About the Manuscripts Indexed

Firenze (Florence), Biblioteca Medicea-Laurenziana, Conv. sopp. 560

Late twelfth-century antiphoner from the monastery of Vallombrosa, Italy. Dry-point line with clef. Monastic cursus. 228 folios. Four lacunae; end of manuscript missing?


The index follows the Arabic numerals written in the lower right margin as foliation.
Differentiae are assigned arbitrary numbers. Chants not found in CAO have been assigned arbitrary numbers prefixed by “val.”

The computer index was prepared at The Catholic University of America by Keith Glaeske, Charles Downey, and Lila Collamore.

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Fribourg (Switzerland), Bibliothèque des Cordeliers, 2

Late thirteenth-century or early fourteenth-century Franciscan antiphoner. Place of origin unknown. Square notation. Cathedral Cursus. 245 folios. 45.5 x 31.5 (to 33) cm.


The rubrics in this manuscript are based on those of the earliest Franciscan liturgy as edited by van Dijk in 1975, not, as indicated by Leisibach, those of the second Franciscan edition (edited by van Dijk in 1963). The manuscript was probably copied after 1260 since the first antiphon of Matins for the Office of Francis contains a wording ordered in a General Chapter of that year (statute edited in van Dijk, 1963, vol. 2, p. 420).

The differentiae of each mode have been numbered with a two-digit system: an upper-case letter indicating the final pitch of the differentia and a sequentially ordered numeral. Differentiae that vary in terms only of immediately repeated notes, presence/absence of liquescence or neumation have been given the same differentia code, but are distinguished with a lowercase letter in the first column of the “Extra” field (see the File Description). Chants not found in CAO have been assigned arbitrary numbers prefixed by “fra.”

The codes in this index for differentiae and chants not found in CAO are consistent with those used for the other Franciscan manuscripts in the database:

Assisi, Biblioteca comunale, 693
Assisi, Biblioteca comunale, 694
Assisi, Cattedrale San Rufino - Archivio e Biblioteca, 5
Budapest, Egyetemi Könyvtár (University Library), lat. 118, 119, 122, 121
Chicago, Newberry Library, 24
Città del Vaticano (Roma), Biblioteca Apostolica Vaticana, lat. 8737
München, Franziskanerkloster St. Anna - Bibliothek, 12o Cmm 1
Napoli, Biblioteca nazionale Vittorio Emanuele III, vi. E. 20

Selected Bibliography

Leisibach, Joseph. Die Liturgische Handschriften des Kantons Freiburg. Part II of Iter Helveticum, ed. Pascal Ledner. Freiburg, Schweiz: Universitätsverlag, 1977.
Mitchell, Andrew W. “The Chant of the Earliest Franciscan Liturgy.” Ph.D. diss., The University of Western Ontario, 2003.
van Dijk, S.J.P., ed.. The Ordinal of the Papal Court from Innocent III to Boniface VIII and Related Documents. Completed by Joan Hazelden Walker. Fribourg, Switzerland: The University Press, 1975.
____________. Sources of the Modern Roman Liturgy: The Ordinals of Haymo of Faversham and Related Documents (1243-1307). 2 vols. Leiden: E.J. Brill, 1963.

The computer index was prepared by Andrew Mitchell (The University of Western Ontario).

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Fulda, Hessische Landesbibliothek, Aa 55

Fourteenth- or fifteenth-century summer season antiphoner from the collegiate church of Rasdorf near Fulda, Hessen, Germany. Gothic notation on five-line staves with red F-line and yellow c-line. Cathedral cursus. 214 folios. 26 x 35.3 cm.


The liturgical cursus and repertory, differing from the Benedictine liturgy of the abbey church, probably reflect those of the household chapel of the abbots of Fulda, who maintained a community of clerks drawn from the neighbouring collegiate chapels of Rasdorf, Hünfeld and Salmünster.

Of particular interest are the historiae for the patron saints of Fulda, Boniface (88r) and Simplicius, Faustinus and Beatrix (130v). (These are currently being edited for the series Historiae, published by the Institute of Mediaeval Music.) Also rare is the Office for Kilian and Companions (112v), seventh-century Irish missionaries to Franconia. Notable is the inclusion of chants for Januarius of Benevento. The position of these chants in the antiphoner suggests the feast of his Translation (Oct. 23).

The foliation for this index follows that given by a modern hand in the top right corner of the recto sides of the folios. The differentiae of each mode have been numbered with a two-digit system: an upper-case letter indicating the final pitch of the differentia and a sequentially-ordered numeral. Chants not found in CAO have been assigned arbitrary numbers prefixed by “ful.”

Selected Bibliography

Hettenhausen, Hansheinrich. “Die Choralhandschriften der Fuldaer Landesbibliothek,” 32-34. Ph.D. Diss., Marburg University, 1961.

The computer index was prepared by Kate Helsen (Universität Regensburg) with editorial assistance from Andrew Mitchell (The University of Western Ontario). David Hiley provided generous assistance in creating this “about” file.

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The “Gottschalk” Antiphoner (fragments)

Late twelfth-century antiphoner from Lambach Abbey, Austria. Neumatic notation. Text, illuminations, and notation by Gottschalk of Lambach. Monastic cursus. Dismantled in late 15th century and fragments dispersed for various uses. 30 surviving folios. 33.4 x 24.4 (23.8 x 16.5) cm.


The present index has been reconstructed from fragments of the manuscript in six different libraries. Reproductions of all surviving folios included in the index may be found in the dissertation of Lisa Davis . A system of sigla in the Addendum field (included only in the widescreen version of the index) indicates the current location of each leaf:

Sigla	Library Shelfmark
B1-B17	New Haven (Connecticut), Yale University - Beinecke Rare Book and MS Library, MS 481.51 (.1-.17)
S1-S2	St. Paul-im-Lavanttal, Stiftsbibliothek, Frag. 54/8 (1-2)
L1-L4	Lambach, Benediktiner-Stift Lambach - Bibliothek, Ink. I/1/i (1-4)
I/1-I/4	Lambach, Benediktiner-Stift Lambach - Bibliothek, Ink. I/95 (flyleaves)
II/36	Lambach, Benediktiner-Stift Lambach - Bibliothek, Ink. II/36 (pastedown)
H5-H6	Boston, Harvard University - Houghton Library (Graphic Arts), Pf MS Typ 704 (5-6)
P1	Private Collection, no siglum
ST1	St. Louis, Public Library (Rare Books), Grolier #44

It is hoped that more folios of the Gottschalk Antiphoner (GA) will come to light in time. To facilitate their addition to the extant portion of the manuscript, each folio has been assigned a number based on its position in its original quire. For example, what was originally the third folio of the fifth extant quire is GA folio 53. If the place of the folio in its quire is uncertain, the folios are numbered consecutively beginning with [*]1, where [*] is the number assigned to the quire. For example, although the place of the first two extant folios of the manuscript in their original quire cannot be determined, they are consecutive, and have therefore been given the folio numbers 11 and 12.

It is important to note that while these numbers indicate in some fashion the general location of the folio in the original intact codex, they are in no way intended to indicate the exact original positions of the folios in the manuscript. This system leaves room for additional leaves, while at the same time indicating the placement of individual folios relative to their neighbours.

In the twelfth century, the scriptorium of the Benedictine abbey in Lambach, Upper Austria, was a flourishing centre of manuscript production. Surviving manuscripts of many genres testify to the quality and breadth of the artistic output of the monastery during this period. Of the twelfth-century survivals, however, one type of manuscript is conspicuously absent; no neumed liturgical manuscripts produced at the abbey survive intact. It is, therefore, significant that thirty leaves of a twelfth-century Lambach antiphoner have been identified in various collections. Together, they represent a large portion (approximately one-third) of a liturgically, musically, and art-historically important document.

The antiphoner was produced in the second half of the twelfth century, and was written, illustrated, and notated by Gottschalk of Lambach, the most prolific scribe and artist working in Lambach at the time. Fifteenth-century liturgical notations on several of the leaves indicate that the manuscript was used for approximately three hundred years. Eventually, however, monastic customs changed, and the antiphoner became out-of-date. As a result, when the monastery began acquiring printed books between 1460 and 1470, many of the older manuscripts were dismantled for use as bookbinding material (flyleaves, pastedowns, binding stays, or wrap-around bindings).
It was during this period that the antiphoner was taken apart and many of its folios used as flyleaves in newly acquired incunables bound at the abbey. All of the antiphoner’s leaves bear the scars of this period; sewing holes, shelf marks, “ex libris” notes, severe trimming, and humanistic marginalia testify not only to the use of these fragments as binding material, but also provide clear evidence of the manuscript’s Lambach provenance. Early in the twentieth century, the fragments were removed from some of the bindings and sold separately, either by the monastery before sale or by an early buyer or seller.

Tonary-letters are written in the outer margin on tiers of a column. Several folios (ff. 21, 22, 45, 47, 53, 56, 57, 61, 72, 91, 101, 121, and 131) have been trimmed in such a way that the tonary letters are now partially or completely missing. To augment the modal information contained in the file, the indexers have added the corresponding tonary letters from Engelberg 102, as compiled by Omlin, to the file, in the Extra field (after that for manuscript differentia in the widescreen version of the index). The Engelberg directorium is particularly appropriate for this comparison because it was a sister institution with Lambach in the liturgical reform of Fruttuaria.

In those cases where Gottschalk includes antiphons not in Engelberg 102, tonary letters from the mss. Graz 29 and 30 from the Austrian abbey of Sankt Lambrecht, Steiermark, have been placed right-justified in the Extra field. Sankt Lambrecht was also a part of the Fruttuarian reform and its liturgy, as it is recorded in these antiphoners, is remarkably close to Lambach.

One of the most noteworthy features of the manuscript is the use of tonary letters to indicate the mode and “differentia” not only of antiphons, but of responsories and invitatories as well. Such usage is apparently unprecedented, and as yet is not completely understood. Neither Engelberg 102 nor Graz 29 and 30 include tonary letters for responsories or invitatories, making impossible a comparison like the one carried out for antiphons.

However, some of the manuscript’s invitatories are accompanied by an incipit in neumes for the invitatory psalm, either in the absence of or in addition to a tonary letter. These tone incipits have been identified using the standard sigla assigned to invitatory tones in most CANTUS indices, and have been placed in the Extra field. The Extra field has been left blank for those invitatories without tone incipits. In the case of responsories which could be compared to the readings of Graz 29 and 30 (in staff notation), positive identifications have made some modal designations possible.

Chants not found in CAO have been assigned arbitrary numbers prefixed by “got.”

Selected Bibliography

Babcock, R.G. Reconstructing a Medieval Library: Fragments from Lambach. New Haven, 1993.
____________, and Davis, L.F. “Two Romanesque Manuscripts from Lambach.” Codices Manuscripti XV (1990): pp. 137-47.
Davis, L. F. Epiphany at Lambach: The Evidence of the Gottschalk Antiphonary. Ph.D. diss., Yale University, 1993.
____________. The Gottschalk Antiphonary: Music and Liturgy in Twelfth-Century Lambach. Cambridge: Cambridge University Press, 2000.
____________. “Tonary-letters in Twelfth-Century Lambach.” Plainsong and Medieval Music 5 (1996): pp. 131-52.
____________. “Two Leaves of the Gottschalk Antiphonary.” Harvard Library Bulletin, New Series Vol. V, No. 3 (1994): pp. 38-44.
Omlin, Ephrem. Die Sankt-Gallischen Tonarbuchstaben. Engelberg: Stiftsdruckerei, 1934.

The computer index was prepared by Lisa Fagin Davis with editorial assistance from Charles Downey (The Catholic University of America).

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Graz, Universitätsbibliothek, 29 (olim 38/8 f.) and 30 (olim 38/9 f.)

Fourteenth-century antiphoner in two volumes from the Abbey of Sankt Lambrecht (Steiermark, Austria). Monastic cursus. 382 and 376 fols.

Graz 29

Graz 30

The Polyphony in Graz, Universitätsbibliothek, 29 and 30

Graz 29 and 30 present the solemn record of a highly developed body of music for the Office as it was celebrated at the Austrian monastery of Sankt Lambrecht. Among the important aspects of the abbey’s musical sophistication, the large number of polyphonic pieces is perhaps the most obvious. Two thirds of this important repertory--approximately sixty hymns, conductus, responsory verses and doxologies--has already been indexed in Gilbert Reaney, ed., Repertoire International des Sources Musicales, series B, no. 4, Manuscripts of Polyphonic Music (c. 1320- 1400) (Munich: G. Henle Verlag, 1969), 2: 327-333. These items are listed in Tables I & II. The other polyphonic settings in Graz 29 and Graz 30 have remained unknown. The opportunity afforded to CANTUS in compiling complete indices of these two manuscripts has made it possible to remedy this problem. Tables III & IV list all polyphony--responsory verses and doxologies--not indexed by RISM.

TABLE I

Polyphonic Items in GRAZ 29 Catalogued in RISM
Folio	#	FeastName	Genre	Incipit
187r	01	Nativitas Domini	M	Gaudens in domino in hoc
187v	01	Nativitas Domini	M	Jube domne silentium fieri
187v	02	Nativitas Domini	L	Primo tempore alleviata est
189v	03	Nativitas Domini	M	Jube domne silentium fieri
190r	01	Nativitas Domini	L	Primo tempore alleviata est
192r	02	Nativitas Domini	M	Jube domne benedicere
192r	03	Nativitas Domini	L	Consolamini consolamini
194v	01	Nativitas Domini	M	Jube domne silentium fieri
194v	02	Nativitas Domini	L	Consurge consurge induere
197r	03	Nativitas Domini	M	Jube domne silentium fieri
197r	04	Nativitas Domini	L	Salvator noster dilectissimi
202v	01	Agnetis	V	Gloria patri et filio et
203r	01	Agnetis	V	Gloria patri et filio et
289v	01	Gregorii	V	A domino factum est istud et
289v	02	Gregorii	V	Gloria patri et filio et
291r	02	Gregorii	V	Memor esto congregationis
291r	03	Gregorii	V	Gloria patri et filio et
293v	01	Benedicti	V	Gloria patri et filio et
293v	02	Benedicti	I	Ut Christo celebri jubilemus [Intonation only]
297r	01	Benedicti	V	Per te ducem clarissimum ut
297r	02	Benedicti	V	Gloria patri et filio et
301r	01	Annuntiatio Mariae	V	O sancta et benedicta o
301v	01	Annuntiatio Mariae	V	Gloria patri et filio et
303v	01	Annuntiatio Mariae	V	Quoniam peccatorum mole
303v	02	Annuntiatio Mariae	V	Gloria patri et filio et
305v	01	Annuntiatio Mariae	V	Gloria patri parilique proli
379r	01	Hymni	H	Te lucis ante terminum rerum
379r	02	Hymni	H	Te lucis ante terminum rerum
379v	01	Hymni	H	Te lucis ante terminum rerum
379v	02	Hymni	H	Te lucis ante terminum rerum

TABLE II

Polyphonic Items in GRAZ 30 Catalogued in RISM
Folio	#	FeastName	Genre	Incipit
108r	02	In Dedicatione Eccl.	V	Vidit Jacob in somnis scalam
108v	01	In Dedicatione Eccl.	V	Gloria patri et filio et
112r	02	In Dedicatione Eccl.	V	Gloria patri et filio et
172r	01	Transl. Benedicti	V	Per te ducem clarissimum ut
172r	02	Transl. Benedicti	V	Gloria patri et filio et
228v	01	Assumptio Mariae	R	Quae est ista quae ascendit
229r	01	Assumptio Mariae	V	Gloria patri et filio et
229v	01	Assumptio Mariae	V	Gloria patri et filio et
229v	02	Assumptio Mariae	V	Gloria patri et filio et

TABLE III

Polyphonic Items in GRAZ 29 Not Catalogued in RISM
Folio	#	FeastName	Genre	Incipit
037v	04	Vigilia Nat. Domini	V	Constantes estote videbitis
037v	05	Vigilia Nat. Domini	V	Gloria patri et filio et
202r	08	Agnetis	V	Sponsa Christi a Christo
202v	08	Agnetis	V	Per quem facta sunt omnia
293r	02	Benedicti	V	Inter choros confessorum
305r	02	Annuntiatio Mariae	V	Odor tuus super cuncta

TABLE IV

Polyphonic Items in GRAZ 30 Not Catalogued in RISM
Folio	#	FeastName	Genre	Incipit
112r	01	In Dedicatione Eccl.	V	Conserva domine in ea
228v	02	Assumptio Mariae	V	Ista est speciosa inter
229r	02	Assumptio Mariae	V	Ista est speciosa inter
229v	02	Assumptio Mariae	V	Quae est ista quae ascendit
247r	03	Nativitas Mariae	V	Cernere divinum lumen gaudete
247r	04	Nativitas Mariae	V	Gloria patri et filio et
249v	04	Nativitas Mariae	V	Ut vitium virtus operiret
249v	05	Nativitas Mariae	V	Gloria patri et filio et
333v	04	Nicolai	V	Gloria patri et filio et
334r	03	Nicolai	V	Ut apud Christum ejus
349r	03	Comm. plur. Mart.	V	Tradiderunt corpora sua propter
349r	04	Comm. plur. Mart.	V	Gloria patri et filio et
356v	05	Comm. unius Mart.	V	Gloria patri et filio et
357r	02	Comm. unius Mart.	V	Immortalis est enim memoria
365r	01	Comm. un. Conf.Epi.	V	Vigilate ergo quia nescitis
365r	02	Comm. un. Conf.Epi.	V	Gloria patri et filio et
372r	05	Comm. Virginum	V	Eructavit cor meum verbum
372v	01	Comm. Virginum	V	Gloria patri et filio et

The polyphonic item in Graz 29 “Constantes estote videbitis” was added by a later hand in the lower margin of f. 37v, where the original monophonic melodies of both verse and doxology found in the main body of the page reappear with discant voices added to them. Four small staves have been added to accommodate this musical material. This item may have been excluded from the list of polyphonic items in RISM because it was a later addition to the manuscript; yet the verse “Per te ducem” for Benedict’s Translation [Graz 30, 172r] was included there even though its polyphonic version appears on an added half-folio inserted into the manuscript.

In Graz 30 the polyphony not listed in RISM is disguised by the fact that the added voices were written in the lower margin of the page rather than next to the chants. The discants for the two verses for the Nativity of Mary [247r, 249r] were added in the lower margin in a text hand and musical notation similar to those of the original body of the manuscript. In the remaining five added discants, the text hand is similar to that of the original script but the staff notation is of a later type. In all five cases, the voice added to the doxology was notated in the lower margin of the preceding folio. In two cases [334r, 357r] doxologies with discant were added on two staves for responsories that did not originally include doxologies.

There is some consistency in the liturgical assignment of responsory verses for which polyphony is supplied. With one exception, each of the final responsories for Matins in the Commons of Graz 30 has a polyphonic verse; the exception is the Common of Apostles. (The Commons in Graz 29, in most respects quite similar to those of Graz 30, lack the added voice parts.) The non-standard verse melodies are the same in both manuscripts [in Graz 29, “Tradiderunt,” 322v; “Immortalis,” 332r; “Vigilate,” 340v; “Eructavit,” 350r]. Actually, the verse “Tradiderunt” is set to both non-standard and standard verse formulae in both manuscripts.

A single musical style is common to all Sankt Lambrecht polyphony, both for those items included in the main body of the manuscript and the marginal items. A cantor familiar with the rules for producing this type of discant might have been able to improvise an accompaniment to a familiar melody, much as fauxbourdon was used to ornament a single line. In fact, the marginal discants in both manuscripts may be the results of-- or plans for--such improvisations. The fact that not all responsories include polyphonic intonations for the respond after the verse may reflect the relative ease with which a cantor could have improvised the discant part.

The polyphonic musical style in these manuscripts is primarily homophonic with the discant matching the original melody neume for neume. This is true of the simplest items (such as the second “Jube domne silentium,” Graz 29, 189v, which is basically an ornamented recitation tone) as well as more melismatic pieces (such as “Per te ducem,” Graz 29, 297r, or Graz 30, 172r). A single pitch is occasionally held for the duration of several pitches in the opposite voice (see the first “Jube domne silentium,” Graz 29, 187v, the final neume of each strophe). Furthermore, this single pitch may be notated either as several repeated puncta or as a long (compare in the same piece the ending of the first and second strophes).

The discant voice stays most commonly at the interval of a perfect fifth and progresses in parallel motion with the chant. In order to preserve the perfect fifth, E-flats are usually notated in the accompanying part when B-flats occur in the principal voice. In cases where there is contrary motion, perfect intervals (unison, fifth, octave, and the occasional fourth) are strictly maintained between the two voices. An exception is the occasional third that results from contrary motion in passing from a fifth to a unison, or vice versa. This rigorous maintenance of certain intervals occasionally produces discant lines that are rather disjunct (such as the opening of the discant for the verse “Inter choros confessorum” for Benedict, Graz 29, 293r).

When other Austrian manuscripts are examined, the Sankt Lambrecht polyphony proves even more interesting. All responsory verses set polyphonically in Graz 29 and 30 involve non-standard melodies. Comparison of indices in the CANTUS database facilitates the study of these melodies, which are often part of numerical series (such as in the late Offices for Benedict or Gregory). Rather than being modal formulae, as are standard responsory verses, these melodies are individual compositions transmitted from source to source with few changes. Most of these special melodies have a rather wide geographical distribution, and many appear in the other Austrian sources indexed by CANTUS--Vorau 287 (from Salzburg) and Klosterneuburg 1017 and 1018 (from Klosterneuburg). The melodies for Commons responsory verses also appear in the Commons of both other sources either in Vespers or as supplemental Matins responsories. The musicians of Sankt Lambrecht sought to elaborate these special melodies even further by adding discant voices. The fourth melody for the hymn “Te lucis ante terminum” [Graz 29, 379v] has also been added to Vorau 287 for hymn texts for the feast of the Immaculate Conception (“Maria mater domini aeterni” and “Maria virgo regia ex stirpe,” 311v) and for Anne (“Assunt Annae sollemnia,” 319r). The discant lines, however, appear to be unique to Sankt Lambrecht.

Selected Bibliography

Downey, Charles and Glaeske, Keith. “The Music and Text of the Lamentations: A Comparison of Cambrai XVI C 4 and Graz 29,” Medieval Perspectives 10 (1995): 86-100.
Haggh, Barbara. Two Offices for St Elizabeth of Hungary: Introduction and Edition. Musicological Studies LXV/1. Ottawa: Institute of Mediaeval Music, 1995.
Heckenbach, Willibrord. “Das mittelalterlichen Reimoffizium ‘Praeclarum late’ zu den Festen das Heiligen Benedict.” In Itinera Domini: Festschrift fuer Emmanuel von Severus OSB zum 80. Geburtstag, 189-210. Münster: Aschendorff, 1988.
Reaney, Gilbert. Répetoire International des Sources Musicales: Manuscripts of Polyphonic Music (c. 1320-1400), pp. 327-333. Series B IV 2. München: G. Henle, 1969.

The computer index for Graz 29 was prepared at The Catholic University of America by Charles Downey and Keith Glaeske. The computer index for Graz 30 was prepared at The Catholic University of America by Charles Downey and Joseph Metzinger. Essays by Charles Downey (c.1995), edited by Debra Lacoste (2005).

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Halifax (Canada), St. Mary's University - Patrick Power Library, M2149.L4 1554/1555 (The "Salzinnes" Antiphonal)

Cistercian antiphonal from the Abbey of Salzinnes, Namur, in the Diocese of Liège. Manuscript produced on vellum and completed in 1554 and 1555. Square notation on red, 4-line staves. Monastic cursus. 238 folios with two lacunae (Volume I, f.125 and Volume II, f.32) and several inserted folios with full-page illuminations (between ff.45 and 46, ff. 50 and 51, and ff.117 and 118). 61.5 x 39.5 x 14.5 cm.

Liturgical Occasions “at a glance” (refer to the index for complete contents): Volume I: Ff. 1r-126v: Winter Temporale. 1r, Saturday before the first Sunday of Advent; 1v, Advent; 28r, Great “O” Antiphons; 29r, Nativity; 45v, Epiphany; 55r, Ferial Office; 69v, Septuagesima; 101v, Lent; 121r, Holy Saturday.
122v, Te Deum; 123v, Te decet laus; 123v, Responsory tones; 124v, Vigil for Easter; 125r, Lacuna; 126r, full-page illumination of The Resurrection; 126v, full-page illumination of Christ in Majesty.
127r-198v: Winter Sanctorale (except for the addition of several antiphons for Roch and Hubert). 127r, Andrew; 134r, Conception or Birth of Mary; 142v, Stephen; 147v, John the Evangelist; 152v, Holy Innocents; 157r, Agnes; 162r, Conversion of Paul; 168v, Purification of the Virgin; 174r, Agatha; 179r, Chair of Peter; 185r, Benedict; 191v, Annunciation of Mary; 197v, Roch; 198r, Hubert.
198v, empty staves.
Volume II: Ff. 1r-24v: Common of Saints. 1r, Common of Apostles; 5v, Common of Two Apostles; 7v, Feast of the Evangeslists; 14r, Canticles; 17r, Common of one Martyr; 23v, Feast of several Martyrs; 29r, Feast of one Confessor who is a Pope; 32r-32v, Lacuna; 34v, Feast of one Confessor not a Pope; 35r, Common of several Confessors; 35r, Feast of one Virgin.
40v, Colophon.

The colophon on f.40v in Volume II reads: “Che libure feist faire Dame Julienne de glymes prieuse de Salsines Jadit grande chantre de ce lieu. Pryes dieu pour elle.” The date of 1554 appears on ff.122r and 197r in Volume I, and on f.16v in Volume II. The date of 1555 appears at the end of Volume I on f.197v and the end of Volume II on f.40v. According to the colophon the book was commissioned by Dame Julienne de Glymes, prioress and former cantrix of the Cistercian Abbey of Salzinnes, Namur, in present day Belgium, likely with parts of it completed in 1554 and the rest in 1555. Founded in 1196-97 by Philip the Noble Count of Namur, the Abbey was incorporated in the Cistercian Order in 1204 under the Diocese of Liège. It was destroyed by the French Revolutionary armies in 1795.

The Salzinnes Antiphonal was likely acquired in the 1840s or 1850s in France by Bishop William Walsh, the first Archbishop for the Diocese of Halifax. It was donated to the Patrick Power Library, Saint Mary’s University by Archbishop James M. Hayes in 1975.

Painted in a bright palette in gouache, the Salzinnes Antiphonal contains six full-page illuminations and six historiated initials and includes several scenes depicting multiple narratives from the Bible. The most significant feature of the Antiphonal is the full-length portraits of thirty-four nuns with their names in cursive and block script, some with patrons’ coats-of-arms. In addition, three different religious orders are represented: Cistercians, Carmelites and Benedictines, in honour of the de Glymes family.

Selected Bibliography

Dietz, Judith. Centuries of Silence: The Discovery of the Salzinnes Antiphonal. MA thesis, Saint Mary’s University, Halifax 2006.

Indexed by Judy Dietz, on behalf of Saint Mary’s University, aided in liturgical and musical matters by Jennifer Bain and Meredith Evans, Dalhousie University, Halifax, Nova Scotia, with editorial assistance from Debra Lacoste, The University of Western Ontario.

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Istanbul, Topkapı Sarayı Müzesi, Deissmann 42

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Karlsruhe, Badische Landesbibliothek - Musikabteilung, Aug. LX

Late twelfth-century antiphoner of which the musical notation was almost completely rewritten in the 13th/14th century. Originated in Zwiefalten; was taken from there to the abbey of Reichenau early in the 16th century. Four-line staff, with red F-line and yellow C-line; seven different notations. Monastic cursus. 276 folios.

Karlsruhe Aug. LX presents several challenges to the researcher. It is written in six different hands and seven notational styles spanning five centuries. A brief overview is provided below:
1: late 12th-century Caroline minuscule
2: an early 13th-century hand on ff. 263r-264v
3: a mid-13th-century Gothic minuscule (ff. 227v-232r--the added Offices of Elizabeth of Hungary and Catherine of Alexandria)
4: a mid-15th-century hand (the added material on ff. 106r-142)
5: 15th-century Gothic minuscule (ff. 135v-242v)
6: 15th-centry Humanist hand (142v)

Hain describes the characteristics of each hand in his Ein musikalischer Palimpsest , pp. 21-9; his discussion of the different notations, describing exactly where they are used in the manuscript, can be found on pp. 30-69.

Chants are often written in a haphazard manner: for example, the ending of the antiphon “O clavis David et sceptrum” (16v) is written four lines above where it is begun. This is especially prevalent among verses to responsories (e.g., see ff. 46v, 47r, 67v, 70v, 78r, 172r, 206r, 214v). An extreme example of this is the verse “Averte oculos meos ne videant,” which is begun on 105v but is continued on 144r.

Each chant not found in CAO is assigned an arbitrary number prefixed by “zwi.” The full texts of the Offices of Elizabeth of Hungary and Catherine of Alexandria can be found in Analecta hymnica, vol. 25, pp. 253-8, and vol. 26, pp. 212-5, respectively. The rhymed Office for Benedict appears full in Analecta hymnica, vol. 25, pp. 145-9.

Differentiae are not written out in Karlsruhe Aug. LX; instead, the mode and differentia of an antiphon are indicated by letters (a vowel followed by a consonant). However, such letters are not provided for all antiphons. The "Extra" field has been used to present the letters indicating mode and differentia for most of the antiphons from another source--the Engelberg Directorium (Engelberg, Stiftsbibliothek, Cod. 102). (For further information see Omlin, Die Sanktgallischen Tonarbuchstaben, pp. 161-2, 202-327). The Extra field is included only in the widescreen version of the index.

Selected Bibliography

Haggh, Barbara. Two Offices for St Elizabeth of Hungary: Introduction and Edition. Musicological Studies LXV/1. Ottawa: Institute of Mediaeval Music, 1995.
Hain, Karl. Ein musikalischer Palimpsest. Ph.D. diss., University of Freiburg, Switzerland, 1925.
Heckenbach, Willibrord. “Das mittelalterlichen Reimoffizium ‘Praeclarum late’ zu den Festen das Heiligen Benedict.” In Itinera Domini: Festschrift fuer Emmanuel von Severus OSB zum 80. Geburtstag, 189-210. Münster: Aschendorff, 1988.
Omlin, Ephrem P. Die Sankt-Gallischen Tonarbuchstaben. Ph.D. diss., University of Freiburg, Switzerland, 1934.
Metzinger, Joseph P. et al., eds. The Zwiefalten Antiphoner: Karlsruhe, Badische Landesbibliothek, Aug. LX. With an introduction by Hartmut Moeller. Ottawa: Institute for Mediaeval Music, 1996.
Moeller, Hartmut. Antiphonarium: Karlsruhe, Badische Landesbibliothek, Aug. perg. 60. Codices illuminati medii aevi, 37. Munich: Edition Helga Lengenfelder, 1995. [A colour microfiche reproduction with an introduction that appears in English, with minor changes, in the work by Metzinger et al, referred to above.]

The computer file was compiled at The Catholic University of America by Joseph P. Metzinger, Lila Collamore, Keith Falconer, and Richard Rice. Tonary letters were copied from Omlin’s book into the file by Charles Downey.

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Kielce, Biblioteka Kapituły Katedralnej, Ms. 1

To access the contents of this manuscript index, please visit the new CANTUS website: http://cantus.gregorian-chant.org/

Antiphoner from Kielce (Poland), written in 1372 by Chwalisław (Falislaus) from Nysa (in Silesia), vicar in the collegiate church of Kielce, engaged by Mikołaj Goworek (Nicolaus Goworkonis, d. 1376), canon in Krakow, Kielce and Sandomierz. Gothicized Messine-German notation on a 5-line staff. Cathedral cursus. 287 folios. 27 x 39 cm.

The beginning of the manuscript is missing (from the first to the fourth Sunday of Advent). F. 7 is bound incorrectly as it contains some chants for the 4th Sunday of Advent; the correct folio is missing. After f. 146 there is an error in numeration: the folio following 146 is numbered as 141, with a duplication of numbers for five more folia. In the index, the second instances of 141 to 146 are identified as (recto,verso): 146w,x; 146y,z; 146a,b; 146c,d; 146e,f; 146g,h.

The collegiate church in Kielce was founded in 1171 by Gedko (Gedeon), Bishop of Krakow. In 1882 it became the cathedral. The Cathedral Chapter Library in Kielce possesses over a dozen parchment manuscripts - the antiphoner from 1372 is considered to be the most precious. This antiphoner is the oldest one in the Krakow diocese. It shows many parallels with the sources from Krakow (such as ms. 52 and ms. 47 from Krakow Cathedral Chapter Library).

Each chant not found in CAO is assigned a number prefixed by "kie."

Selected Bibliography

Miazga, Tadeusz. Antyfonarz Kielecki z 1372 roku pod względem muzykologicznym. Graz, 1977.
Kubieniec, Jakub. Uniwersalizm i swoistość w śedniowiecznych antyfonarzach krakowskich. Kraków, 2005. (pp. 154-160 about Neuma triplex and prosulae)

The computer index was prepared by Bartosz Izbicki at the Institute of Art of the Polish Academy of Sciences, with editorial assistance from Debra Lacoste, The University of Waterloo (Ontario).

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Klosterneuburg, Augustiner-Chorherrenstift - Bibliothek, 589, 1010, 1011, 1012, 1013, 1015, 1017, 1018

CCl. 589

Fourteenth-century antiphoner from Klosterneuburg, Austria. Five-line staves in brown ink with F- and C-lines traced in red and yellow. D-, F-, A- and C-clefs. Cathedral cursus. 159 parchment folios, 28.6 x 21.4 cm with a principal writing-space of 24 x 17 cm.

CCl. 1010

Twelfth-century antiphoner from Klosterneuburg, Austria. Four-line dry-point staves with D-, F-, A- and C-clefs. F- and C-lines in red and yellow. Cathedral cursus. 126 parchment folios, 23.8 x 16.7 cm with a principal writing-space of 21.2 x 13.8 cm.


An analysis of the contents of the volume shows a misordering of several folios. The correct order following the present numbering is: ff. 1-8, 14, 10-13, 9, 15-111, 119, 113-118, 112, 120-126. Three digit numbers (001, 002, 003, etc.) have been entered into the "Extra" field, one number for each successive folio side in the correct order; a sort on this field will place the chant records in their proper ordering.

CCl. 1011

Fourteenth-century antiphoner from Klosterneuburg, Austria. Five-line staves in brown ink with F- and C-lines traced in red and yellow. D-, F-, A- and C-clefs. Cathedral cursus. 247 parchment folios, 24.6 x 17.3 cm with a principal writing-space of 22.1 x 13.8 cm.

CCl. 1012

Twelfth-century antiphoner from Klosterneuburg, Austria. Four-line dry-point staff with D-, F-, A- and C-clefs. F- and C- lines in red and yellow. Cathedral cursus. 152 parchment folios, 24.7 x 16.4 cm with a principal writing-space of 19.5 x 13.2 cm.

CCl. 1013

Twelfth-century antiphoner from Klosterneuburg, Austria. Four-line dry-point staff with D-, F-, A- and C-clefs. F- and C- lines in red and yellow. Cathedral cursus. 164 parchment folios (with several lacunae), 25.9 x 16.5 cm with a principal writing-space of 20 x 13.5 cm.

CCl. 1015

Fourteenth-century antiphoner from Klosterneuburg, Austria. Four-line staff in brown ink with D-, F-, A- and C-clefs. F- and C-lines in red and yellow. Cathedral cursus. 194 parchment folios, 25.6 x 18 cm with a principal writing-space of 22 x 13.7 cm.

CCl. 1017

Thirteenth- or fourteenth-century antiphoner from Klosterneuburg, Austria. Five-line staff in black ink with F- and C-lines traced in red and yellow. D-, F-, A- and C-clefs. Cathedral cursus. 184 parchment folios (with a misfoliation at 24), 26.5 x 18.7 cm with a principal writing-space of 20.9 x 14.7 cm; beginning missing.

CCl. 1018

Fourteenth-century antiphoner from Klosterneuburg, Austria. Four-line staff in brown ink with F- and C-lines traced in red and yellow. D-, F-, A- and C-clefs. Cathedral cursus. 262 parchment folios, 26.3 x 18.3 cm with a principal writing-space of 21.1 x 13.2 cm.


The eight manuscripts 1013, 1012, 1010, 589, 1011, 1015, 1017, and 1018 were copied over a period spanning two centuries. Codices Claustroneoburgensis (CCl.) 1013, 1012 and 1010 are among the oldest surviving sources in the Klosterneuburg library of the sung Office liturgy. CCl. 1013 and 1012 can be paired to create a complete twelfth-century representation of the church year, since 1012 begins at Pentecost and 1013 ends just before. CCl. 589, 1011, 1015, 1017 and 1018 date from over a century later. Of these later manuscripts, three contain the chants of the pars hiemalis (winter) and two the pars aestiva (summer).

Each chant not included in CAO is assigned an arbitrary number prefixed by “klo.” Several of the Offices found in these manuscripts but not included in CAO appear in full in Analecta hymnica (AH), as well as in other CANTUS files. The Office for Immaculate Conception appears in AH vol. 5, pp. 47-50; Ursula appears in AH vol. 28, pp. 256-9; and Benedict in AH vol. 25, pp. 145-9.

The differentiae of each mode have been numbered with a two-digit system: an upper-case letter indicating the final pitch of the differentia and a sequentially-ordered numeral. These differentia codes are consistent throughout these eight Klosterneuburg indices.

Selected Bibliography

Heckenbach, Willibrord. “Das mittelalterlichen Reimoffizium ‘Praeclarum late’ zu den Festen das Heiligen Benedict.” In Itinera Domini: Festschrift fuer Emmanuel von Severus OSB zum 80. Geburtstag , 189-210. Münster: Aschendorf, 1988.
Lacoste, Debra S. “The Earliest Klosterneuburg Antiphoners.” Ph.D. dissertation, The University of Western Ontario, 1999.
Lacoste, Debra S. ed.. Four Klosterneuburg Antiphoners: Augustiner-Chorherren Stiftsbibliothek, 1013, 1012, 1017, and 1018. Printouts from an Index in Machine-Readable Form. A CANTUS Index. Ottawa: The Institute of Mediaeval Music, 1998.
Lacoste, Debra S. “Klosterneuburg 1017 and 1018: An Analytical Inventory.” M.A. thesis, The University of Western Ontario, 1994.

The computer indices were prepared by Debra Lacoste (The University of Western Ontario), with editorial assistance from Keith Glaeske (CCl. 1017 and 1018).

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København (Copenhagen), Det kongelige Bibliotek Slotsholmen, Gl. Kgl. Samling, 3449, I-XVII

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Krakow, Carmelite Convent, 1-5 (Rękopis Pergament 12, 13, 14, 15, 20)

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Kremsmünster, Benediktiner-Stift Kremsmünster — Musikarchiv, VI/258

Fragments of Augustinian liturgy written between 1250 and 1280 for the Augustinian cloister of St. Hippolytus in St. Pölten, Austria, now housed in the Benedictine monastery of Kremsmünster. Non-diastematic neumes. Secular cursus. 65 leaves.


The fragmentary nature of these leaves has resulted in numerous lacunae: after ff. 1v, 2v, 3v, 11v, 12v, 13v, 14v, 18v, 19v, 20v, 21v, 22v, 23v, 35v, 36v, 37v, 41v, 43v, 45v, 46v, 47v, 49v, 51v, 55v, 56v, 57v, 58v, 59v, and 61v. Several important liturgical occasions are missing, including Epiphany and Palm Sunday. Many of the extant leaves have been cropped, so that significant portions of their contents are missing. These include: 2r, 2v, 21r, 21v, 23r, 23v, 32r, 32v, 36r, 36v, 37r, 37v, 38r, 38v, 40r, 40v, 42r, 42v, 44r, 44v, 47r, 47v, 52r, 52v, 53r, 53v. In most of these instances, enough of the original chant is visible in order to identify the text. In addition, a number of folios are very badly damaged and not all their texts can be positively identified. These include: 1w, 1x, 4r, 5r, 10r, 10v, 11v, 15r, 16, 17r, 27r, 29v, 30r, 31v, 56r, 60r.

Some differentiae and modal designations for antiphons are visible; these appear to survive from the earliest layer of scribal activity. When the modal number and/or the full differentia can be read clearly, these have been entered into the index. The cropping of many of the complete folios has resulted in incomplete differentiae in their margins and modal designations which have been obscured or eliminated. The differentiae are numbered arbitrarily for each mode.

Modes for responsories are provisional; they are being proposed after an analysis of the neume forms of the responsory verses and a comparison of the modal designations of the various responsories in other sources in the database. This analysis has demonstrated that the standard verse tones are consistently represented within these leaves by neumes distinctive for each mode. Because of their provisional nature, all mode numbers for responsories in the index are followed by a question mark. Again, if there is any ambiguity (such as in cases where a non-standard tone is given for a verse or where the verse cannot be sufficiently read), a mode has not been assigned.

All chants not included in CAO have been assigned a number prefixed by “pol.”

Selected Bibliography

Czernin, Martin. “Rester eines Augustiner-Chorherren-Antiphonares in der Bibliothek des Benediktinerstiftes Kremsmünster.” Jahrbuch des Oberösterreichischen Musealvereines.Band 142/I (1997): 200-214.
Roland, Martin, and Czernin, Martin. “Ergänzungen zum Band 22 der Studien und Forschungen ‘Buchschmuck in Lilienfelder Handschriften.’” Unsere Heimat: Zeitschrift für Laneskunde von Niederösterreich Jahrgang 68, Heft 2 (1997): 124-133.

The computer file was prepared by Martin Czernin (University of Vienna) with editorial assistance by Andrew Mitchell (The University of Western Ontario).

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Linz, Oberösterreichische Landesbibliothek, 290 (olim 183; Gamma p.19)

Compendium of liturgical material from the twelfth through fourteenth centuries, including a breviary from the monastery of Kremsmünster, Austria (twelfth century). Non-diastematic neumes. Monastic cursus.


Linz 290 contains a monastic breviary from Kremsmünster. It dates from the twelfth century, with later additions. The additions are noteworthy, however; they include text and music for the Lamentations, as well as differentiae for Christmas, the Octave of Christmas, Epiphany, and Triduum. (Differentiae appear only for these Offices in the manuscript, and are numbered arbitrarily in the index.) The Offices for Mary Magdalene (thirteenth century) and Benedict are also later than the main body of the manuscript. The Benedict Office is a rhymed Office written over the earlier Office; the latter is included in an introduction to the published version of this index prepared by Martin Czernin but it is the later, rhymed Office which is in the CANTUS index as it is the one visible in the microfilm of the manuscript. Full texts for the Office are available in Analecta hymnica, vol. 25, pp. 145-9.

Because the notation consists of non-diastematic neumes, mode is impossible to determine for antiphons; however, an attempt has been made to match the neumes given for responsory verses to the modal formulas for such chants, so mode is included for responsories whenever possible.

Chants not included in CAO have been assigned a number prefixed by “lin.”

Selected Bibliography

Czernin, Martin. A Monastic Breviary of Austrian Provenance: Linz, Bundesstaatliche Studienbibliothek 290 (183). Ottawa, Canada: The Institute of Mediaeval Music, 1995.
Heckenbach, Willibrord. “Das mitelalterlichen Reimofficium ‘Praeclarum late’ zu den Festen das Heiligen Benedict.” In Itinera Domini: Festschrift fuer Emmanuel von Severus OSB zum 80. Geburtstag, 189-210. Münster: Aschendorff, 1988.

The computer file was prepared by Martin Czernin (Universität Wien) with editorial assistance from Keith Glaeske (The Catholic University of America).

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Ljubljana, Nadškofijski arhiv (Archiepiscopal Archives), 18 (olim 17) and 19 (olim 18)

MS 18

The explicit of this antiphoner indicates that it was copied in August 1491 by a certain Ioannes von Werd de Augusta (from Augsburg). Both manuscripts 18 and 19 were very probably commissioned by the parish church of Kranj (German: Krainburg) in the former Habsburg province of Carniola, now in Slovenia. They were a part of the medieval library of the parish church of Kranj and came to their present location during World War II. MS 18 is written in late Gothic notation; a diamond-shaped punctum is used for a single tone rather than a virga. The neumes are written on four-line, red staves. Secular cursus. 248 folios (fols. 8 and 9 are missing). 57.2 x 39.9 cm, principal writing space 45.2 x 28 cm. 12 lines on each side.


The following Offices are found in Analecta hymnica: Thomas of Canterbury, vol. 13, pp. 238-240; Conception of Mary, vol. 5, pp. 47-50; Helarus (Hilary) and Tatianus, vol. 45a, pp. 109-112; Benedict, vol. 25, pp.145-148; the Office for the BMV during the seasons of Easter and Pentecost, vol. 24, pp. 164- 166.

MS 19

The manuscript was most probably written by the same scribe as MS 18; however, there is no explicit or any other inscription concerning the date and place of its production. In view of the explicit of the MS 18, it is arguable that the manuscript came into being immediately after MS 18, which means during the last months of 1491 or at the beginning of 1492. The notation is of the same type as in MS 18. Secular cursus. 236 folios (8, 137 and 138 are missing). 55 x 39.3 cm; principal writing space 41.4 x 27.9 cm. 11 lines on each side.


The following Offices are found in Analecta hymnica: Visitation, vol. 24, pp. 89-92; Margaret, vol. 28, pp. 17-19; James, vol. 26, pp. 124-126; Anne, vol. 25, pp. 52-54; Dominic, vol. 25, pp. 239-241; Aegidius, vol. 25, pp. 22-24; Elizabeth of Hungary, vol. 25, pp. 253-256; Catherine, vol. 26, pp. 197-199. The feast of Hermagoras and Fortunatus and that of the Four Virgin Martyrs (Euphemia, Dorothea, Thecla, Erasma) are Aquileian celebrations.

The manuscripts include prosulas.

All chants not found in CAO have been assigned an arbitrary number prefixed by “kra.” The differentiae are assigned a letter-number combination (the letter indicates the final pitch of the differentiae, and the number is arbitrarily assigned). Invitatory tones are not presented in complete form in these manuscripts. Codes have been provided based on comparisons of the incipits with tones found complete in other sources.

Selected Bibliography

Golob, N. “Johannes von Werd de Augusta – ein fahrender Buchmaler?” Gotika v Sloveniji/Gotik in Slowenien (Ljubljana 1995): 397–402.
Snoj, J. “The Kranj Antiphonal: Introduction to Formal Analysis.” Bogoslovni vestnik/Ephemerides theologicae 52 (Ljubljana, 1992): 192-203. (In Slovenian with summary in English)
Snoj, J. “The Poetic Office for the Feast of the Cantii in the Antiphonary of Kranj.” Essays Presented to Joze Sivec (Ljubljana 2000): 43–64. (In Slovenian with summary in English.)

The computer index for MS 18 was prepared by Jurij Snoj (Institute of Musicology, Scientific Research Centre of the Slovenian Academy of Sciences and Arts, Ljubljana, Slovenia) with editorial assistance from Debra Lacoste (The University of Western Ontario). The computer index for MS 19 was prepared by Jurij Snoj, Mojca Fir, and Ksenija Brišar, with editorial assistance from Debra Lacoste and Andrew Mitchell (The University of Western Ontario).

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London (Canada), University of Western Ontario - Music Library, M2150

Sixteenth-century “mutilated” antiphoner, possibly from the Burgos monastery in Granada, Spain. Quadratic notation on five-line black staves. Monastic cursus. 97 extant folios. 55.6 x 38.7 cm. Nineteen lacunae.


This choir book has been in the possession of the Music Library at The University of Western Ontario since the late 1960s, when it was purchased from a book-dealer in Paris. Apparently, this manuscript had been part of the collection at the Burgos monastery in Granada. Its prior whereabouts are unknown. There are no names, bookplates, stamps or other marks on the inside covers or elsewhere which might reveal any information about the provenance or the travels of this book prior to its present home. The only library identification marks are those of the University of Western Ontario; these are found on the inside front cover, as well as on the recto side of the first extant folio (fol. 27). The contents offer little insight as to where this volume was produced, used, or housed during the last few centuries.

Of the original folios which may have numbered near 200, approximately half are extant. Many have been cut away at the spine and removed from the manuscript. The size of the principal writing-space is 43.8 x 27 cm; this is the interior dimension of the frame-ruling and does not include the liturgical-occasion headings which are written across the top of facing sides in red ink. The binding is original.

This antiphoner contains the chants sung by the choir in the Offices of the Temporale surrounding Easter. The first extant folio gives a portion of the Offices for Maundy Thursday. It is reasonable to assume that the missing twenty-six folios at the beginning of the manuscript contained the chants for the six Sundays in Lent and the remainder of Holy Week. Chants for Good Friday (including the Lamentations of Jeremiah), Holy Saturday, and Easter Sunday are followed by those for the weekdays after Easter and the ensuing Sundays in the paschal season. Offices for Ascension and Pentecost are followed by chants for Corpus Christi. A lacuna of ten folios before Corpus Christi most likely accounts for the absence of an Office for Trinity Sunday. Magnificat antiphons for the Sundays after Pentecost up to the month of August fill the last extant folios of this manuscript.

Chants not found in CAO have been assigned an arbitrary number prefixed by “bur.”

Selected Bibliography

Lacoste, Debra. “A Late-Medieval Antiphoner at the University of Western Ontario.” In Chant and its Peripheries: Essays in Honour of Terence Bailey, pp.310-319. Ottawa: The Institute of Mediaeval Music, 1998.

The computer file was prepared by Debra Lacoste at The University of Western Ontario.

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Lucca, Biblioteca Capitolare Feliniana e Biblioteca Arcivescovile, 601

Early twelfth-century antiphoner, used at Pozzeveri, Italy (Camaldolese). Central Italian neumes on dry-point staves, with coloured F- and C-lines. Monastic cursus. 560 parchment pages, 36.5 x 25.5 cm. Complete Temporale and Sanctorale.


The contents of Lucca 601 provide some evidence concerning its provenance; as the chants closely reflect the Benedictine liturgy and follow the monastic cursus, it is clear that this manuscript was not written for the chapter of canons at the cathedral in Lucca. Dom André Mocquereau has suggested that the presence of this monastic (i.e. unusable) Office book in a cathedral library can only be explained if there occurred at one time the suppression of a monastery, and if the possessions of that monastery were transferred to the chapter library. This may indeed have occurred in the fifteenth century near Lucca: in an act by Pope Gregory XII in July of 1408, the monasteries of San Pietro di Pozzeveri and San Michele di Quiesa were suppressed, and their property was confiscated. It is generally considered that Lucca 601 was used at Pozzeveri, since this monastery was founded in the eleventh century for canons regular but was transferred to the Camaldolese order (a reformed order within Benedictine monasticism) before the year 1095. Moreover, the ancient library inventory from Pozzeveri lists two antiphoners.

The “Extra” field has been used to record the numbers of the melodic incipits of notated chants as found in the facsimile edition of Lucca 601. The “Addendum” field has been used in a few cases to record additional uses of chants (as indicated by the accompanying rubrics). For example, some chants after Easter were to be sung on Mondays, Wednesdays, and Fridays, while others were to be sung on Tuesdays, Thursdays, and Saturdays (see pp. 231-234).

The differentiae have been numbered within each mode following the facsimile edition. Chants not found in CAO have been assigned numbers beginning with “luc” in the ChantIDNumber field.

Selected Bibliography

Mocquereau, Dom André, director. Antiphonaire Monastique, XIIe siècle, Codex 601 de la bibliothèque capitulaire de Lucques. Paléographie Musicale. Vol.9. Berne: Herbert Lang & Cie SA, 1974.

The computer file was prepared by Robert Klugseder (Universität Regensburg) with editorial assistance from Debra Lacoste (The University of Western Ontario).

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Mainz, Bischöfliches Dom- und Diözesanmuseum, A, B, C, D, and E

Codex A

Antiphoner, written in the 1430s for use by the Carmelites of Mainz. Square Roman notation on a four-line staff. Cathedral cursus. 278 folios (ff. 4, 5, 7, 36, 62, 68, 73, 77, 85, 88, 146, 166, 168, 175, 179, 202, 215, 233, 238 and 264 missing). 58 cm x 48 cm.

Codex B

Antiphoner, written in the 1430s for use by the Carmelites of Mainz. Square Roman notation on a four-line staff. Cathedral cursus. 302 folios (f. 266 missing). 58 cm x 40.5 cm.

Codex C

Antiphoner, written in the 1430s for use by the Carmelites of Mainz. Square Roman notation on a four-line staff. Cathedral cursus. 334 folios (ff. 38, 91, 126, 149, 202, and 293 missing). 60.5 cm x 41.5 cm.

Codex D

Antiphoner, written in the 1430s for use by the Carmelites of Mainz. Square Roman notation on a four-line staff. Cathedral cursus. 281 folios (ff. 24, 30, 67, 108, 116, 125, and 186 missing). 61.5 mm x 42 cm.

Codex E

Antiphoner, written in the 1430s for use by the Carmelites of Mainz. Square Roman notation on a four-line staff. Cathedral cursus. 249 folios. 58.5 cm x 40.3 cm.


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These five manuscripts were written in the 1430s for use by the Carmelites of Mainz: an inscription in Codex A (now in the Bayerische Staatsbibliothek in Munich) gives a date of 1430 but an inscription in Codex B gives a date of 1432. They were commissioned by the Carmelite Johannes Fabri in memory of his parents. They follow the rite of the Carmelite Order as defined by the Ordinal of Sibert de Beka, promulgated by the General Chapter of London in 1312. Only feasts admitted to the Carmelite liturgy after this date are different from the stipulations of Sibert’s Ordinal.

In the “Extra” field of the widescreen version for many records of this index is the page number referring to Sibert de Beka’s ordinal.

This antiphoner contains several Offices not found in CAO: they include the Offices for Thomas of Canterbury, the Three Marys, Corpus Christi, the Visitation of Mary, Anne, Augustine, the Presentation of Mary, and Catherine. Some of these Offices have been edited in Analecta hymnica and/or appear within other CANTUS files. The Office for Thomas of Canterbury was a very popular rhymed Office and appears in Analecta hymnica vol. 13, pp. 238-42 (an edition also appears in James Boyce, O. Carm., “Cantica Carmelitana: The Chants of the Carmelite Office,” Ph.D. diss., New York University, 1984). The rhymed Office for the Three Marys appears in Analecta hymnica vol. 5, pp. 38-45 (see also bibliography, below).

The partially rhymed Office of the Visitation of Mary appears in Analecta hymnica vol. 48, pp. 427-29. The Office for the Presentation of Mary appears to be unique, and was probably composed within the Mainz Carmelite convent; its chants are all derived from other Offices, primarily that of Thomas of Canterbury. The Office for Catherine appears in Analecta hymnica vol. 26, pp. 212-15. A partial Office, with some versified chants, is given for the feast of the Transfiguration. Two feasts prominent in the Carmelite rite are the Commemoration of the Resurrection (celebrated on the last Sunday of the year), and the Patriarchs Abraham, Isaac and Joseph, on October 6th. The former is not specifically represented here, probably because the chants were simply borrowed from the Easter Sunday liturgy. The chants for the feast of the Patriarchs (Codex D, f. 101) are standard and are simply borrowed from other occasions and compiled for this specifically Carmelite celebration. Similarly, Marian chants were borrowed and compiled for the feast of Our Lady of the Snows (Codex C, f. 259v).

A number of pages are missing from the antiphoner, especially in Codices A and D; many of these pages occur at the beginning of Matins, either at the first antiphon or first responsory. Since some illuminations survive in the manuscripts, it is reasonable to surmise that the missing folios contain illustrations of some kind.

All chants in the antiphoner not found in CAO are assigned an arbitrary number beginning with “mai.” Differentiae are assigned arbitrary numbers.

Selected Bibliography

Arens, Fritz. “Ein Blatt aus den Mainzer Karmeliterchorbuechern.” Archiv für das Bistum Mainz 8 (1958-60): pp. 341-46.
Boyce, James, O. Carm. “Cantica Carmelitana: The Chants of the Carmelite Office.” Ph.D. diss., New York University, 1984.
____________. “From Rule to Rubric: The Impact of Carmelite Liturgical Legislation upon the Order’s Office Tradition.” Ephemerides Liturgicae 108 (1994): pp. 262-98.
____________. “Die Mainzer Karmeliterchorbücher und die liturgische Tradition des Karmeliterorderns.” Archiv für mittelrheinische Kirchengeschichte 39 (1987): pp. 267-303.
____________. “Medieval Carmelite Office Manuscripts, A Liturgical Inventory.” Carmelus 33 (1986): pp. 17-34.
____________. “The Medieval Carmelite Office Tradition.” Acta Musicologica 62 (1990): pp. 119-51.
____________. “The Office of the Three Marys in the Carmelite Liturgy.” Journal of the Plainsong & Mediaeval Music Society 12 (1989): pp. 1-38.
Vaassen, Elgin. “Die Werkstaat den Mainzer Riesenbibel in Würzburg.” Archiv für Geschichte des Buchwesens 13 (1973): cols. 1121-1428.
Zimmerman, R.P. Benedict, ed. Ordinaire de L’ordre de Notre-Dame du Mont-Carmel par Sibert de Beka (vers 1312). Bibliothèque liturgique 13. Paris: M. Chevalier, 1910.

The computer file was prepared by James Boyce, O. Carm. (Fordham University), with editorial assistance from Keith Glaeske (The Catholic University of America).

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