The Antiphonary of Bangor and Its Musical Implications
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The Antiphonary of Bangor and its Musical Implications by Helen Patterson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Helen Patterson 2013 The Antiphonary of Bangor and its Musical Implications Helen Patterson Doctor of Philosophy Graduate Department of Music University of Toronto 2013 Abstract This dissertation examines the hymns of the Antiphonary of Bangor (AB) (Antiphonarium Benchorense, Milan, Biblioteca Ambrosiana C. 5 inf.) and considers its musical implications in medieval Ireland. Neither an antiphonary in the true sense, with chants and verses for the Office, nor a book with the complete texts for the liturgy, the AB is a unique Irish manuscript. Dated from the late seventh-century, the AB is a collection of Latin hymns, prayers and texts attributed to the monastic community of Bangor in Northern Ireland. Given the scarcity of information pertaining to music in early Ireland, the AB is invaluable for its literary insights. Studied by liturgical, medieval, and Celtic scholars, and acknowledged as one of the few surviving sources of the Irish church, the manuscript reflects the influence of the wider Christian world. The hymns in particular show that this form of poetical expression was significant in early Christian Ireland and have made a contribution to the corpus of Latin literature. Prompted by an earlier hypothesis that the AB was a type of choirbook, the chapters move from these texts to consider the monastery of Bangor and the cultural context from which the manuscript emerges. As the Irish peregrini are known to have had an impact on the continent, and the AB was recovered in ii Bobbio, Italy, it is important to recognize the hymns not only in terms of monastic development, but what they reveal about music. In light of musical fragments recovered from the Schottenstift in Vienna, and its links with the Irish recruiting ground in Rosscarbery, County Cork another portion of Ireland’s past has become known. Only by looking back to the AB and piecing the evidence together can the significance of the recovery be fully appreciated. While there are more questions raised in this dissertation than can be answered, the AB is part of a larger history that intersects with the study of medieval music. iii Acknowledgments Nothing here would have been accomplished without the help of a superb committee. I am most grateful to my supervisor Professor John Haines for his unstinting support of the research. He has been generous with his time and I appreciate his kind and patient wisdom which has encouraged me to the end. I am sincerely grateful to Professor Elliott for his thoughtful insights, and for his constant and steady guidance throughout the process. I especially want to thank Professor Dooley for all her expert advice and for her enthusiasm for the research. Each has brought a refreshing perspective as a committee. I have been the fortunate recipient of their expertise and their scholarly example. I am sincerely grateful to Professor Frank Lawrence for his invaluable comments and helpful suggestions. I would like to thank Professor Michael Herren especially for his insights and for his interest in the research. It is to each of these scholars I owe a debt of gratitude for their time, commitment, and guidance. I want to thank the Faculty of Music and the School of Graduate Studies for the privilege to study at the University of Toronto. I am grateful for the opportunity and I would like to thank the many fine professors who have illuminated my path. I would like to thank Martin Czernin for his time and for allowing me to use the images of the musical fragments. For assistance in Milan I thank Jamie Younkin. Closer to home, I would like to thank the staff of the University of Toronto Libraries and the Inter-library Loan Services who manage to find a request in record time. I would like to thank Susannah Brower for her Latin expertise. For the Irish connections near and far, I hope that in a small way the significance of the history resonates in these pages. Finally, I owe much to my parents and my family. Thank you for your unfailing support. iv Table of Contents Abstract ii Acknowledgments iv Table of Contents v List of Tables viii List of Figures ix Abbreviations x Chapter 1 The Antiphonary of Bangor, its History and Contents 1 1.1 The Antiphonary of Bangor 11 1.2 Fernand Cabrol’s 1910 Theory 25 1.3 Borromeo and the Ambrosiana Library 28 1.4 Muratori and the Antiphonary of Bangor 31 1.5 Significance of the Manuscript’s Recovery 33 1.6 Conclusion 37 Chapter 2 The Hymns of the Antiphonary of Bangor 39 2.1 Hiberno Latin 43 2.2 The Twelve Hymns of the Antiphonary of Bangor 51 2.3 Additional Texts 101 2.4 Conclusion 108 v Chapter 3 Bangor and Irish Monasticism 110 3.1 History of Bangor 112 3.2 Monasticism and Irish Developments 116 3.3 Monasticism and Bangor 127 3.4 The Hours of the Bangor Office 135 3.5 “De oratorio” of the Hisperica Famina 138 3.6 Conclusion 150 Chapter 4 A History of the Hymn and What Happened in Ireland 152 4.1 The Early History of the Hymn 155 4.2 The Cultural Role of the filid in Early Irish Society 169 4.3 The Lorica and Religious Exorcism 174 4.4 Conclusion 184 Chapter 5 Irish Peregrinatio: Taking Faith on the Road 186 5.1 Irish Peregrinatio 190 5.2 Columbanus 200 5.3 St. Fursa (St. Fursey) 208 5.4 Liturgical Developments 214 5.5 Conclusion 216 Chapter 6 Continental Connections, Music and the Vienna Schottenstift 219 6.1 The Vienna Schottenstift 221 6.2 Rosscarbery (Ros Ailithir) 232 6.3 Liturgical Chant Fragments from the Vienna Schottenstift 234 6.4 Conclusion 257 vi Chapter 7 The Problem of Music Notation from an Irish Perspective 260 7.1 Musical Notation and Gregorian Chant 265 7.2 The Celtic Liturgy: Reimagining the Past 284 7.3 Conclusion 292 Appendix I Contents of the Antiphonary of Bangor 295 Appendix II Index of the Twelve Hymns of the Antiphonary of Bangor: 299 Headings and Incipits Appendix III The Latin Texts of the Twelve Hymns of the Antiphonary of Bangor 300 with English Translations Appendix IV Chronology 362 Works Cited 364 vii List of Tables Table 1 The Hymns of the Antiphonary of Bangor 53 Table 2 Synopsis of the Twelve Hymns of the Antiphonary of Bangor 100 viii List of Figures Figure 1 Text of Hymnus in Die Dominus: Te Deum laudamus 103 Figure 2 Text of Ad Vesperum et ad Matutinam: Gloria in excelsis 107 Figure 3 Fragment of Antiphon Carmen digne propheticum for the Feast 238 of St. Patrick Figure 4 A Fragment for the Feast of St. Brigid 243 Figure 5 Responsory Sanctificamini hodie et estote and Constantes estote 248 For the Vigil of the Nativity Figure 6 Part of an Antiphon O Christi martir sancte Kilane for the 252 Feast of St. Kilian ix Abbreviations AB Antiphonary of Bangor. An Early Irish Manuscript in the Ambrosian Library at Milan, edited by F. E. Warren, 2 volumes. Part I, Facsimile, Part II, Amended Text: Henry Bradshaw Society 4 and 10. London, 1893-5. CLA E. A. Lowe, ed., Codices Latini Antiquiores. A Palaeographical Guide to Latin Manuscripts Prior to the Ninth Century. 10 vols. Oxford, 1934-1963. DACL Dictionnaire d’archéologie chrétienne et de liturgie, edited by F. Cabrol and H. Leclercq. Paris, 1907-1953. HBS Henry Bradshaw Society MD Martyrology of Donegal MGH Monumenta Germaniae Historica. Berlin, 1826. MGH, SRM Monumenta Germaniae Historica, Scriptores Rerum Merovingicarum PL Patrologiae cursus completus, Series Latina, ed. J. P. Migne, Paris, 1844. PRIA Proceedings of the Royal Irish Academy x 1 « First Chapter 1 The Antiphonary of Bangor, its Contents, and History What then is the proper description, and what is the raison d’être of this book, which is partly a Hymnarium, partly a Collectarium, partly an Antiphonarium, with the occasional introduction of Eucharistic and other elements?1 La difficulté est précisément de savoir á quelle catégorie le manuscrit de Bangor appartient exactement, et quel était son usage.2 The Antiphonary of Bangor (Milan, Biblioteca Ambrosiana, C. 5 inferiore) is unique among medieval liturgical manuscripts.3 As a rich collection of Latin texts dated from seventh-century Christian Ireland the Antiphonary “is rightly regarded as one of the most precious surviving 1 Frederick Edward Warren, ed. and trans., The Antiphonary of Bangor: An Early Irish Manuscript in the Ambrosian Library at Milan, Part II (London: Harrison and Sons, 1895), ix. 2 Fernand Cabrol, “Bangor (Antiphonaire de),” Dictionnaire d’archéologie chrétienne et de liturgie, Tome Deuxiéme (Première Partie) (Paris : Libraire Letouzey et Ané, 1910), 186. 3 The shelf number is abbreviated in the following form: “MS C 5 inf.” For information regarding the press mark on the flyleaf see Warren, The Antiphonary of Bangor, Part I, xix. MS. Milan Bibl. Ambrosiana C. 5 inf. On the Antiphonary of Bangor see Michael Curran, The Antiphonary of Bangor: An The Early Irish Monastic Liturgy (Blackrock, Co. Dublin: Irish Academic Press, 1984); James F. Kenney, The Sources for the Early History of Ireland: Ecclesiastical, an Introduction and Guide (New York: Columbia Press,1929; Dublin: Pádraic Ó Táilliúr, 1979); Ludovico Muratori, Anecdota ex Ambrosianae bibliothecae codicibus (Anecdota Ambrosiana) IV (Padua: 1713), in Jean-Paul Migne, ed., “Antiphonarium Monasterii Benchorensis (Murat. Anecd. T. IV),” in Patrologiae cursus completes (PL), Series Latina LXDXII (72) (Paris: Garnier Fratres, Editores et J.-P.