Composite Antiphonal.

[Incipit:] Alleluya. Laudate dominu[m] om[n]es gentes.

?Cologne, between c. 1580 and 1906.

8vo and 4to (187 x 133 mm.). 1-99, [1], 100-101, [1], 102-163, [1], 164-183, 185-211, [1], 212-256, [1], 257, [2], 258-265 [r. 271], [6] leaves. Manuscript in at least eight contemporary Gothic hands (mostly hybrida libraria) in brown and black inks, ruled in ink, MUSIC IN HUFNAGEL NOTATION on a four- or five-line staff ruled in ink, six to seven staves per page, initials and rubrics in red ink, SIX ILLUMINATED INITIALS FROM A 13TH-CENTURY MANUSCRIPT ON VELLUM PASTED IN, nine later penwork initials and dozens of correction slips of varying size pasted on, thirteen slips with additional music and text tipped in — one from an incunable.

Recent marbled paper boards, hollow-back spine reusing a fragment of a 16th-century antiphonal on vellum, blue edges.

            The main codicological units of this idiosyncratic liturgical manuscript are four late 15th-century Office books originally created and used in the context of a German monastic community — most likely in Cologne, as suggested by the mention of local saints (Severin, Gereon, Reinold) and feasts (Translation of the Three Kings).
            The first unit (ff. 1-98) is an antiphonal with miscellaneous chants for the Temporal and Sanctoral cycles that includes THE DRAMATIC SEQUENCE OF THE VISITATIO SEPULCHRI, a dialog between women and an angel in front of Jesus’ empty grave performed by monastics as part of the Easter Sunday Office. The second unit (ff. 102-211) is a collection of hymns that includes A SECTION OF SINGING EXERCISES: the Gloria patri and other verses repeated in all eight Gregorian modes and variant modulations of the mnemonic formula euouae. The third and fourth units (ff. 212-27 and 228-64) are portions of two other antiphonals.
            During the codex’s compilation process, some bifolia were bound out of place, in the wrong order or in the wrong direction, many leaves were reinforced with paper at the gutter or edges, and numerous corrections to the content were added in the form of manuscript slips pasted on or tipped in. The present foliation was likely added in the 17th century, while the initials’ cuttings are a more recent addition. The most bizarre element is probably the printed fragment tipped onto the rear pastedown — the colophon of the first edition of gaffurio’s practica musicae (Milan 1496). In good condition (mild thumb-soiling, ferrous ink).

Item #02294

Price: $4,200.00

Status: On Hold