Hostname: page-component-77c89778f8-cnmwb Total loading time: 0 Render date: 2024-07-20T17:26:00.395Z Has data issue: false hasContentIssue false

Unknown and Unidentified English Polyphonic Music from the Fourteenth Century

Published online by Cambridge University Press:  01 January 2020

Extract

Since the appearance of Luther Dittmer's The Worcester Fragments: a catalogue raisonné (1957), and Worcester Additional 68, Westminster Abbey 33327, Madrid Bibl. nac. 192: a facsimile edition (1959), queries have arisen concerning a number of the descriptions, datings and other aspects of his inventory and transcriptions of Worcester Cathedral Library, Add. 68 (hereafter WOc 68). This is hardly the place to go into the many debated and debatable points which emerged (see Bent 1973, 65–6; Hughes 1974, 230). More to the point is the discovery of an unknown fragmentary and textless Sanctus, one barely visible to the naked eye, on the recto of f.bl of fragment xix of WOc 68 (see the revised inventory for this fragment, Table 1). The cathedral librarians, Canons Fenwick and Browning, kindly permitted the transfer of this fragment on a number of occasions to the Hereford and Worcester County Record Office, which is equipped with an ultraviolet lamp. The portion of the Sanctus which survives is a Benedictus for three voices, notated in score format in English discant (ex. 1). The lowest voice corresponds almost exactly with the third Sarum Sanctus, here without the trope Marie filius (Frere 1894, plate 15∗), the chant sounding at pitch and without ornamentation. Thus this composition brings the total number of English discant settings with the chant exclusively as the lowest voice to nine. The notation (the abundance of minims) and musical style (the obvious treble domination and use of sequential patterns in the highest voice) suggest that this work should be dated in the latter half, and probably the final third, of the fourteenth century.

Type
Research Article
Copyright
Copyright © Royal Musical Association, 1985

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bibliography

Primary sourcesGoogle Scholar
WOc 68, xix: Worcester, Cathedral Library, Add. 68, fragment xixGoogle Scholar
Ob D.D. 3: Oxford, Bodleian Library, Dep. Deeds, Christ Church, C. 34/D.R. 3∗Google Scholar
Primary sourcesGoogle Scholar
WOc 68, xix: Worcester, Cathedral Library, Add. 68, fragment xixGoogle Scholar
Ob D.D. 3: Oxford, Bodleian Library, Dep. Deeds, Christ Church, C. 34/D.R. 3∗Google Scholar

Literature

Bent, Margaret, and Hughes, Andrew, ed., 1973. The Old Hall Manuscript, Corpus mensurabilis musicae 46. American Institute of MusicologyGoogle Scholar
Bent, Margaret, 1973. ‘The Transmission of English Music, 1300–1500’, Studien zur Tradition in der Musik, ed. d, 6583. Munich: Emil KatzbichlerGoogle Scholar
Bent, Margaret, and Lefferts, Peter, 1982. ‘New Sources of Thirteenth- and Fourteenth-Century English Polyphonic Music’, Early Music History 2, ed. Iain Fenlon, 273–362. Cambridge: Cambridge University PressGoogle Scholar
Blume, Clemens, ed., 1906. Analecta Hymnica Medii Aevi 49. Leipzig: O.R. Reisland; reprinted 1961, New York and London: Johnson ReprintGoogle Scholar
Dittmer, Luther, 1957. The Worcester Fragments: a Catalogue Raisonné, Musical Studies and Documents 2. American Institute of MusicologyGoogle Scholar
Dittmer, Luther, 1959. Worcester Additional 68, Westminster Abbey 33327, Madrid Bibl. nac. 192: a Facsimile Edition, Publications of Medieval Musical Manuscripts 5. New York: Institute of Medieval MusicGoogle Scholar
Everist, Mark, 1982. ‘Cambridge, St John's College Ms. 84’, in Bent and Lefferts 1982Google Scholar
Fischer, Kurt von, 1972. Handschriften mit mehrstimmige Musik des 14., 15. und 16. Jahrhunderts; Mehrstimmige Musik in italienischen, polnischen und tschechischen Quellen des 14. Jahrhunderts, Répertoire international des sources musicales B IV 4. Munich: HenleGoogle Scholar
Frere, Walter Howard, ed., 1894. Graduate Sarisburiense. London: Plainsong and Medieval Music Society; reprinted 1966, Farnborough: GreggGoogle Scholar
Frere, Walter Howard, 1901. ‘The Newly Found York Gradual’, Journal of Theological Studies 2, 578–86. London: Oxford University PressGoogle Scholar
Hiley, David, forthcoming. ‘The Rhymed Sequence in England; a Preliminary Survey’, paper read at the Conference held at the Centre National de Recherche Scientifique, Institut de Recherche d'Histoire des Textes, in September 1982Google Scholar
Hughes, Andrew, 1967. ‘New Italian and English Sources of the Fourteenth to Sixteenth Centuries’, Acta Musicologica 39, 171–82Google Scholar
Hughes, Andrew, and Bent, Margaret, eds., 1973. The Old Hall Manuscript, Corpus Mensurabilis Musicae 46. American Institute of MusicologyGoogle Scholar
Hughes, Andrew, 1974. Medieval Music: The Sixth Liberal Art. Toronto: University of Toronto PressGoogle Scholar
Reaney, Gilbert, 1966. Manuscripts of Polyphonic Music: Eleventh to Early Fourteenth Century, Répertoire international des sources musicales B IV 1. Munich: HenleGoogle Scholar
Reaney, Gilbert, 1969. Manuscripts of Polyphonic Music (c. 1320–1400), Répertoire international des sources musicales B IV 2. Munich: HenleGoogle Scholar
RISM B IV 1 = Reaney 1966Google Scholar
RISM B IV 2 = Reaney 1969Google Scholar
RISM B IV 4 = Fischer 1972Google Scholar
Summers, William J., forthcoming. ‘The Effect of Monasticism on Fourteenth-Century English Sacred Music’, in Report of the Thirteenth Congress of the International Musicological Society: StrasbourgGoogle Scholar
Summers, William J., 1983. English Fourteenth-Century Polyphony: Facsimile Edition of Sources Notated in Score. Tutzing: H. SchneiderGoogle Scholar
Tolhurst, J. B., 1936–51. The Ordinal and Customary of the Abbey of St. Mary York (St. John's College Cambridge, Ms. D. 27), Henry Bradshaw Society 73, 75, 84Google Scholar