The Sanctus Trope Deus pater ingenitus (F-Pn, f. lat., 1118):

Transcription

1 Alicia M. Doyle The Sanctus Trope Deus pater ingenitus (F-Pn, f. lat., 1118): Further Evidence of a South Aquitanian Origin The abundant musical, textual and visual resources of Paris, Bibliothèque Nationale de France, fonds latin, 1118 (= Pn 1118) have long been highly valued amongst the surviving collection of Aquitanian liturgical manuscripts. 1 Copied in the order of the liturgical year, the manuscript contains a troper, a proser, a tonary, a prosulary and a sequentiary. 2 Predominantly copied with music, Pn 1118 is the largest extant music manuscript from the region, serving as an anthology of the trope repertory for all of the Aquitaine, and it is the earliest source of tropes from which a reasonable attempt at melodic transcription can be made. Not surprisingly, due to the enormity of the collection, it does transmit a substantial number of unica, further increasing the utility of the source. Housed at the Abbey of Saint-Martial de Limoges since at least the twelfth century, Pn 1118 was acquired by the Bibliothèque du Roy on September 5, 1730 as a part of the purchase of a collection of manu- 1 The abbreviation Pn refers to both the fonds latin collection and the nouvelles acquisitions latines of the Bibliothèque Nationale. See list of manuscript abbreviations and full descriptions at the end of the article. 2 Pn 1118 has been the subject of numerous studies, most notably: Ru t h St e i n e r, The Prosulae of the MS Paris, Bibliothèque Nationale f. lat. 1118, «Journal of the American Musicological Society», xxii, 1969, pp ; Mi c h e l Hu g l o, Les Tonaires: Inventaire, Analyse, Comparaison, Paris, Société Française de Musicologie, 1971, and Ri c h a r d Cr o c k e r, The Repertory of Proses at Saint Martial de Limoges in the 10th Century, «Journal of the American Musicological Society», xi, 1958, pp The manuscript has been a part of studies of Aquitanian music from the tenth and eleventh centuries; see in particular David Hughes, Further Notes on the Grouping of the Aquitanian Tropers, «Journal of the American Musicological Society», xix, 1966, pp. 3-12; Pa u l Eva n s, The Early Trope Repertory of Saint Martial de Limoges, Princeton, N. J., Princeton University Press, 1970 ( Princeton Studies in Music, 2); Alejandro Planchart, The Repertory of Tropes at Winchester, Princeton, N. J, Princeton University Press, The illuminations have intrigued art historians in the same way the music has held the interest of music scholars; see in particular Ti l m a n Se e b a s s, Musikdarstellung und Psalterilustration im früheren Mittelalter: Studien ausgehend von einer Ikonologie der Handschrift Paris Bibliothèque Nationale fonds latin 1118, Bern, Francke Verlag, 1973, and Ni c o l e Se v e s t r e, Quelques documents d iconographie musicale médiévale: L image et l école autour de l an mil, «Imago musicae», 4, 1988, pp

2 4 ALICIA M. DOYLE scripts from the library of Saint-Martial. 3 The fact that Pn 1118 did not originate in Limoges is apparent from the corrections to several pieces, changes that brought the repertory in line with the specific musical practice at the abbey. The minimal editing overall indicates that, despite minor differences, the original regional tradition of Pn 1118 had much in common with that of Saint-Martial. The editing is explicit, however, and the detailed changes provide critical insight into liturgical practice outside of Limoges. The focus of this study is an examination of these altered pieces in Pn 1118, specifically the Sanctus trope palimpsests, wherein the editing of both the music and text reflects changes that were made to the repertory after it arrived in Limoges. Much has been said about the contemporaneous group of Aquitanian tropers that includes Pn 1118, these are: Pn 778, Pn 779, Pn 887, Pn 903, Pn 909, Pn 1084abc, Pn 1119, Pn 1120, Pn 1121, Pn 1240, Pn 1871, Apt 17, and Apt Most agree that while several (Pn 909, Pn 1119, Pn 1120, Pn 1121) reflect specific practice in Limoges, the contents of the others varies enough to indicate a distinct tradition from outside of Limoges. 5 Of these, Pn 1118 differs from many of the other contemporary manuscripts in which the inclusion of specific patrons in the sanctorale have served to determine the provenance, because the scribe who copied Pn 1118 exhibits no particular allegiance to a local patron through the selection of text and music. 6 In fact, a variety of feasts specific to the re- 3 Le o p o l d De l i s l e, Les manuscrits de Saint-Martial de Limoges, «Bulletin de la Société archéologique et historique du Limousin», xxxxiv, 1895, pp. 26 ff and contain a reproduction of the acquisition memorandum of Abbé Bignon at the Bibliothèque du Roy and the agents for the Abbey of Saint-Martial, the Brothers Barbou. The Bignon document claims 204 manuscripts, the Barbou document 202. According to He n r i Du p l è s-ag i e r, Chroniques de St. Martial, Paris, 1874, p. 355, the library contained 450 items in the thirteenth century. See also Richard Crocker The Repertoire of Proses at Saint-Martial de Limoges (Tenth and Eleventh Centuries), Ph.D. diss., Yale University, 1957, pp , for a complete description and discussion of the history of the acquisition of the library. 4 Many scholars have pointed out a subset or two of manuscripts in this general grouping. Eva n s, The Early Trope Repertory cit., pp ; Hu g h e s, Further Notes cit., especially pp. 8-12; Gü n t h e r We i s s, Zum Problem der Gruppierung südfranzösicher Tropare, «Archiv für Musikwissenschaft», xxi, 1964, pp ; Alejandro Planchart, On the Nature of Transmission and Change in Trope Repertories, «Journal of the American Musicological Society», xli, 1988, pp Pn 1118, and Pn 1240, being older than the rest proves to add to the problematic nature of creating a close familial relationship. Additionally, determining the role of Pn 1240 is difficult due to the relatively small repertory that it contains. 6 Pn 1084c, for example has been successfully assigned to Aurillac. As per Dav i d Hu g h e s, Further Notes cit., p. 3, n. 3, Pn 1084 is divided into three sections: Pn 1084a is from Limoges, Pn 1084b is most likely from Aurillac, and Pn 1084c is from Aurillac. For the origins of Pn 1084c see Pl a n c h a rt, Fragments, Palimpsests, and Marginalia, «Journal of Musicology», vi, 1988, pp

3 THE SANCTUS TROPE DEUS PATER INGENITUS 5 gional patrons of Toulouse, Auch, Apt, Aurillac and various other places are included in Pn 1118, resulting in contradictory evidence. The inclusion of music and text specific to these various conflicting regions does however indicate access to multiple exemplars and alludes to widespread transmission of music in the tenth and eleventh centuries. Overall, this inclusion of assorted patrons does not entirely eliminate the possibility of determining an approximate place of origin for the copying of Pn 1118 but rather demands a more intense wide reaching study of its contents by liturgical, art, and music scholars. Most importantly, even if precise origins of a manuscript or trope cannot be proven, the examination of how music traveled from region to region is possible, and may in fact reveal the earliest form of the trope. As noted above, one of the understood characteristics of this manuscript is the fact that once it arrived at the abbey of Saint-Martial, some of the contents were edited to reflect the liturgical use at the abbey proper. The changes are readily apparent, as a single scribe whose work is characterized by a small, neat script that is fairly uniform and consistent copied most of the original text. In the original layer of Pn 1118 each phrase of the liturgical chant and each trope verse consistently begins with an initial copied in red ink. In the text itself, a characteristic of this first scribe is the manner in which the there is indiscriminate alternation between two forms of the letter a, sometimes even in a single word. Just as regularly, the scribe uses a c rather than t in such words as sapiencia, sciencia, and gracia as well as periodically adding an h to syllables that start with a vowel, for example «heleison», «filihum», and «hunigenitus» while omitting the h at the beginnings of other words such as «oraculis» 7 (See Figure 1-4). An examination of the musical notation in Pn 1118 shows again that a main musical hand copied the majority of the music; however, there is no indication as to whether the music and textual scribes are one in the same person. Characteristics of the original musical scribe include a small, neat, fairly diastematic notation with a reserved upward stroke in the epiphonus and no custodes (See Figure 5). The instances of editing in the text and music in Pn 1118 are few, with most of the added textual material being copied in by one hand, presumably after its arrival at the abbey of Saint-Martial. 8 The later notation by 7 Hu g l o noting the peculiarity of the way in which certain words are spelled in Pn 1118 remarked «N est-ce pas là une influence hispanique?», in Les Tonaires cit., p In the last folios there are many additions made in many hands at a much later date. These changes are not relevant to this study.

4 6 ALICIA M. DOYLE Figure 1. Scribal Tendencies, original scribe of Pn 1118 f. 7r. Two forms of the letter a and «gracia». By permission of the Bibliothèque Nationa - le de France. Figure 2. Scribal Tendencies, original scribe of Pn 1118 f. 29r «iusticia», and «sapiencia». By permission of the Bibliothèque Nationale de France. a second music scribe is distinct from the first scribe, and the new material is easily identifiable, characterized by the consistent use of custodes, a distinctive upward stroke in the epiphonus, and that overall it is copied with a thicker stroke than that of the main music scribe (See Figure 6).

5 THE SANCTUS TROPE DEUS PATER INGENITUS 7 Figure 3. Scribal Tendencies, original scribe of Pn 1118 f. 4r «heleison». By permission of the Bibliothèque Nationale de France. Figure 4. Scribal Tendencies, original scribe of Pn 1118 f. 7v «filihum». By permission of the Bibliothèque Nationale de France. Figure 5. First layer of musical notation, Pn 1118 f. 93r. By permission of the Bibliothèque Nationale de France.

6 8 ALICIA M. DOYLE Figure 6. Scribal Tendencies, second musical scribe of Pn 1118, fol. 103r. By permission of the Bibliothèque Nationale de France. The overall heightening in the work of the second scribe is more accurate than that of the main musical hand and the text underlay is significantly clearer. 9 The music copied in the second musical hand often was written 9 The issue of application of liquescents is a complex one, as there is no clear Aquitanian tradition. James Grier notes the seemingly arbitrary treatment of liquescents in Pn 1121 and Pn 909, both copied by Adémar. See Ja m e s Gr i e r, The Musical World of a Medieval Monk, Cambridge, Cambridge University Press, 2006, pp and pp

7 THE SANCTUS TROPE DEUS PATER INGENITUS 9 over erasures, although there are instances of melodic notation in this second hand throughout the manuscript, entered over text that may not have been notated originally. The edited text and music in Pn 1118 reflect specific Saint-Martial practice found in contemporaneous manuscripts known to have belonged to the abbey, including Pn 1119 and Pn The work of the second musical scribe appears in all instances of palimpsest, including the two Sanctus tropes palimpsests. 10 Within Pn 1118 there are there are ten rubrics calling for the singing of the Sanctus (see Table 1). Of these, seven are copied with tropes, one is a prosula (No. 4), and one is an untroped Sanctus chant (No. 2). No. 7 is part of the Greek Mass that does not contain tropes, and as such was not included in this analysis of the Sanctus tropes. None of these pieces are unica; in fact the collection consists of the most widespread repertory of Sanctus tropes. Table 1. Sanctus Repertory in Pn 1118 Inventory of Sanctus Tropes in Pn 1118 Number Folio Trope / Prosula incipit Thannabaur Music T/L 1 5v Pater lumen 216 Y/Y Nat. I 2 8r (untroped) 216 N/N Feast 3 16r Sanctus deus omnipotens 154var Y/Y 11 Nat. III 4 21r Osanna plasmatum populum 89 Y/Y 12 Stephen 5 29r Deus pater ingenitus 216 Y/Y 13 Nat. Octave 6 46r Gloriosa dies adest 111var Y/Y Easter 7 69r Agios agios agios (n/a) Y Pentecost 8 103r Admirabilis splendor 111var Y/Y Andrew 9 103r Pater ingenitus 216 Y/Y v Ante saecula 223 Y/Y 10 A detailed examination of the scribal hands and entire repertory of tropes in this manuscript can be found in my dissertation: Alicia M. Do y l e, The Repertory of Tropes in Paris, Bibliothèque Nationale fonds Latin 1118: A Comparative Study of Tenth-Century Aquitanian Concordances and Transmission, Ph.D. diss., University of California at Santa Barbara, This troping is a palimpsest. 12 The prosula is only partially notated while the ordinary chant is completely notated. The music for this prosula is in the work of the main musical scribe. The music with the ordinary chant is the work of the second scribe, the same scribe involved with the Sanctus palimpsests. 13 This troping is also a palimpsest.

8 10 ALICIA M. DOYLE Table 1 below outlines the basic information for the Sanctus repertory copied in Pn The melodies present in the inventory compiled by Thannabaur are noted, and in cases where the melody in Pn 1118 is similar to one in the catalog but not exactly the same, it is labeled in the table as a variation of that particular melody. 14 In addition, there is an indication as to whether the trope verses and liturgical chant cues (Music T(trope)/ L(liturgical cues)) transmit music and if there is a festal assignment. Table 2 lists the Aquitanian concordances for these tropes, grouped as to how broadly disseminated they are in the repertory, starting with the most widespread. 15 The tropes are numbered according to their position in Pn Table 2. Sanctus Trope Concordances Tropes with Pan-European Concordances 5. Deus pater ingenitus (29r) Pn 1240, Pn 909, Pn 1119, Pn 1120, Pn 887 (twice), Pn 778, Pn 779, Pn 903 (twice), Pn 1084b (twice), Pn 1871 (twice), Apt 17, Apt Admirabilis splendor (103r) Pn 909, Pn 1119, Pn 1120, Pn 887, Pn 1084c, Pn 903, Apt 17, Pn Ante secula (103v) Pn 909, Pn 1119, Pn 1120, Pn 779, Pn 887, Pn 903, Apt 17, Pn 1871 Tropes with Western European Concordances (Including English Sources) 1. Pater lumen aeternum (5v) Pn 1240, Pn 909, Pn 1119, Pn 1120, Pn 887, Pn 1084b, Pn 903, Apt 17 (four times), Apt Pater ingenitus (103r) Pn 909, Pn 1119, Pn 1120, Pn 887, Pn 903, Pn 1871 Tropes with Only Aquitanian Concordances 3. Sanctus deus omnipotens (16r) Pn 1240, Pn 909, Pn 1119, Pn 1120, Pn 887, Pn Osanna plasmatum populum (21r) (prosula) Pn 778, Pn Gloriosa dies adest (46r) Pn 779, Pn 1084b, Pn 903, Pn 1871, Apt Pe t e r Jo s e f Th a n n a b a u r, Das einstimmige Sanctus der römischen Messe in der handschriftlichen Überlieferung des 11. bis 16. Jahrhunderts ( Erlanger Arbeiten zur Musikwissenschaft, 1), Munich, Walter Ricke The table only includes Aquitanian sources, for a complete list of known concordances see Gu n i l l a Iv e r s e n, Corpus Troporum, vii, Tropes de l ordinaire de la messe. Tropes du Sanctus ( Acta Universitatis Stockholmiensis. Studia Latina Stockholmiensia, 34), Stockholm, Almqvist & Wiksell, 1990, and Pl a n c h a rt, The Repertory of Tropes cit., ii.

9 THE SANCTUS TROPE DEUS PATER INGENITUS 11 These pieces, as copied in Pn 1118, reflect both of the formal techniques of Sanctus tropings that were common in the tenth century--interpolative trope verses, and the introductory trope verse (as found in No. 3, Sanctus Deus omnipotens). Across Western Europe each trope verse typically follows a phrase of liturgical chant and the Sanctus ends with a final phrase of liturgical chant, not a trope verse. A number of the internal trope verses connected to a given Sanctus often appear in many different feasts. 16 Nearly every phrase of trope and the liturgical chant in the Sanctus collection contained in Pn 1118 is transmitted with melodic notation; however, the second musical hand has entered much of the existing music. Only the untroped Sanctus (No. 2), Gloriosa dies adest (No. 6), and the Sanctus from the Greek Mass (No. 7) are transmitted with music that is entirely the work of the main musical scribe. The other seven Sanctus entries transmit music that is either entirely the work of the second music scribe (Pater lumen, Sanctus deus omnipotens, Deus pater ingenitus, Admirabilis splendor, Pater ingenitus, Ante secula) or a combination of both musical scribes as seen in Osanna plasmatum populum, in which the entire ordinary chant is notated by the second scribe and the first phrase of prosula has music supplied by the first scribe. 17 It appears that the textual changes in Pn 1118 were made at the same time the later layer of music was added. In the Sanctus tropes with both text and music copied by a later hand (Sanctus deus omnipotens (No. 3), and Deus pater ingenitus (No. 5)), the edited material unquestionably reflects the tradition of Saint-Martial proper. This suggests that the original material copied in Pn 1118 was perhaps unfamiliar and possibly not considered appropriate at Saint-Martial. 18 The first of the two Sanctus palimpsests, found on f. 16r, Sanctus deus omnipotens, is representative of the localized Aquitanian tradition (See Table 3), although variants of this trope appear in Northern French, English and Spanish sources The fifteen vagrant tropes are listed in Corpus Troporum, vii, p. 28 with references to their concordances. 17 This prosula has a very limited concordance in the Aquitaine with only Pn 778 and Pn It does, however, have two eastern Spanish concordances in Pn 495 (Gerona) and VI 105 (Vic) and two Italian concordances in Ben 35 (Benevento) and Mod 7 (Forlimpopoli). In Pn 1118 only the first phrase of the prosula is notated. 18 This having been said, the fact that there are very few palimpsests in Pn 1118 overall indicates that although the two traditions are certainly distinguishable from each other in some details, they also hold most of their repertory in common. 19 For a full list of concordances, see Iv e r s e n, Corpus Troporum, vii, p. 184.

10 12 ALICIA M. DOYLE Table 3. Sanctus deus omnipotens Pn 1118 Pn 887 Pn 909 Pn 1119 Pn 1120 Pn 1871 Pn 1240 Sanctus deus omnipotens pater Sanctus dei filius atque unigenitus Sanctus quoque spiritus paraclitus, voluntas amborum Uni deo gloria! Osanna in altissimis deo! Omnes dicamus Deus exercituum et militarum rex O admirabilis clementia Benedictum dominum, regem sanctum gloriae clamet omnis turba dei in excelsis eia The concordant Aquitanian sources (Pn 887, Pn 909, Pn 1119, Pn 1120, Pn 1871, and Pn 1240) all transmit the trope verses in the same order as found in Pn None of the original music for this troping (if there was music originally) remains in Pn The text of Sanctus deus pater omnipotens as it exists now is included in Example 1. The liturgical chant is printed in italics, and the trope text in ordinary typeface. When text is entered over an erasure, brackets surround the newer text{ }. In the example the original grammar and spelling of Pn 1118 are maintained. Example 1. Edited text in first Sanctus palimpsest. Sanctus Number 3: folio 16r Sanctus deus {omnipotens pater} Sanctus {dei filius atque} unigenitus Sanctus {quoque} spiritus paraclitus {voluntas amborum Uni deo gloria Osanna in altissimis deo omnes dicamus Deus excercituum et militarum rex O admirabilis clementia [S]anctus [s]anctus [s]anctus Dominus deus sabaoth

11 THE SANCTUS TROPE DEUS PATER INGENITUS 13 Benedictum dominum regem sanctum gloriae clamet omnis turba dei in excelsis eia pleni sunt caeli et terra gloria tua Osanna in excelsis Benedictus qui venit in nomine domini Osanna in excelsis} This collection of trope verses is different than all of the other Sanctus tropings in Pn 1118 because of the introductory verse which itself is longer than most of the Pan-European Sanctus tropings. Further, the inclusion of an introductory trope verse with this item of the ordinary is somewhat unnecessary because, in the liturgy, the Sanctus is preceded by the Preface already, which itself acts as an introduction. Iversen and Planchart both have discussed this particular introduction found in Pn 1118 and noted that when it reached English sources, it was reinterpreted as an interpolative verse rather than an introductory verse. 20 Several factors however warrant yet an even closer analysis of this troping, as it was copied prior to the corrections. First, this trope has an irregular characteristic, as the interpolated trope phrases even after the introductory verse precede the liturgical chant rather than follow it. Second, this trope in Pn 1118 is a part of the series for the third Christmas mass. This trope is not found in any other extant source for this occasion. Third, and most importantly, some of the original text is still legible despite the corrections. Beginning with an examination of the original material that is still visible, it is apparent that the second scribe re-used several of the original red-ink capital letters that mark the beginning of a phrase. In this troping the letters were used regardless of whether or not that initial letter began a phrase, ignoring the precedent of the original scribe (See Figure 7). For example, the second scribe left the original red capital d and re-used it for the second word of the trope verse «deus», in the first verse of the introductory trope. Immediately following the extant phrase «deus omnipotens pater» is an older red S preceding the word «Sanctus», with a red line drawn following it, indicating that there originally was a melisma in the music. The second scribe copied the word «dei» over this melisma indication. In the next phrase, the second scribe again re-used the original red ink capital F and included «[F]ilius atque». From the fourth line on, the second scribe was unable to fit the generic Aquitanian trope Sanctus 20 Iv e r s e n, Corpus Troporum, vii, pp , Pl a n c h a rt, The Repertory of Tropes cit., ii, pp

12 14 ALICIA M. DOYLE Figure 7. Palimpsest: Sanctus deus omnipotens, Pn 1118 f. 16r. By permission of the Bibliothèque Nationale de France.

13 THE SANCTUS TROPE DEUS PATER INGENITUS 15 deus omnipotens in the given space and re-use the older red ink initials. All the remaining original material was erased. This scribe did however try to imitate the original style, leaving space for the liturgical cues to be copied in red initials. This step never happened, and as it stands now, the newer version is copied «actus (sic) anctus anctus», with space left ahead of each acclamation for a red initial. Using the collection of Sanctus trope verses cataloged in Corpus Troporum VII and a database of Aquitanian troper inventories, the original first three verses can be recreated with reasonable accuracy following a search for verses that begin with the remaining red initials and also contain the still visible interior text. 21 When restored to its original form it becomes apparent that the Sanctus originally did not begin with a long introductory verse after which the liturgical chant was a refrain. Instead, the original reflects the more common practice in which the verses are interpolative and the liturgical chant precedes the trope verses. The reconstructed original chant is given in Example 2. Example 2. Hypothetical original Sanctus troping, f. 16r. Sanctus Deus pater ingenitus Sanctus Filius eius unigenitus Sanctus dominus Spiritus sanctus paraclitus ab utroque procedens. Deus sabaoth Deus exercituum et militarum rex O admirabilis clementia Pleni sunt celi et terra gloria tua Osanna in excelsis Benedictus qui venit in nomine domini Osanna in excelsis Benedicto domino regi magno gloria clamet omnis turba dei in excelsis eia This exact arrangement of verses is found in only four manuscripts: Apt 18, Pn 903, Pn 1084b (f. 94v-95r), and Pn 1871 (f. 52v), all of which are part of the southern Aquitanian grouping. 22 With it revealed that Deus 21 I wish to thank Alejandro Planchart who made his personal database of Aquitanian manuscript inventories available to me. Using a search function I was able to create a list of possible trope verses from a single word as well as to check concordances using Corpus Troporum, vii and microfilm copies of the various manuscripts. 22 All of the chant cues, but only the first three trope verses in Pn 1084b (f. 94v-95r) are copied with music. All of the music for this troping appears to have been copied in later, and it is worth noting that the style of the epiphonus and the use of custodes is remarkably similar to that of the second music scribe in Pn In Pn 1871, f. 52v, all verses are copied with music entered in around a hole in the vellum.

14 16 ALICIA M. DOYLE pater ingenitus originally was included twice in Pn 1118, the manuscript is further aligned with the manuscripts Pn 903, Pn 1084b and Pn 1871 all of which transmit two versions of this trope. A final bit of supporting evidence that the original trope on f. 16r was indeed Deus pater ingenitus comes from the unique assignment of Sanctus deus omnipotens in Pn 1118 to the third Christmas mass series mentioned earlier. The only other source that indicates this trope for a specific feast is Pn 1240, which transmits it not for Christmas, but for the feast of All Saints. This proposed restored original trope Deus pater ingenitus, however, is found in no fewer than eight manuscripts assigned to the third Christmas mass. 23 The material in the second Sanctus palimpsest in Pn 1118 is equally revealing. As found in the first Sanctus palimpsest on f. 16r, the second scribe entered all of the music for Deus pater ingenitus on f. 29r. In comparison, however, the text has been minimally edited. The exact textual contents of Deus pater ingenitus (f. 29r) are included in Example 3. Again, the liturgical chant is printed in italics, and the trope text in ordinary typeface. When text is entered over an erasure, brackets surround the newer text{}. The original grammar and spelling found in Pn 1118 are preserved. Example 3 Sanctus Number 5: folio 29r Sanctus Sanctus Sanctus {Dominus deus sabaoth} Deus pater ingenitus Filius eius hunigenitus Spiritus paraclitus ab utroque procedens Pleni sunt celi et terra gloria tua Osanna in excelsis Benedictus qui venit in nomine domini Osanna in excelsis This troping is found not only in Pan-European sources, but in most Aquitanian sources. Example 2 below provides a comparison of the order of verses as found in the Aquitanian sources. 23 All of these manuscripts are Eastern and Italian except for the Angers manuscript. (Bas5-Reichenau, Sl 160-Weingarten, Lbl (twice) - Mainz, An 96-Angers, Ob 222-Novalesa, Tn 20-Bobbio, and Tn 18-Bobbio). See Corpus Troporum, iv, pp , for manuscript details.

15 THE SANCTUS TROPE DEUS PATER INGENITUS 17 Table 4. Deus pater ingenitus: verse order in Aquitanian sources Pn 779 Pn 887 Pn 887 Pn 903 Pn 909 Pn 1084 Pn 1084 Pn 1118 Pn 1119 Pn 1120 Pn 1121 Pn 1240 Pn 1871 Pn 1871 Apt 17 Apt 18 Pn 1118 Deus pater ingenitus Filius eius hunigenitus Spiritus paraclitus ab utroque procedens Collaudemus dominum eia Gloria victoria et salus eterna sit deo nostro in excelsis Deus excercituum et militiarum rex O admirabilis clementia Benedicto domino regi magno gloria clamet omnis turba dei in excelsis eia

16 18 ALICIA M. DOYLE Figure 8. Palimpsest: Deus pater ingenitus, Pn 1118, f. 29r. By permission of the Bibliothèque Nationale de France. The first three verses in Pn 1118 are very stable as witnessed by their copying in the same order in sources from Saint-Gall to Winchester; the subsequent verses vary regionally. In the concordant sources, the number of verses varies, with the Saint-Martial tropers (and Pn 887) transmitting only three verses (Pn 887, Pn 909, Pn 1119, Pn 1120), and the non- Saint- Martial Aquitanian sources (Pn 903, Pn 1084b, Pn 1871, Apt 18) transmitting six verses. 24 Apt 17 transmits the six verses found in Apt 18, with the addition six tropes following the Osanna. Despite the editing, some of the original material of this troping is still visible in Pn For example, the erasure of the cue «Dominum eia» is not complete and both the text and music are still faintly visible (see line 5 of Figure 8). Again, piecing together possible original verses 24 The music of the version of Deus pater ingenitus copied on f. 97v in Pn 1084b has been erased, but is still faintly legible. The melodic content of the visible material resembles that found in Pn 1871 f. 53r.

17 THE SANCTUS TROPE DEUS PATER INGENITUS 19 using Corpus Troporum VII and the Aquitanian troper inventory database for verse texts that match the red ink initials and interior text helped to reveal the probable original troping. Beginning with line 3 in Figure 8 (line 8 in the manuscript, f. 29r) after Sanctus, the word «dominus» is still visible. Following the red ink initials, on the fourth line of Figure 8 (line 9 in manuscript of fol. 29r) the second hand has copied «Dominus deus sabaoth». The initial D of the liturgical chant cue «Dominus» was not erased, as it is the same style, size and color as the rest of the initials in red ink throughout the troper. This initial may originally have been intended for the capital D of the liturgical chant cue «Deus sabaoth». Immediately following the present cue «Dominus deus sabaoth» the words «dominum eia» are visible. A trope verse «Collaudemus dominum eia» is found in this position in the three southern tropers: Pn 779, Pn 1084b, and Pn There certainly would have been enough space for the scribe of Pn 1118 to have written both «Deus Sabaoth» and «Collaudemus», so this verse is a viable option. There is yet another clue furthering this supposition, albeit less visible, the remnant of what must have been the word «collaudemus» on line 9 (at least «mus») is faintly visible following the later addition «Dominus Deus sabaoth». Even more faint is what appears to be a tiny remnant of the red ink initial C between the last s of «Deus» and the first s of «Sabaoth» (see line 4 of Figure 9). Last, a full verse «Gloria et Victoria», seemingly meant to be removed, is still visible on folio 29v (see lines 1-2 of Figure 9). 25 A reconstruction of the original troping of the Sanctus on f. 29v is given in Example 4. Again the trope is in regular text, the ordinary chant in italics. Example 4. Hypothetical original Sanctus troping f. 29r-29v. Sanctus Deus pater ingenitus Sanctus Filius eius hunigenitus Sanctus dominus Spiritus paraclitus ab utroque procedens Deus sabaoth Collaudemus dominum eia Pleni sunt celi et terra gloria tua Osanna in excelsis Benedictus qui venit in nomine domini Osanna in excelsis Gloria victoria et salus eterna sit deo nostro in excelsis 25 The Agnus Dei that follows on f. 29v is also significantly edited. The music is most likely the work of the same scribe who added music on f. 16r and f. 29r and f. 29v. Note in particular the custodes and the style of the epiphonus. These two verses seen here are found in the same order in Pa 903. For a discussion of the Agnus Dei on f. 29v see Iv e r s e n, Corpus Troporum, iv, pp

18 20 ALICIA M. DOYLE Figure 9. Palimpsest: Deus pater ingenitus, Pn 1118, f. 29v. By permission of the Bibliothèque Nationale de France. The editing of this trope in Pn 1118, although minimal in comparison to the palimpsest on f. 16r, is significant. This particular selection of verses and verse order found in the reconstructed trope is found in none of the Saint-Martial tropers, but appears in precisely the same order in three sources: Pn 1084b (f. 97v), Pn 779 (f. 35v) and Pn 1871 (f. 53r). This allegiance with these sources indicates that the original Sanctus tropes copied in Pn 1118 represented the southeastern Aquitanian tradi-

19 THE SANCTUS TROPE DEUS PATER INGENITUS 21 tion, outside that of Saint-Martial. 26 Further, Pn 1084b and Pn 1871, like Pn 1118, each transmits two versions of Deus pater ingenitus. The first appearance in each of these manuscripts reflects the Pan-European tradition, and the second version reflects the specifically southeastern Aquitanian, but non-saint-martial tradition. This new evidence presented here indicates that Pn 1118 originally transmitted these very same tropes, in the same order. It seems certain that the original material on f. 16r and 29r-29v in Pn 1118, which was clearly particular to the southern part of Aquitaine, was removed and a corrected version was entered in order to transmit the proper Limoges tradition. Add to this the inclusion in Pn 1118 of Gloriosa dies adest (Sanctus No. 6), which has a limited concordance with Apt 17, Pn 779, Pn 903, Pn 1084b and Pn 1871, and is the only Sanctus trope in Pn 1118 that is notated entirely by the first musical hand, and the case has yet another bit of support. The original transmission of two versions of Deus pater ingenitus in Pn 1118, and the allegiance of the readings of them found in Pn 1084b and Pn 1871 and a general agreement with Apt 17, makes the repertory appear to be strongly allied with the southeastern sources. However, the minimal editing of the manuscript upon arrival at Saint-Martial indicates that much of the music in use in Limoges was also in use further to the southeast, all of which makes Paris, Bibliothèque Nationale fonds latin, 1118 a curious link between two Aquitanian repertories. Manuscripts Referenced D- BAs 5 Bamberg, Staatsbibliothek, MS lit. 5 (Ed. V. 9) D- Sl 160 Württembergische Landesbibliothek, cod. Brev., MS 160 E- VI 105 Vic, Biblioteca Episcopal MS 105 (111) F- An 96 Angers, Bibliothèque municipale, MS 96 F- Apt 17 Apt, Basilique de Sainte Anne, MS 17 (5) F- Apt 18 Apt, Basilique de Sainte Anne, MS 18 F- Pn 495 Paris, Bibliothèque Nationale de France, n.a. lat., MS 495 F- Pn 778 Paris, Bibliothèque Nationale, fonds latin, MS 778 F- Pn 779 Paris, Bibliothèque Nationale, fonds latin, MS 779 F- Pn 887 Paris, Bibliothèque Nationale, fonds latin, MS 887 F- Pn 903 Paris, Bibliothèque Nationale, fonds latin, MS 903 F- Pn 909 Paris, Bibliothèque Nationale, fonds latin, MS 909 F- Pn 1084 Paris, Bibliothèque Nationale, fonds latin, MS 1084 F- Pn 1118 Paris, Bibliothèque Nationale, fonds latin, MS The first of these sources, Pn 779, is claimed at least in part by both Arles and Limoges, see Corpus Troporum, IV, p. 21. The second, Pn 1084b, is claimed by Aurillac, as is the third, Pn 1871.

20 22 ALICIA M. DOYLE F- Pn 1119 Paris, Bibliothèque Nationale, fonds latin, MS 1119 F- Pn 1120 Paris, Bibliothèque Nationale, fonds latin, MS 1120 F- Pn 1121 Paris, Bibliothèque Nationale, fonds latin, MS 1121 F- Pn 1240 Paris, Bibliothèque Nationale, fonds latin, MS 1240 F- Pn 1871 Paris, Bibliothèque Nationale, n.a. lat., MS 1871 GB- Lbl London, British Library, Add., MS GB- Ob 222 Oxford, Bodleian Library, Douce, MS 222 (21796) I- BV VI 35 Benevento, Biblioteca Capitolare, MS VI, 35 I- MOd 7 Modena, Duomo, Archivio Capitolare, MS O.I.7. I- Tn 18 Torino, Biblioteca Nazionale Universitaria MS F. IV.18 I- Tn 20 Torino, Biblioteca Nazionale Universitaria MS F. V.20 (1088)

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