo, Mich. 49008.

6 See pp. 302-6 of the article by L. Weinrich indicated in the next footnote for a recent edition with bibliographic references to manuscripts and other editions.

7 To the several transcriptions discussed by Lorenz Weinrich, "Peter Abelard as Musician," The Musical Quarterly, LV (1969), 295-312, 464-86, with special reference to pp. 304-12, concerning attempts at transcription, add the transcription by Ian Bent in Peter Dronke, Poetic Individuality in the Middle Ages, New Departures in Poetry 1000-1150 (Oxford, 1970), pp. 203-20 (with a note about the transcription, p. 202). For a more general discussion of Abelard as musician, see Michel Huglo, "Abelard, poete et musicien," Cahiers de civilisation medievale, XXII (1979), 349-61.

8 A photograph of a folio from the manuscript is reproduced facing p. 307 of the valuable article by Weinrich.

century, was written in a kind of Old French wildly incorrect even by the more flexible norms of thirteenth-century grammar and orthography But even if the grammar and syntax had been impeccably correct, the arcane liturgical and monkish jargon of the book would have evinced little notice even by the more dedicated specialists in Abelardian research. It was the noted medievalist, John Benton, who changed all this. At the 1972 Cluny colloquy devoted to Peter Abelard and Peter the Venerable, Professor Benton signaled to his colleagues the potential interest of this manuscript-Paris, Bibliotheque Nationale, MS franaais 14410-for future Paraclete studies.3 And in 1979, at another Abelard colloquy-held at Trier-the manuscript, now styled the "Paraclete Ordinal," was further discussed in a paper devoted to Abelard as creator of liturgical texts.4 Since then the Ordinal has been edited as part of a set devoted to Paraclete liturgica,5 and, thanks to this unlikely looking Ordinal, we now have suf- ficient source material to study Peter Abelard not only as creator of litur- gical texts, but as composer of melodies as well.

A few scholars have already studied Abelard's musical creativity, chiefly on the basis of a severely limited repertory of musical sources: a single hymn tune (the Saturday vespers hymn, O quanta qualia)6 and a single planctus (Dolorum solatium, David's lament for Jonathan and Saul), which alone are recoverable in staff notation.7 Valiant attempts have also been made to decipher the six planctus melodies noted in staffless neumes in the Vatican Library manuscript, Reginensis lat. 288.8 But the meagerness of the source material and the diversity of scholarly opinion concerning the rhythmic interpretation of the neumes has resulted in conflicting "solu- tions" that to suggest to the uninformed that the distinction between reason- able hypothesis and informed guesswork (mere flights of editorial fancy)

3 "Fraud, Fiction and Borrowing in the Correspondence of Abelard and Heloise," Pierre Abelard

-Pierre le Venerable. Les courants philosophiques, litteraires et artistiques en occident au milieu du XIIe siecle. Abbaye de Cluny 2 au 9 juillet 1972 (Paris, 1975), pp. 469-511, where references to the manuscript occur on pp. 474-75, 482, 488, 489, 491, 501.

4 C. Waddell, "Peter Abelard as Creator of Liturgical Texts," Petrus Abaelardus (1079-1142). Person, Werk und Wirkung, ed. R. Thomas (Trier, 1980), pp. 267-80.

5 See above, n. 2. The other volumes in the series, IIIA, B, and C (Cistercian Liturgy Series 5-7), are devoted to the Paraclete breviary, Chaumont 31. This series is distributed by Cistercian Publica- tions, Inc., WMU Station, Kalamazoo, Mich. 49008.

6 See pp. 302-6 of the article by L. Weinrich indicated in the next footnote for a recent edition with bibliographic references to manuscripts and other editions.

7 To the several transcriptions discussed by Lorenz Weinrich, "Peter Abelard as Musician," The Musical Quarterly, LV (1969), 295-312, 464-86, with special reference to pp. 304-12, concerning attempts at transcription, add the transcription by Ian Bent in Peter Dronke, Poetic Individuality in the Middle Ages, New Departures in Poetry 1000-1150 (Oxford, 1970), pp. 203-20 (with a note about the transcription, p. 202). For a more general discussion of Abelard as musician, see Michel Huglo, "Abelard, poete et musicien," Cahiers de civilisation medievale, XXII (1979), 349-61.

8 A photograph of a folio from the manuscript is reproduced facing p. 307 of the valuable article by Weinrich.

240 240 240 240

Epithalamica Epithalamica Epithalamica Epithalamica

might seem a fine one. Writing about Abelard the musician is like writing about Beethoven if we had, as source material, only a fair copy of a single movement from one of the Opus 59 quartets and a few pages from his sketchbooks.

But thanks to the Paraclete Ordinal, the amount of recoverable music by Abelard has quadrupled. Three lengthy and brilliantly conceived se- quences may now be added to the canon of Abelard's texts with music, and nothing suggests that further exploration may not lead to similar and equally exciting finds.

Abelard's Sequences at the Paraclete

References to sequences in the Paraclete Ordinal are frequent. Even so, given the generally sketchy nature of the Ordinal prescriptions, we may be sure that at least a few items in the Paraclete sequence repertory current in the mid-thirteenth century have been omitted.9 The bulk of the incipits are identifiable, and point to a repertory that is "traditional," yet admits of numerous texts and melodies of a more recent stamp. This repertory is "popular," yet discreet; it is basically French, but with a com- mensurate number of texts and melodies representative of a more inter- national milieu. Some seven or eight of these fifty odd sequences have so far escaped identification.'? Since Abelard refers to himself as a com- poser not only of hymns but sequences as well,"l and since the Ordinal refers to numerous hymns, antiphons, responsories, and collects demon- strably by Abelard, it is not at all fanciful to suppose that at least some of these may have survived in the thirteenth-century Paraclete prosary. The question is of course of little practical import since, in the realm of possibilities, an unidentifiable Paraclete sequence incipit for which no corresponding text is known could indeed point to a lost sequence by Abelard-or anyone else.

Is it possible that among sequence texts already known and edited, there are some that might reasonably be by Abelard? Three such sequences have already come to light: the Easter sequence which is the object of

9 The sequence incipits are given in the indexes to the edition of the Ordinal (above, n. 2), p. 6*, where one reference has been omitted ("Hodiernae," p. 83:19). For a summary discussion of this sequence repertory, see the commentary in the companion volume, pp. 347-50.

10 These are listed on pp. 348-49 of The Old French Paraclete Ordinary and the Paraclete Bre- viary: Introduction and Commentary (above, n. 2).

X In the covering letter to his collection of sermons written for the Paraclete, Abelard refers to his earlier hymn and sequence project: Libello quodam hymnorum vel SEQUENTIARUM a me nuper precibus tuis consummato... (Migne PL 178:379). Many, perhaps most scholars, have identi- fied these sequences with the six planctus, doubtless because no sequences ascribable to Abelard were known to exist, whereas six planctus, similar to sequences in some respects, already had a secure place in the canon of Abelard's compositions.

might seem a fine one. Writing about Abelard the musician is like writing about Beethoven if we had, as source material, only a fair copy of a single movement from one of the Opus 59 quartets and a few pages from his sketchbooks.

But thanks to the Paraclete Ordinal, the amount of recoverable music by Abelard has quadrupled. Three lengthy and brilliantly conceived se- quences may now be added to the canon of Abelard's texts with music, and nothing suggests that further exploration may not lead to similar and equally exciting finds.

Abelard's Sequences at the Paraclete

References to sequences in the Paraclete Ordinal are frequent. Even so, given the generally sketchy nature of the Ordinal prescriptions, we may be sure that at least a few items in the Paraclete sequence repertory current in the mid-thirteenth century have been omitted.9 The bulk of the incipits are identifiable, and point to a repertory that is "traditional," yet admits of numerous texts and melodies of a more recent stamp. This repertory is "popular," yet discreet; it is basically French, but with a com- mensurate number of texts and melodies representative of a more inter- national milieu. Some seven or eight of these fifty odd sequences have so far escaped identification.'? Since Abelard refers to himself as a com- poser not only of hymns but sequences as well,"l and since the Ordinal refers to numerous hymns, antiphons, responsories, and collects demon- strably by Abelard, it is not at all fanciful to suppose that at least some of these may have survived in the thirteenth-century Paraclete prosary. The question is of course of little practical import since, in the realm of possibilities, an unidentifiable Paraclete sequence incipit for which no corresponding text is known could indeed point to a lost sequence by Abelard-or anyone else.

Is it possible that among sequence texts already known and edited, there are some that might reasonably be by Abelard? Three such sequences have already come to light: the Easter sequence which is the object of

9 The sequence incipits are given in the indexes to the edition of the Ordinal (above, n. 2), p. 6*, where one reference has been omitted ("Hodiernae," p. 83:19). For a summary discussion of this sequence repertory, see the commentary in the companion volume, pp. 347-50.

10 These are listed on pp. 348-49 of The Old French Paraclete Ordinary and the Paraclete Bre- viary: Introduction and Commentary (above, n. 2).

X In the covering letter to his collection of sermons written for the Paraclete, Abelard refers to his earlier hymn and sequence project: Libello quodam hymnorum vel SEQUENTIARUM a me nuper precibus tuis consummato... (Migne PL 178:379). Many, perhaps most scholars, have identi- fied these sequences with the six planctus, doubtless because no sequences ascribable to Abelard were known to exist, whereas six planctus, similar to sequences in some respects, already had a secure place in the canon of Abelard's compositions.

might seem a fine one. Writing about Abelard the musician is like writing about Beethoven if we had, as source material, only a fair copy of a single movement from one of the Opus 59 quartets and a few pages from his sketchbooks.

But thanks to the Paraclete Ordinal, the amount of recoverable music by Abelard has quadrupled. Three lengthy and brilliantly conceived se- quences may now be added to the canon of Abelard's texts with music, and nothing suggests that further exploration may not lead to similar and equally exciting finds.

Abelard's Sequences at the Paraclete

References to sequences in the Paraclete Ordinal are frequent. Even so, given the generally sketchy nature of the Ordinal prescriptions, we may be sure that at least a few items in the Paraclete sequence repertory current in the mid-thirteenth century have been omitted.9 The bulk of the incipits are identifiable, and point to a repertory that is "traditional," yet admits of numerous texts and melodies of a more recent stamp. This repertory is "popular," yet discreet; it is basically French, but with a com- mensurate number of texts and melodies representative of a more inter- national milieu. Some seven or eight of these fifty odd sequences have so far escaped identification.'? Since Abelard refers to himself as a com- poser not only of hymns but sequences as well,"l and since the Ordinal refers to numerous hymns, antiphons, responsories, and collects demon- strably by Abelard, it is not at all fanciful to suppose that at least some of these may have survived in the thirteenth-century Paraclete prosary. The question is of course of little practical import since, in the realm of possibilities, an unidentifiable Paraclete sequence incipit for which no corresponding text is known could indeed point to a lost sequence by Abelard-or anyone else.

Is it possible that among sequence texts already known and edited, there are some that might reasonably be by Abelard? Three such sequences have already come to light: the Easter sequence which is the object of

9 The sequence incipits are given in the indexes to the edition of the Ordinal (above, n. 2), p. 6*, where one reference has been omitted ("Hodiernae," p. 83:19). For a summary discussion of this sequence repertory, see the commentary in the companion volume, pp. 347-50.

10 These are listed on pp. 348-49 of The Old French Paraclete Ordinary and the Paraclete Bre- viary: Introduction and Commentary (above, n. 2).

X In the covering letter to his collection of sermons written for the Paraclete, Abelard refers to his earlier hymn and sequence project: Libello quodam hymnorum vel SEQUENTIARUM a me nuper precibus tuis consummato... (Migne PL 178:379). Many, perhaps most scholars, have identi- fied these sequences with the six planctus, doubtless because no sequences ascribable to Abelard were known to exist, whereas six planctus, similar to sequences in some respects, already had a secure place in the canon of Abelard's compositions.

might seem a fine one. Writing about Abelard the musician is like writing about Beethoven if we had, as source material, only a fair copy of a single movement from one of the Opus 59 quartets and a few pages from his sketchbooks.

But thanks to the Paraclete Ordinal, the amount of recoverable music by Abelard has quadrupled. Three lengthy and brilliantly conceived se- quences may now be added to the canon of Abelard's texts with music, and nothing suggests that further exploration may not lead to similar and equally exciting finds.

Abelard's Sequences at the Paraclete

References to sequences in the Paraclete Ordinal are frequent. Even so, given the generally sketchy nature of the Ordinal prescriptions, we may be sure that at least a few items in the Paraclete sequence repertory current in the mid-thirteenth century have been omitted.9 The bulk of the incipits are identifiable, and point to a repertory that is "traditional," yet admits of numerous texts and melodies of a more recent stamp. This repertory is "popular," yet discreet; it is basically French, but with a com- mensurate number of texts and melodies representative of a more inter- national milieu. Some seven or eight of these fifty odd sequences have so far escaped identification.'? Since Abelard refers to himself as a com- poser not only of hymns but sequences as well,"l and since the Ordinal refers to numerous hymns, antiphons, responsories, and collects demon- strably by Abelard, it is not at all fanciful to suppose that at least some of these may have survived in the thirteenth-century Paraclete prosary. The question is of course of little practical import since, in the realm of possibilities, an unidentifiable Paraclete sequence incipit for which no corresponding text is known could indeed point to a lost sequence by Abelard-or anyone else.

Is it possible that among sequence texts already known and edited, there are some that might reasonably be by Abelard? Three such sequences have already come to light: the Easter sequence which is the object of

9 The sequence incipits are given in the indexes to the edition of the Ordinal (above, n. 2), p. 6*, where one reference has been omitted ("Hodiernae," p. 83:19). For a summary discussion of this sequence repertory, see the commentary in the companion volume, pp. 347-50.

10 These are listed on pp. 348-49 of The Old French Paraclete Ordinary and the Paraclete Bre- viary: Introduction and Commentary (above, n. 2).

X In the covering letter to his collection of sermons written for the Paraclete, Abelard refers to his earlier hymn and sequence project: Libello quodam hymnorum vel SEQUENTIARUM a me nuper precibus tuis consummato... (Migne PL 178:379). Many, perhaps most scholars, have identi- fied these sequences with the six planctus, doubtless because no sequences ascribable to Abelard were known to exist, whereas six planctus, similar to sequences in some respects, already had a secure place in the canon of Abelard's compositions.

241 241 241 241

The Musical Quarterly The Musical Quarterly The Musical Quarterly The Musical Quarterly

this essay; the sequence for the departed, De profundis ad te clamantium,12 and the sequence for virgins, Virgines castae.l3 It is perhaps no accident that all three sequences are found together with the indisputably Abelardian planctus Dolorum solatium14 in the Nevers prosary, Paris, Bibliotheque Nationale, MS nouv. acq. lat. 3126.15 These four sequences are in a section of the prosary devoted to newer material, and are probably grouped as they are because they are derived directly or indirectly from the same source, the abbey of the Paraclete in Champagne, near Troyes. All four selections have the same kind of literary structure, the same type of half- rhymes, the same compositional techniques; and section by section, line by line, each of the three sequences offers striking literary parallels to hymns and sermon texts by the philosopher turned monk and founder of an abbey whose liturgical repertory he enriched massively. 16

The case for Abelard's authorship of De profundis ad te clamantium and Virgines castae will be argued elsewhere. A volume of the Cistercian Liturgy Seriesl7 will be devoted to a more detailed study of all of Abelard's texts whose music is recoverable. The present study of the Easter sequence Epithalamica offers us no more than a first glance at one of the most re- markable texts and melodies in the whole of the medieval repertory. It excludes a detailed discussion of the manuscript tradition and printed editions, as well as a systematic comparison of the melody with other melodies attributable to the founder of the Paraclete.

The Problem of the Sources: Manuscripts and Printed Editions

I. Manuscript Sources A. With both text and melody

1. NEV = PARIS, Bibliotheque Nationale, MS nouv. acq. lat. 3126, ff. 90v-91v; from Nevers; twelfth century, second half, and closer to 1170 than to 1200 (though with additional sections from later periods).l8 The scribe omits the entire final section consisting of four strophes.

12 Analecta hymnica, 10, pp. 54-55, for the most accessible edition; Chevalier, Repertorium hymnologicum I, 255, n. 4238, and V, 111, for references to manuscripts and editions.

13 Analecta hymnica, 54, pp. 133-35, edition, with references to many other manuscripts and editions; Chevalier, Repertorium hymnologicum II, 745, n. 21640, for manuscripts and editions.

14 F. 82v, Virgines castae; f. 87, De profundis ad te clamantium, f. 88v, Dolorum solatium; f. 90v, Epithalamica.

15 Detailed description of the manuscript and its contents in M. Huglo, "Un nouveau prosaire nivernais," in Ephemerides Liturgicae, LXXI (1957), 3-30.

16 See the article indicated above, n. 4. 17 Distributed by Cistercian Publications, Inc., WMU Station, Kalamazoo, Mich. 49008; to be

published in late 1987. 18 Besides the article by Huglo, cited above in n. 15, see the analysis, codicological description, and further notes by Heinrich Husman, Tropen- und Sequenzhandschriften [= Repertoire Inter- national des Sources Musicales B v' ] (Munich-Duisburg, 1964), pp. 148-49.

this essay; the sequence for the departed, De profundis ad te clamantium,12 and the sequence for virgins, Virgines castae.l3 It is perhaps no accident that all three sequences are found together with the indisputably Abelardian planctus Dolorum solatium14 in the Nevers prosary, Paris, Bibliotheque Nationale, MS nouv. acq. lat. 3126.15 These four sequences are in a section of the prosary devoted to newer material, and are probably grouped as they are because they are derived directly or indirectly from the same source, the abbey of the Paraclete in Champagne, near Troyes. All four selections have the same kind of literary structure, the same type of half- rhymes, the same compositional techniques; and section by section, line by line, each of the three sequences offers striking literary parallels to hymns and sermon texts by the philosopher turned monk and founder of an abbey whose liturgical repertory he enriched massively. 16

The case for Abelard's authorship of De profundis ad te clamantium and Virgines castae will be argued elsewhere. A volume of the Cistercian Liturgy Seriesl7 will be devoted to a more detailed study of all of Abelard's texts whose music is recoverable. The present study of the Easter sequence Epithalamica offers us no more than a first glance at one of the most re- markable texts and melodies in the whole of the medieval repertory. It excludes a detailed discussion of the manuscript tradition and printed editions, as well as a systematic comparison of the melody with other melodies attributable to the founder of the Paraclete.

The Problem of the Sources: Manuscripts and Printed Editions

I. Manuscript Sources A. With both text and melody

1. NEV = PARIS, Bibliotheque Nationale, MS nouv. acq. lat. 3126, ff. 90v-91v; from Nevers; twelfth century, second half, and closer to 1170 than to 1200 (though with additional sections from later periods).l8 The scribe omits the entire final section consisting of four strophes.

12 Analecta hymnica, 10, pp. 54-55, for the most accessible edition; Chevalier, Repertorium hymnologicum I, 255, n. 4238, and V, 111, for references to manuscripts and editions.

13 Analecta hymnica, 54, pp. 133-35, edition, with references to many other manuscripts and editions; Chevalier, Repertorium hymnologicum II, 745, n. 21640, for manuscripts and editions.

14 F. 82v, Virgines castae; f. 87, De profundis ad te clamantium, f. 88v, Dolorum solatium; f. 90v, Epithalamica.

15 Detailed description of the manuscript and its contents in M. Huglo, "Un nouveau prosaire nivernais," in Ephemerides Liturgicae, LXXI (1957), 3-30.

16 See the article indicated above, n. 4. 17 Distributed by Cistercian Publications, Inc., WMU Station, Kalamazoo, Mich. 49008; to be

published in late 1987. 18 Besides the article by Huglo, cited above in n. 15, see the analysis, codicological description, and further notes by Heinrich Husman, Tropen- und Sequenzhandschriften [= Repertoire Inter- national des Sources Musicales B v' ] (Munich-Duisburg, 1964), pp. 148-49.

this essay; the sequence for the departed, De profundis ad te clamantium,12 and the sequence for virgins, Virgines castae.l3 It is perhaps no accident that all three sequences are found together with the indisputably Abelardian planctus Dolorum solatium14 in the Nevers prosary, Paris, Bibliotheque Nationale, MS nouv. acq. lat. 3126.15 These four sequences are in a section of the prosary devoted to newer material, and are probably grouped as they are because they are derived directly or indirectly from the same source, the abbey of the Paraclete in Champagne, near Troyes. All four selections have the same kind of literary structure, the same type of half- rhymes, the same compositional techniques; and section by section, line by line, each of the three sequences offers striking literary parallels to hymns and sermon texts by the philosopher turned monk and founder of an abbey whose liturgical repertory he enriched massively. 16

The case for Abelard's authorship of De profundis ad te clamantium and Virgines castae will be argued elsewhere. A volume of the Cistercian Liturgy Seriesl7 will be devoted to a more detailed study of all of Abelard's texts whose music is recoverable. The present study of the Easter sequence Epithalamica offers us no more than a first glance at one of the most re- markable texts and melodies in the whole of the medieval repertory. It excludes a detailed discussion of the manuscript tradition and printed editions, as well as a systematic comparison of the melody with other melodies attributable to the founder of the Paraclete.

The Problem of the Sources: Manuscripts and Printed Editions

I. Manuscript Sources A. With both text and melody

1. NEV = PARIS, Bibliotheque Nationale, MS nouv. acq. lat. 3126, ff. 90v-91v; from Nevers; twelfth century, second half, and closer to 1170 than to 1200 (though with additional sections from later periods).l8 The scribe omits the entire final section consisting of four strophes.

12 Analecta hymnica, 10, pp. 54-55, for the most accessible edition; Chevalier, Repertorium hymnologicum I, 255, n. 4238, and V, 111, for references to manuscripts and editions.

13 Analecta hymnica, 54, pp. 133-35, edition, with references to many other manuscripts and editions; Chevalier, Repertorium hymnologicum II, 745, n. 21640, for manuscripts and editions.

14 F. 82v, Virgines castae; f. 87, De profundis ad te clamantium, f. 88v, Dolorum solatium; f. 90v, Epithalamica.

15 Detailed description of the manuscript and its contents in M. Huglo, "Un nouveau prosaire nivernais," in Ephemerides Liturgicae, LXXI (1957), 3-30.

16 See the article indicated above, n. 4. 17 Distributed by Cistercian Publications, Inc., WMU Station, Kalamazoo, Mich. 49008; to be

published in late 1987. 18 Besides the article by Huglo, cited above in n. 15, see the analysis, codicological description, and further notes by Heinrich Husman, Tropen- und Sequenzhandschriften [= Repertoire Inter- national des Sources Musicales B v' ] (Munich-Duisburg, 1964), pp. 148-49.

this essay; the sequence for the departed, De profundis ad te clamantium,12 and the sequence for virgins, Virgines castae.l3 It is perhaps no accident that all three sequences are found together with the indisputably Abelardian planctus Dolorum solatium14 in the Nevers prosary, Paris, Bibliotheque Nationale, MS nouv. acq. lat. 3126.15 These four sequences are in a section of the prosary devoted to newer material, and are probably grouped as they are because they are derived directly or indirectly from the same source, the abbey of the Paraclete in Champagne, near Troyes. All four selections have the same kind of literary structure, the same type of half- rhymes, the same compositional techniques; and section by section, line by line, each of the three sequences offers striking literary parallels to hymns and sermon texts by the philosopher turned monk and founder of an abbey whose liturgical repertory he enriched massively. 16

The case for Abelard's authorship of De profundis ad te clamantium and Virgines castae will be argued elsewhere. A volume of the Cistercian Liturgy Seriesl7 will be devoted to a more detailed study of all of Abelard's texts whose music is recoverable. The present study of the Easter sequence Epithalamica offers us no more than a first glance at one of the most re- markable texts and melodies in the whole of the medieval repertory. It excludes a detailed discussion of the manuscript tradition and printed editions, as well as a systematic comparison of the melody with other melodies attributable to the founder of the Paraclete.

The Problem of the Sources: Manuscripts and Printed Editions

I. Manuscript Sources A. With both text and melody

1. NEV = PARIS, Bibliotheque Nationale, MS nouv. acq. lat. 3126, ff. 90v-91v; from Nevers; twelfth century, second half, and closer to 1170 than to 1200 (though with additional sections from later periods).l8 The scribe omits the entire final section consisting of four strophes.

12 Analecta hymnica, 10, pp. 54-55, for the most accessible edition; Chevalier, Repertorium hymnologicum I, 255, n. 4238, and V, 111, for references to manuscripts and editions.

13 Analecta hymnica, 54, pp. 133-35, edition, with references to many other manuscripts and editions; Chevalier, Repertorium hymnologicum II, 745, n. 21640, for manuscripts and editions.

14 F. 82v, Virgines castae; f. 87, De profundis ad te clamantium, f. 88v, Dolorum solatium; f. 90v, Epithalamica.

15 Detailed description of the manuscript and its contents in M. Huglo, "Un nouveau prosaire nivernais," in Ephemerides Liturgicae, LXXI (1957), 3-30.

16 See the article indicated above, n. 4. 17 Distributed by Cistercian Publications, Inc., WMU Station, Kalamazoo, Mich. 49008; to be

published in late 1987. 18 Besides the article by Huglo, cited above in n. 15, see the analysis, codicological description, and further notes by Heinrich Husman, Tropen- und Sequenzhandschriften [= Repertoire Inter- national des Sources Musicales B v' ] (Munich-Duisburg, 1964), pp. 148-49.

242 242 242 242

Epithalamica Epithalamica Epithalamica Epithalamica

2. PUY = LE PUY, Bibliotheque du Grand S6minaire, Prosolarium Ecclesiae Aniciensis (no shelf number), ff. 54r-57r; late sixteenth-century copy (paper) of the seemingly uninterrupted all-day (and all-night) celebra- tion of the Office of the Circumcision (Jan. 1) proper to the cathedral of Le Puy en Velay, one of the major Marian shrines in Western Europe. Chant notation, but on a five-line staff. While obviously related to the original version represented by the Nevers version, the melody has been transposed a fourth higher, but without the obligatory addition of the flat necessary to preserve the first-mode tonality: the melody is thus transmogrified into one of the seventh mode.

3. VIC = VIC, Museu Episcopal, MS 105 (CXI), f. 60r-v, where a fragment only of the sequence has been incorporated into an Easter play about the Three Marys; this section is more recent (late twelfth/early thir- teenth century) than the rest of the manuscript; dry-point aquitanian no- tation; from Vic, near Barcelona. 9

B. With text only BEZ = PARIS, Bibliotheque Nationale, MS lat. 1059, ff. 462v2-463vl

(Birth of Mary, Sept. 8), 330r2-330v2 (Immaculate Conception, Dec. 8); from Beziers; fifteenth century, first half or middle.20 II. Printed Editions

A. Missals 1. Missale insignis ecclesie Tornacensis. .. (Paris, 1498, Oct. 20),

f. lxxxvii rl; text much truncated at end, but also provided with a new concluding stanza.

2. Missale secundum verum usum ecclesie et diocesis Tornacensis... (Paris, 1509, Oct. 21), f. lxxxvi (error for lxxxvii) r2-vl; reproduces defec- tive text of 1498 Missal.

3. Missale secundum usum Gratiannopolitanum. . . (Grenoble, 1532, Dec. 14), f. ccxxxv rl-2; final four strophes abridged beyond recognition.

B. Editions based on manuscripts or printed missals 1. Antonius de Balinghem, Parnassus Marianus sev Flos Hymnorum et

Rhythmorvm de SSa Virgine Maria... (Douai, 1624), pp. 146-47; repro- duces defective text of Tournai Missal (1498), though with a few editorial emendations that result in a further departure from the authentic text.

2. J. B. Grimaldi, Sacra Beatae Virginis Deiparae Hymnodia.. . (Lyon, 1657 [error for 1637]), p. 246; no copy of this volume could be located for the purposes of the present essay.

19 Description in Husman, Tropen- und Sequenszhandschriften, pp. 97-98 (where the shelf number is wrongly given, MS 111).

20 Analysis and description with further bibliographic notes in Vincent Leroquais, Les Brd- viaires manuscrits des BibliothequesPubliques de France, III (Paris, 1934), 65-68.

2. PUY = LE PUY, Bibliotheque du Grand S6minaire, Prosolarium Ecclesiae Aniciensis (no shelf number), ff. 54r-57r; late sixteenth-century copy (paper) of the seemingly uninterrupted all-day (and all-night) celebra- tion of the Office of the Circumcision (Jan. 1) proper to the cathedral of Le Puy en Velay, one of the major Marian shrines in Western Europe. Chant notation, but on a five-line staff. While obviously related to the original version represented by the Nevers version, the melody has been transposed a fourth higher, but without the obligatory addition of the flat necessary to preserve the first-mode tonality: the melody is thus transmogrified into one of the seventh mode.

3. VIC = VIC, Museu Episcopal, MS 105 (CXI), f. 60r-v, where a fragment only of the sequence has been incorporated into an Easter play about the Three Marys; this section is more recent (late twelfth/early thir- teenth century) than the rest of the manuscript; dry-point aquitanian no- tation; from Vic, near Barcelona. 9

B. With text only BEZ = PARIS, Bibliotheque Nationale, MS lat. 1059, ff. 462v2-463vl

(Birth of Mary, Sept. 8), 330r2-330v2 (Immaculate Conception, Dec. 8); from Beziers; fifteenth century, first half or middle.20 II. Printed Editions

A. Missals 1. Missale insignis ecclesie Tornacensis. .. (Paris, 1498, Oct. 20),

f. lxxxvii rl; text much truncated at end, but also provided with a new concluding stanza.

2. Missale secundum verum usum ecclesie et diocesis Tornacensis... (Paris, 1509, Oct. 21), f. lxxxvi (error for lxxxvii) r2-vl; reproduces defec- tive text of 1498 Missal.

3. Missale secundum usum Gratiannopolitanum. . . (Grenoble, 1532, Dec. 14), f. ccxxxv rl-2; final four strophes abridged beyond recognition.

B. Editions based on manuscripts or printed missals 1. Antonius de Balinghem, Parnassus Marianus sev Flos Hymnorum et

Rhythmorvm de SSa Virgine Maria... (Douai, 1624), pp. 146-47; repro- duces defective text of Tournai Missal (1498), though with a few editorial emendations that result in a further departure from the authentic text.

2. J. B. Grimaldi, Sacra Beatae Virginis Deiparae Hymnodia.. . (Lyon, 1657 [error for 1637]), p. 246; no copy of this volume could be located for the purposes of the present essay.

19 Description in Husman, Tropen- und Sequenszhandschriften, pp. 97-98 (where the shelf number is wrongly given, MS 111).

20 Analysis and description with further bibliographic notes in Vincent Leroquais, Les Brd- viaires manuscrits des BibliothequesPubliques de France, III (Paris, 1934), 65-68.

2. PUY = LE PUY, Bibliotheque du Grand S6minaire, Prosolarium Ecclesiae Aniciensis (no shelf number), ff. 54r-57r; late sixteenth-century copy (paper) of the seemingly uninterrupted all-day (and all-night) celebra- tion of the Office of the Circumcision (Jan. 1) proper to the cathedral of Le Puy en Velay, one of the major Marian shrines in Western Europe. Chant notation, but on a five-line staff. While obviously related to the original version represented by the Nevers version, the melody has been transposed a fourth higher, but without the obligatory addition of the flat necessary to preserve the first-mode tonality: the melody is thus transmogrified into one of the seventh mode.

3. VIC = VIC, Museu Episcopal, MS 105 (CXI), f. 60r-v, where a fragment only of the sequence has been incorporated into an Easter play about the Three Marys; this section is more recent (late twelfth/early thir- teenth century) than the rest of the manuscript; dry-point aquitanian no- tation; from Vic, near Barcelona. 9

B. With text only BEZ = PARIS, Bibliotheque Nationale, MS lat. 1059, ff. 462v2-463vl

(Birth of Mary, Sept. 8), 330r2-330v2 (Immaculate Conception, Dec. 8); from Beziers; fifteenth century, first half or middle.20 II. Printed Editions

A. Missals 1. Missale insignis ecclesie Tornacensis. .. (Paris, 1498, Oct. 20),

f. lxxxvii rl; text much truncated at end, but also provided with a new concluding stanza.

2. Missale secundum verum usum ecclesie et diocesis Tornacensis... (Paris, 1509, Oct. 21), f. lxxxvi (error for lxxxvii) r2-vl; reproduces defec- tive text of 1498 Missal.

3. Missale secundum usum Gratiannopolitanum. . . (Grenoble, 1532, Dec. 14), f. ccxxxv rl-2; final four strophes abridged beyond recognition.

B. Editions based on manuscripts or printed missals 1. Antonius de Balinghem, Parnassus Marianus sev Flos Hymnorum et

Rhythmorvm de SSa Virgine Maria... (Douai, 1624), pp. 146-47; repro- duces defective text of Tournai Missal (1498), though with a few editorial emendations that result in a further departure from the authentic text.

2. J. B. Grimaldi, Sacra Beatae Virginis Deiparae Hymnodia.. . (Lyon, 1657 [error for 1637]), p. 246; no copy of this volume could be located for the purposes of the present essay.

19 Description in Husman, Tropen- und Sequenszhandschriften, pp. 97-98 (where the shelf number is wrongly given, MS 111).

20 Analysis and description with further bibliographic notes in Vincent Leroquais, Les Brd- viaires manuscrits des BibliothequesPubliques de France, III (Paris, 1934), 65-68.

2. PUY = LE PUY, Bibliotheque du Grand S6minaire, Prosolarium Ecclesiae Aniciensis (no shelf number), ff. 54r-57r; late sixteenth-century copy (paper) of the seemingly uninterrupted all-day (and all-night) celebra- tion of the Office of the Circumcision (Jan. 1) proper to the cathedral of Le Puy en Velay, one of the major Marian shrines in Western Europe. Chant notation, but on a five-line staff. While obviously related to the original version represented by the Nevers version, the melody has been transposed a fourth higher, but without the obligatory addition of the flat necessary to preserve the first-mode tonality: the melody is thus transmogrified into one of the seventh mode.

3. VIC = VIC, Museu Episcopal, MS 105 (CXI), f. 60r-v, where a fragment only of the sequence has been incorporated into an Easter play about the Three Marys; this section is more recent (late twelfth/early thir- teenth century) than the rest of the manuscript; dry-point aquitanian no- tation; from Vic, near Barcelona. 9

B. With text only BEZ = PARIS, Bibliotheque Nationale, MS lat. 1059, ff. 462v2-463vl

(Birth of Mary, Sept. 8), 330r2-330v2 (Immaculate Conception, Dec. 8); from Beziers; fifteenth century, first half or middle.20 II. Printed Editions

A. Missals 1. Missale insignis ecclesie Tornacensis. .. (Paris, 1498, Oct. 20),

f. lxxxvii rl; text much truncated at end, but also provided with a new concluding stanza.

2. Missale secundum verum usum ecclesie et diocesis Tornacensis... (Paris, 1509, Oct. 21), f. lxxxvi (error for lxxxvii) r2-vl; reproduces defec- tive text of 1498 Missal.

3. Missale secundum usum Gratiannopolitanum. . . (Grenoble, 1532, Dec. 14), f. ccxxxv rl-2; final four strophes abridged beyond recognition.

B. Editions based on manuscripts or printed missals 1. Antonius de Balinghem, Parnassus Marianus sev Flos Hymnorum et

Rhythmorvm de SSa Virgine Maria... (Douai, 1624), pp. 146-47; repro- duces defective text of Tournai Missal (1498), though with a few editorial emendations that result in a further departure from the authentic text.

2. J. B. Grimaldi, Sacra Beatae Virginis Deiparae Hymnodia.. . (Lyon, 1657 [error for 1637]), p. 246; no copy of this volume could be located for the purposes of the present essay.

19 Description in Husman, Tropen- und Sequenszhandschriften, pp. 97-98 (where the shelf number is wrongly given, MS 111).

20 Analysis and description with further bibliographic notes in Vincent Leroquais, Les Brd- viaires manuscrits des BibliothequesPubliques de France, III (Paris, 1934), 65-68.

243 243 243 243

244 The Musical Quarterly

3. Guido Dreves, ed., Analecta Hymnica VIII (1890), pp. 45-47, n. 36; based on the Beziers breviary (see above, BEZ, under I B), but with editorial emendations not indicated in the critical apparatus, and with the omission of several lines from the final four strophes.

4. E. Misset and W. H. I. Weale, eds., Thesavris Hymnologicis hactenus editis Supplementum amplissimum. . . II. Prosae. Analecta Liturgica, Pars II: Thesaurus Hymnologicus (Lille and Brugge, 1892), pp. 166-69, n. 573; though included in the section devoted to proses from the Tournai Missal of 1498 (see above, II A 1), but based chiefly on the Beziers breviary already used by Dreves for his edition of the sequence (see above, BEZ, I B); variants from the Tournai Missal are indicated in the critical apparatus, as well as the variants of the text by Balinghem (see above, II B 1, based on the same Tournai missal).

5. Ulysse Chevalier, ed., Prosolarium Ecclesiae Aniciensis. Office en vers de la Circoncision en usage dans l'eglise du Puy. Bibliotheque Litur- gique, Tome cinquieme-lre livraison (Paris: A. Picard, 1894), pp. 37-38; transcription of the text (without music) of a manuscript prosolarium from the cathedral of Le Puy dated by the scribe 1552. This manuscript, which was part of the private library of M. l'abbe Jean Baptiste Payrard (d. 1892), has disappeared. But apart from a few minor accidental variants, the text of the Chevalier edition agrees with that of copy (with both text and music) in the Grand Seminaire library, listed above, I A 2. For a descrip- tion of the lost manuscript of 1552, see the introduction to Chevalier's edition.

6. Karl Young, "Some Texts of Liturgical Plays," in Publications of the Modern Language Association of America, XXIV (1909), pp. 294-331; the text of the Vic Easter verses (= VIC), including the excerpt from Abelard's sequence, is transcribed here, pp. 303-8.

7. Karl Young, The Drama of the Medieval Church, I (Oxford: Claren- don Press, 1951), p. 681, where the transcription edited earlier in "Some Texts.. ." (above, II B 5) is reproduced, pp. 678-81, with special reference to p. 681 for the Epithalamica excerpt.

The sources evidently present something of a problem. NEV (I A 1), the Nevers prosary, is indisputably the oldest and best of the manuscripts for both text and music, but the scribe has omitted the entire final section from strophe 10 through the coda. This material will have to be supplied from elsewhere.

PUY (I A 2) offers a text that includes the final section missing from NEV; but the variants in the preceding sections common to both manu- scripts reaffirm the general superiority of the Nevers version. Musically, however, the Le Puy manuscript is a disaster. One would expect to find

244 The Musical Quarterly

3. Guido Dreves, ed., Analecta Hymnica VIII (1890), pp. 45-47, n. 36; based on the Beziers breviary (see above, BEZ, under I B), but with editorial emendations not indicated in the critical apparatus, and with the omission of several lines from the final four strophes.

4. E. Misset and W. H. I. Weale, eds., Thesavris Hymnologicis hactenus editis Supplementum amplissimum. . . II. Prosae. Analecta Liturgica, Pars II: Thesaurus Hymnologicus (Lille and Brugge, 1892), pp. 166-69, n. 573; though included in the section devoted to proses from the Tournai Missal of 1498 (see above, II A 1), but based chiefly on the Beziers breviary already used by Dreves for his edition of the sequence (see above, BEZ, I B); variants from the Tournai Missal are indicated in the critical apparatus, as well as the variants of the text by Balinghem (see above, II B 1, based on the same Tournai missal).

5. Ulysse Chevalier, ed., Prosolarium Ecclesiae Aniciensis. Office en vers de la Circoncision en usage dans l'eglise du Puy. Bibliotheque Litur- gique, Tome cinquieme-lre livraison (Paris: A. Picard, 1894), pp. 37-38; transcription of the text (without music) of a manuscript prosolarium from the cathedral of Le Puy dated by the scribe 1552. This manuscript, which was part of the private library of M. l'abbe Jean Baptiste Payrard (d. 1892), has disappeared. But apart from a few minor accidental variants, the text of the Chevalier edition agrees with that of copy (with both text and music) in the Grand Seminaire library, listed above, I A 2. For a descrip- tion of the lost manuscript of 1552, see the introduction to Chevalier's edition.

6. Karl Young, "Some Texts of Liturgical Plays," in Publications of the Modern Language Association of America, XXIV (1909), pp. 294-331; the text of the Vic Easter verses (= VIC), including the excerpt from Abelard's sequence, is transcribed here, pp. 303-8.

7. Karl Young, The Drama of the Medieval Church, I (Oxford: Claren- don Press, 1951), p. 681, where the transcription edited earlier in "Some Texts.. ." (above, II B 5) is reproduced, pp. 678-81, with special reference to p. 681 for the Epithalamica excerpt.

The sources evidently present something of a problem. NEV (I A 1), the Nevers prosary, is indisputably the oldest and best of the manuscripts for both text and music, but the scribe has omitted the entire final section from strophe 10 through the coda. This material will have to be supplied from elsewhere.

PUY (I A 2) offers a text that includes the final section missing from NEV; but the variants in the preceding sections common to both manu- scripts reaffirm the general superiority of the Nevers version. Musically, however, the Le Puy manuscript is a disaster. One would expect to find

244 The Musical Quarterly

3. Guido Dreves, ed., Analecta Hymnica VIII (1890), pp. 45-47, n. 36; based on the Beziers breviary (see above, BEZ, under I B), but with editorial emendations not indicated in the critical apparatus, and with the omission of several lines from the final four strophes.

4. E. Misset and W. H. I. Weale, eds., Thesavris Hymnologicis hactenus editis Supplementum amplissimum. . . II. Prosae. Analecta Liturgica, Pars II: Thesaurus Hymnologicus (Lille and Brugge, 1892), pp. 166-69, n. 573; though included in the section devoted to proses from the Tournai Missal of 1498 (see above, II A 1), but based chiefly on the Beziers breviary already used by Dreves for his edition of the sequence (see above, BEZ, I B); variants from the Tournai Missal are indicated in the critical apparatus, as well as the variants of the text by Balinghem (see above, II B 1, based on the same Tournai missal).

5. Ulysse Chevalier, ed., Prosolarium Ecclesiae Aniciensis. Office en vers de la Circoncision en usage dans l'eglise du Puy. Bibliotheque Litur- gique, Tome cinquieme-lre livraison (Paris: A. Picard, 1894), pp. 37-38; transcription of the text (without music) of a manuscript prosolarium from the cathedral of Le Puy dated by the scribe 1552. This manuscript, which was part of the private library of M. l'abbe Jean Baptiste Payrard (d. 1892), has disappeared. But apart from a few minor accidental variants, the text of the Chevalier edition agrees with that of copy (with both text and music) in the Grand Seminaire library, listed above, I A 2. For a descrip- tion of the lost manuscript of 1552, see the introduction to Chevalier's edition.

6. Karl Young, "Some Texts of Liturgical Plays," in Publications of the Modern Language Association of America, XXIV (1909), pp. 294-331; the text of the Vic Easter verses (= VIC), including the excerpt from Abelard's sequence, is transcribed here, pp. 303-8.

7. Karl Young, The Drama of the Medieval Church, I (Oxford: Claren- don Press, 1951), p. 681, where the transcription edited earlier in "Some Texts.. ." (above, II B 5) is reproduced, pp. 678-81, with special reference to p. 681 for the Epithalamica excerpt.

The sources evidently present something of a problem. NEV (I A 1), the Nevers prosary, is indisputably the oldest and best of the manuscripts for both text and music, but the scribe has omitted the entire final section from strophe 10 through the coda. This material will have to be supplied from elsewhere.

PUY (I A 2) offers a text that includes the final section missing from NEV; but the variants in the preceding sections common to both manu- scripts reaffirm the general superiority of the Nevers version. Musically, however, the Le Puy manuscript is a disaster. One would expect to find

244 The Musical Quarterly

3. Guido Dreves, ed., Analecta Hymnica VIII (1890), pp. 45-47, n. 36; based on the Beziers breviary (see above, BEZ, under I B), but with editorial emendations not indicated in the critical apparatus, and with the omission of several lines from the final four strophes.

4. E. Misset and W. H. I. Weale, eds., Thesavris Hymnologicis hactenus editis Supplementum amplissimum. . . II. Prosae. Analecta Liturgica, Pars II: Thesaurus Hymnologicus (Lille and Brugge, 1892), pp. 166-69, n. 573; though included in the section devoted to proses from the Tournai Missal of 1498 (see above, II A 1), but based chiefly on the Beziers breviary already used by Dreves for his edition of the sequence (see above, BEZ, I B); variants from the Tournai Missal are indicated in the critical apparatus, as well as the variants of the text by Balinghem (see above, II B 1, based on the same Tournai missal).

5. Ulysse Chevalier, ed., Prosolarium Ecclesiae Aniciensis. Office en vers de la Circoncision en usage dans l'eglise du Puy. Bibliotheque Litur- gique, Tome cinquieme-lre livraison (Paris: A. Picard, 1894), pp. 37-38; transcription of the text (without music) of a manuscript prosolarium from the cathedral of Le Puy dated by the scribe 1552. This manuscript, which was part of the private library of M. l'abbe Jean Baptiste Payrard (d. 1892), has disappeared. But apart from a few minor accidental variants, the text of the Chevalier edition agrees with that of copy (with both text and music) in the Grand Seminaire library, listed above, I A 2. For a descrip- tion of the lost manuscript of 1552, see the introduction to Chevalier's edition.

6. Karl Young, "Some Texts of Liturgical Plays," in Publications of the Modern Language Association of America, XXIV (1909), pp. 294-331; the text of the Vic Easter verses (= VIC), including the excerpt from Abelard's sequence, is transcribed here, pp. 303-8.

7. Karl Young, The Drama of the Medieval Church, I (Oxford: Claren- don Press, 1951), p. 681, where the transcription edited earlier in "Some Texts.. ." (above, II B 5) is reproduced, pp. 678-81, with special reference to p. 681 for the Epithalamica excerpt.

The sources evidently present something of a problem. NEV (I A 1), the Nevers prosary, is indisputably the oldest and best of the manuscripts for both text and music, but the scribe has omitted the entire final section from strophe 10 through the coda. This material will have to be supplied from elsewhere.

PUY (I A 2) offers a text that includes the final section missing from NEV; but the variants in the preceding sections common to both manu- scripts reaffirm the general superiority of the Nevers version. Musically, however, the Le Puy manuscript is a disaster. One would expect to find

Epithalamica Epithalamica Epithalamica Epithalamica

marked differences between melodies separated chronologically by some 400 years; but the upward transposition of the melody into a new mode has resulted in a seventh-mode cantilena that wanders aimlessly about without serving the dramatic thrust of the text, as does the admirable version in NEV. Problematic as PUY is, it is nonetheless the only means we have of forming at least a hazy idea as to what the final section omitted by NEV may once have sounded like. The feasibility of a musical retro- version based on PUY will be discussed when we examine the final strophes of the sequence.

VIC (I A 3) is no more than a six-line fragment incorporated into an Easter play, and corresponding to strophe 5 and the first half of strophe 6 of the integral text. Even so, the final line of this excerpt has been altered to fit its new context; and the melody, while obviously related to NEV, has been reworked to fit the modal and melodic purposes of the adapter who worked this fragment into his Easter play. The chief contribution of VIC is to show that the Paraclete Easter sequence had traveled south below the Pyrenees even at an early date, and to point up, by its very de- fects, the superiority of NEV.

BEZ (I B) offers the same text twice (with minor variants), and both times as a specifically Marian sequence (Birth of Mary, Immaculate Con- ception). But even where these two texts agree against NEV, this common text has many defective readings. Still, BEZ gives us a text for the final section missing from NEV better, as we shall see, than that of the Le Puy prosolarium; and it would be unwise to disregard totally this admittedly idiosyncratic text, which even has the Bridegroom bounding over "necks" (colla) rather than "hills" (colles) (strophe 3b).

The three printed missals (II A 1-3) serve generally only to control a few of the variants in the Nevers manuscript, and are generally good up to the final strophes omitted by NEV. Here the Grenoble missal reduces the last four strophes to a mere three-line stanza; while the two editions of the Tournai missal replace all four with a freshly composed stanza of a doxological nature.

The other printed editions add little to our dossier. With one exception, they are all based on earlier versions directly recoverable. Balinghem (II B 1) draws upon the Tournai missal; Dreves (II B 3) bases his version on BEZ (I B), as do Misset and Weale (II B 4), though they also have an eye on Balinghem and the Tournai missal. Young (II B 6-7) transcribes a mere fragment from the VIC manuscript. Though the manuscript upon which Chevalier bases his edition of the Le Puy prosolarium (II B 5) has disap- peared, the remarkable concordance between the text of this edition and the coeval copy in the Grand Seminaire of Le Puy (I A 2) suggests that the Chevalier edition has nothing to offer that the Seminary manuscript

marked differences between melodies separated chronologically by some 400 years; but the upward transposition of the melody into a new mode has resulted in a seventh-mode cantilena that wanders aimlessly about without serving the dramatic thrust of the text, as does the admirable version in NEV. Problematic as PUY is, it is nonetheless the only means we have of forming at least a hazy idea as to what the final section omitted by NEV may once have sounded like. The feasibility of a musical retro- version based on PUY will be discussed when we examine the final strophes of the sequence.

VIC (I A 3) is no more than a six-line fragment incorporated into an Easter play, and corresponding to strophe 5 and the first half of strophe 6 of the integral text. Even so, the final line of this excerpt has been altered to fit its new context; and the melody, while obviously related to NEV, has been reworked to fit the modal and melodic purposes of the adapter who worked this fragment into his Easter play. The chief contribution of VIC is to show that the Paraclete Easter sequence had traveled south below the Pyrenees even at an early date, and to point up, by its very de- fects, the superiority of NEV.

BEZ (I B) offers the same text twice (with minor variants), and both times as a specifically Marian sequence (Birth of Mary, Immaculate Con- ception). But even where these two texts agree against NEV, this common text has many defective readings. Still, BEZ gives us a text for the final section missing from NEV better, as we shall see, than that of the Le Puy prosolarium; and it would be unwise to disregard totally this admittedly idiosyncratic text, which even has the Bridegroom bounding over "necks" (colla) rather than "hills" (colles) (strophe 3b).

The three printed missals (II A 1-3) serve generally only to control a few of the variants in the Nevers manuscript, and are generally good up to the final strophes omitted by NEV. Here the Grenoble missal reduces the last four strophes to a mere three-line stanza; while the two editions of the Tournai missal replace all four with a freshly composed stanza of a doxological nature.

The other printed editions add little to our dossier. With one exception, they are all based on earlier versions directly recoverable. Balinghem (II B 1) draws upon the Tournai missal; Dreves (II B 3) bases his version on BEZ (I B), as do Misset and Weale (II B 4), though they also have an eye on Balinghem and the Tournai missal. Young (II B 6-7) transcribes a mere fragment from the VIC manuscript. Though the manuscript upon which Chevalier bases his edition of the Le Puy prosolarium (II B 5) has disap- peared, the remarkable concordance between the text of this edition and the coeval copy in the Grand Seminaire of Le Puy (I A 2) suggests that the Chevalier edition has nothing to offer that the Seminary manuscript

marked differences between melodies separated chronologically by some 400 years; but the upward transposition of the melody into a new mode has resulted in a seventh-mode cantilena that wanders aimlessly about without serving the dramatic thrust of the text, as does the admirable version in NEV. Problematic as PUY is, it is nonetheless the only means we have of forming at least a hazy idea as to what the final section omitted by NEV may once have sounded like. The feasibility of a musical retro- version based on PUY will be discussed when we examine the final strophes of the sequence.

VIC (I A 3) is no more than a six-line fragment incorporated into an Easter play, and corresponding to strophe 5 and the first half of strophe 6 of the integral text. Even so, the final line of this excerpt has been altered to fit its new context; and the melody, while obviously related to NEV, has been reworked to fit the modal and melodic purposes of the adapter who worked this fragment into his Easter play. The chief contribution of VIC is to show that the Paraclete Easter sequence had traveled south below the Pyrenees even at an early date, and to point up, by its very de- fects, the superiority of NEV.

BEZ (I B) offers the same text twice (with minor variants), and both times as a specifically Marian sequence (Birth of Mary, Immaculate Con- ception). But even where these two texts agree against NEV, this common text has many defective readings. Still, BEZ gives us a text for the final section missing from NEV better, as we shall see, than that of the Le Puy prosolarium; and it would be unwise to disregard totally this admittedly idiosyncratic text, which even has the Bridegroom bounding over "necks" (colla) rather than "hills" (colles) (strophe 3b).

The three printed missals (II A 1-3) serve generally only to control a few of the variants in the Nevers manuscript, and are generally good up to the final strophes omitted by NEV. Here the Grenoble missal reduces the last four strophes to a mere three-line stanza; while the two editions of the Tournai missal replace all four with a freshly composed stanza of a doxological nature.

The other printed editions add little to our dossier. With one exception, they are all based on earlier versions directly recoverable. Balinghem (II B 1) draws upon the Tournai missal; Dreves (II B 3) bases his version on BEZ (I B), as do Misset and Weale (II B 4), though they also have an eye on Balinghem and the Tournai missal. Young (II B 6-7) transcribes a mere fragment from the VIC manuscript. Though the manuscript upon which Chevalier bases his edition of the Le Puy prosolarium (II B 5) has disap- peared, the remarkable concordance between the text of this edition and the coeval copy in the Grand Seminaire of Le Puy (I A 2) suggests that the Chevalier edition has nothing to offer that the Seminary manuscript

marked differences between melodies separated chronologically by some 400 years; but the upward transposition of the melody into a new mode has resulted in a seventh-mode cantilena that wanders aimlessly about without serving the dramatic thrust of the text, as does the admirable version in NEV. Problematic as PUY is, it is nonetheless the only means we have of forming at least a hazy idea as to what the final section omitted by NEV may once have sounded like. The feasibility of a musical retro- version based on PUY will be discussed when we examine the final strophes of the sequence.

VIC (I A 3) is no more than a six-line fragment incorporated into an Easter play, and corresponding to strophe 5 and the first half of strophe 6 of the integral text. Even so, the final line of this excerpt has been altered to fit its new context; and the melody, while obviously related to NEV, has been reworked to fit the modal and melodic purposes of the adapter who worked this fragment into his Easter play. The chief contribution of VIC is to show that the Paraclete Easter sequence had traveled south below the Pyrenees even at an early date, and to point up, by its very de- fects, the superiority of NEV.

BEZ (I B) offers the same text twice (with minor variants), and both times as a specifically Marian sequence (Birth of Mary, Immaculate Con- ception). But even where these two texts agree against NEV, this common text has many defective readings. Still, BEZ gives us a text for the final section missing from NEV better, as we shall see, than that of the Le Puy prosolarium; and it would be unwise to disregard totally this admittedly idiosyncratic text, which even has the Bridegroom bounding over "necks" (colla) rather than "hills" (colles) (strophe 3b).

The three printed missals (II A 1-3) serve generally only to control a few of the variants in the Nevers manuscript, and are generally good up to the final strophes omitted by NEV. Here the Grenoble missal reduces the last four strophes to a mere three-line stanza; while the two editions of the Tournai missal replace all four with a freshly composed stanza of a doxological nature.

The other printed editions add little to our dossier. With one exception, they are all based on earlier versions directly recoverable. Balinghem (II B 1) draws upon the Tournai missal; Dreves (II B 3) bases his version on BEZ (I B), as do Misset and Weale (II B 4), though they also have an eye on Balinghem and the Tournai missal. Young (II B 6-7) transcribes a mere fragment from the VIC manuscript. Though the manuscript upon which Chevalier bases his edition of the Le Puy prosolarium (II B 5) has disap- peared, the remarkable concordance between the text of this edition and the coeval copy in the Grand Seminaire of Le Puy (I A 2) suggests that the Chevalier edition has nothing to offer that the Seminary manuscript

245 245 245 245

The Musical Quarterly The Musical Quarterly The Musical Quarterly The Musical Quarterly

copy cannot supply just as well. Only Grimaldi (II B 2) remains unaccounted for; and given the bulk of this sizable anthology of Marian poetry (455 pp.), it would seem likely that his edition of the sequence depended, like the other lyrics in this collection, on some earlier printed source, such as Baling- hem's Parnassus Marianus or one of the printed missals.

Clearly none of these manuscripts and printed editions enjoys the authority of the Nevers prosary, NEV, which offers the oldest version of text and melody (although without the last four strophes); and it is NEV which must obviously serve to supply our basic text. In a future edition of Abelard's recoverable texts with music, Epithalamica will surely include in its critical apparatus variants from all the above-listed sources and editions; but for our present purpose, an apparatus that serves chiefly to list scribal misreadings and editorial flights of fancy would be less than useful. So the text and music will here follow the Nevers prosary (until we get to the finale), with only occasional glances at other sources so often as we have occasion to suspect something may be amiss in the Nevers text. After a few general remarks, we shall go through Epithalamica, strophe by strophe, considering, for each section, first the text, then the corres- ponding music.

Two Preliminary Considerations

1. A Marian sequence? or an Easter sequence? Although there is not a single mention of Mary, Mother of the Lord,

in the entire fourteen strophes, all the sources from BEZ on (with the possible exception of PUY) treat Epithalamica as a Marian sequence. Though the name "Mary" may not be explicit in this text, the first ten strophes draw lavishly and obviously on texts from the Song of Songs used also in the repertory of Night Office antiphons drawn upon with increasing frequency in Western Europe from the twelfth century, if not earlier, for the Birth of Mary Office (Sept. 8).21 The cleric who had for years been chanting antiphons about the Bridegroom's descent into his garden, about the Bride's frantic search for her absent Bridegroom, and about turtledoves and flowers in bloom and springtide bursting out,22 could hardly have

21 Typical are the antiphon series listed by R.-J. Hesbert, Corpus antiphonalium officii I, 298- 300, for the antiphonaries of Bamberg and Ivrea; II, 548-51, for the antiphonaries of Rheinau, Silos, and San Lupo of Benevento, with corresponding antiphon texts edited in full in Vol. III.

22 See, for instance, the antiphon Anima mea liquefacta: "My soul melted when he spoke. I sought him and I found him not; I called, and he did not answer me. The keepers that go about the city found me .. .," Hesbert, Corpus, III, 50, n. 1418; or Tota pulchra: "You are all fair, my love . . . For winter is now past, the rain is over and gone; the flowers have appeared, the vines in flower yield their sweet fragrance, and the voice of the turtle-dove is heard in our land. Arise, make haste, my love. Come from Libanus, and be crowned," ibid., p. 508, n. 5162.

copy cannot supply just as well. Only Grimaldi (II B 2) remains unaccounted for; and given the bulk of this sizable anthology of Marian poetry (455 pp.), it would seem likely that his edition of the sequence depended, like the other lyrics in this collection, on some earlier printed source, such as Baling- hem's Parnassus Marianus or one of the printed missals.

Clearly none of these manuscripts and printed editions enjoys the authority of the Nevers prosary, NEV, which offers the oldest version of text and melody (although without the last four strophes); and it is NEV which must obviously serve to supply our basic text. In a future edition of Abelard's recoverable texts with music, Epithalamica will surely include in its critical apparatus variants from all the above-listed sources and editions; but for our present purpose, an apparatus that serves chiefly to list scribal misreadings and editorial flights of fancy would be less than useful. So the text and music will here follow the Nevers prosary (until we get to the finale), with only occasional glances at other sources so often as we have occasion to suspect something may be amiss in the Nevers text. After a few general remarks, we shall go through Epithalamica, strophe by strophe, considering, for each section, first the text, then the corres- ponding music.

Two Preliminary Considerations

1. A Marian sequence? or an Easter sequence? Although there is not a single mention of Mary, Mother of the Lord,

in the entire fourteen strophes, all the sources from BEZ on (with the possible exception of PUY) treat Epithalamica as a Marian sequence. Though the name "Mary" may not be explicit in this text, the first ten strophes draw lavishly and obviously on texts from the Song of Songs used also in the repertory of Night Office antiphons drawn upon with increasing frequency in Western Europe from the twelfth century, if not earlier, for the Birth of Mary Office (Sept. 8).21 The cleric who had for years been chanting antiphons about the Bridegroom's descent into his garden, about the Bride's frantic search for her absent Bridegroom, and about turtledoves and flowers in bloom and springtide bursting out,22 could hard