The Antiphonary of Bangor and Its Musical Implications

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 <ul style="display: flex;"><li style="flex:1">Abstract </li><li style="flex:1">ii </li></ul>Acknowledgments Table of Contents List of Tables List of Figures Abbreviations iv vviii ix xChapter 1 1.1 The Antiphonary of Bangor, its History and Contents The Antiphonary of Bangor 111 25 28 31 33 37 1.2 Fernand Cabrol’s 1910 Theory <ul style="display: flex;"><li style="flex:1">1.3 </li><li style="flex:1">Borromeo and the Ambrosiana Library </li></ul>Muratori and the Antiphonary of Bangor Significance of the Manuscript’s Recovery Conclusion 1.4 1.5 1.6 Chapter 2 The Hymns of the Antiphonary of Bangor Hiberno Latin 39 2.1 2.2 2.3 2.4 43 The Twelve Hymns of the Antiphonary of Bangor Additional Texts 51 101 <ul style="display: flex;"><li style="flex:1">108 </li><li style="flex:1">Conclusion </li></ul>vChapter 3 3.1 Bangor and Irish Monasticism History of Bangor 110 112 116 127 135 138 150 <ul style="display: flex;"><li style="flex:1">3.2 </li><li style="flex:1">Monasticism and Irish Developments </li></ul><ul style="display: flex;"><li style="flex:1">Monasticism and Bangor </li><li style="flex:1">3.3 </li></ul><ul style="display: flex;"><li style="flex:1">3.4 </li><li style="flex:1">The Hours of the Bangor Office </li></ul>“De oratorio” of the Hisperica Famina Conclusion 3.5 3.6 Chapter 4 A History of the Hymn and What Happened in Ireland The Early History of the Hymn 152 155 169 174 184 4.1 4.2 4.3 4.4 The Cultural Role of the filid in Early Irish Society The Lorica and Religious Exorcism Conclusion Chapter 5 5.1 Irish Peregrinatio: Taking Faith on the Road Irish Peregrinatio 186 190 200 208 214 216 <ul style="display: flex;"><li style="flex:1">5.2 </li><li style="flex:1">Columbanus </li></ul><ul style="display: flex;"><li style="flex:1">5.3 </li><li style="flex:1">St. Fursa (St. Fursey) </li></ul>Liturgical Developments Conclusion 5.4 5.5 Chapter 6 Continental Connections, Music and the Vienna Schottenstift The Vienna Schottenstift 219 221 232 234 257 6.1 6.2 6.3 6.4 Rosscarbery (Ros Ailithir) Liturgical Chant Fragments from the Vienna Schottenstift Conclusion vi Chapter 7 The Problem of Music Notation from an Irish Perspective Musical Notation and Gregorian Chant The Celtic Liturgy: Reimagining the Past Conclusion 260 265 284 292 7.1 7.2 7.3 <ul style="display: flex;"><li style="flex:1">Appendix I Contents of the Antiphonary of Bangor </li><li style="flex:1">295 </li></ul><ul style="display: flex;"><li style="flex:1">299 </li><li style="flex:1">Appendix II Index of the Twelve Hymns of the Antiphonary of Bangor: </li></ul>Headings and Incipits Appendix III The Latin Texts of the Twelve Hymns of the Antiphonary of Bangor with English Translations 300 Appendix IV Chronology Works Cited 362 364 vii List of Tables Table 1 Table 2 <ul style="display: flex;"><li style="flex:1">The Hymns of the Antiphonary of Bangor </li><li style="flex:1">53 </li></ul><ul style="display: flex;"><li style="flex:1">Synopsis of the Twelve Hymns of the Antiphonary of Bangor </li><li style="flex:1">100 </li></ul>viii List of Figures Figure 1 Figure 2 Figure 3 Text of Hymnus in Die Dominus: Te Deum laudamus 103 107 238 Text of Ad Vesperum et ad Matutinam: Gloria in excelsis Fragment of Antiphon Carmen digne propheticum for the Feast of St. Patrick Figure 4 Figure 5 <ul style="display: flex;"><li style="flex:1">A Fragment for the Feast of St. Brigid </li><li style="flex:1">243 </li></ul>248 Responsory Sanctificamini hodie et estote and Constantes estote 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’arch éologie chrétienne et de liturgie, edited by F. Cabrol and H. Leclercq. Paris, 1907-1953. HBS MD Henry Bradshaw Society Martyrology of Donegal MGH Monumenta Germaniae Historica. Berlin, 1826. MGH, SRM Monumenta Germaniae Historica, Scriptores Rerum Merovingicarum <ul style="display: flex;"><li style="flex:1">PL </li><li style="flex:1">Patrologiae cursus completus, Series Latina, ed. J. P. Migne, Paris, 1844. </li></ul>PRIA Proceedings of the Royal Irish Academy x 1Chapter 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. Migne sucessores, 1878), 579-606; Carolo O’Conor, “Antiphonarium Monasterii Benchorensis, annorum plusquam mille,” in Rerum Hibernicarum Scriptores, Tome 1 (London: Buckinghamae, excudebat J. Seeley, 1814), clxiii-clxxvii; William Reeves, “The Antiphonary of Bangor,” Ulster Journal of Archaeology First Series, vol. 1 (1853): 168-179; Frederick Edward Warren, Liturgy and Ritual of the Celtic Church (Oxford: Clarendon Press, 1881; second edition with introduction by Jane Stevenson (Woodbridge: The Boydell Press, 1987); Warren, ed. and trans., The Antiphonary of Bangor: An Early Irish Manuscript in the Ambrosian Library at Milan, Henry Bradshaw Society, Volumes 4 and 10 (London: Harrison and Sons, Printers, 1893-1895); Cabrol, “Bangor (Antiphonaire De),” 183- 191; Michael Lapidge, “Columbanus and the ‘Antiphonary of Bangor’,” Peritia 4 (1985): 104-116; Leo Wiener, “The Antiphonary of Bangor,” in Contributions Toward a History of Arabico-Gothic Culture, Volume 1 (New York: The Neale Publishing Company, 1917), 95-106; W. C. Bishop, “A Service Book of the Seventh Century,” The Church Quarterly Review 37 (1893-94): 337-63; and Peter Jeffery, “Eastern and Western elements in the Irish Monastic Prayer of the Hours,” in The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography, edited by Margot E. Fassler and Rebecca A. Baltzer (Oxford: Oxford University Press, 2000). 2witnesses to the early Irish church.”4 In reality the so-called Antiphonary has defied classification. Scholars such as Frederick Edward Warren (1842-1930) and Fernand Cabrol (1855-1937) have questioned its “raison d’être,” evident in the excerpts above, and not surprising, the title “Antiphonarium Benchorense,” has been deemed “inadequate.”5 While the title perhaps belies its purpose, the magnitude of its literary content has been a constant source of information for students of hymnology, liturgy, and paleography.6 From its recovery in the library of Bobbio, Italy, to the present, the Antiphonary of Bangor is perhaps more familiar to medieval and liturgical scholars than to those in musicology. Prompted by an earlier theory by Fernand Cabrol who proposed that the Antiphonary of Bangor was perhaps a hebdomadary, or a book “used for the office by the president of the choir” in his weekly duties,7 I began so consider the manuscript from a musical perspective. Cabrol’s hypothesis is an interesting one as the Antiphonary is without musical notation and his theory derives entirely from its liturgical content rather than from neumes that typically accompany antiphonal texts. Although notated sources are the cornerstone of medieval music, and indeed 4 Lapidge, “Columbanus and the ‘Antiphonary of Bangor’,” 104. 5 See Curran, The Antiphonary of Bangor, 197, note 11; and Michael Lapidge, “Columbanus and the ‘Antiphonary of Bangor’,” 104-105: “[…] the manuscript is in no sense an ‘antiphonary’ or ‘antiphoner’ (that is, a book of chants, antiphons, verses, responsories and invitatories for the Office) as the term is used to describe the chant-books which survive from the ninth century and later, but would more accurately be described as a liturgical commonplace book for the Office, compiled over a period of time by several scribes, and perhaps intended for use by the hebdomadarian (the designated president of the Office during a given week).” Peter Jeffery notes: “The manuscript is not in fact an antiphoner in the modern sense, for it does not contain a complete repertory of Proper Office chants arranged according to the liturgical year,” see Jeffery, “Eastern and Western Elements in the Irish Monastic Prayer of the Hours,” 113. 6 Ian Adamson, Bangor, Light of the World (Belfast: Pretani Press, [1979] 1987), 13. 7 Cabrol, “Bangor (Antiphonaire de),” 188. See Curran, The Antiphonary of Bangor, 14, where he discusses Cabrol’s conclusions. A definition of a hebdomadarian can be found in The Oxford Dictionary of the Christian Church, edited by F. L. Cross and E. A. Livingston (Oxford: Oxford University Press, 1997), 741. Michael Lapidge also suggests that a more accurate function of the Antiphonary was perhaps “for use by the hebdomadary;” see Lapidge, “Columbanus and the ‘Antiphonary of Bangor’,” 105. 3for the study of Gregorian chant,8 un-notated manuscripts are another source of valuable information. René-Jean Hesbert, in his introduction to Antiphonale Missarum Sextuplex has pointed out the relevance of such liturgical texts: Mais le point de vue musical n’est pas ici seul en cause; et l’en ne saurait nier que le témoignage de documents aussi vénérables soit de la plus haute importance, tant pour l’étude du texte lui-même que pour celle de l’organization liturgique des pieces chantées de la messe.9 Details give insight into the religious culture and the ways music may have been utilized. Still, the Antiphonary of Bangor is a rare Irish manuscript. Where is its place in the study of chant? If the sound of the liturgy from the Antiphonary may be irretrievable, Cabrol’s theory draws attention to the texts and to elements of Irish culture: the poetry of the words and the monastic liturgy from early Christian Ireland. Not much can be known about music in medieval Ireland if research is limited to sources with musical notation as no evidence is known, for now, until about the late eleventh century.10 However, if the Antiphonary of Bangor was a type of musical servicebook and is one of the few early surviving sources of the Irish liturgy, this opens 8 For more on chant see Kenneth Levy, Gregorian Chant and the Carolingians (Princeton, NJ: Princeton University, 1998); David Hiley, Gregorian Chant (Cambridge: Cambridge University Press, 2009); Willi Apel, Gregorian Chant (Bloomington: Indiana University Press, 1958); and recent books by Thomas Forest Kelly, ed., Oral and Written Transmission in Chant (Surrey, England: Ashgate, 2009); Thomas Forest Kelly, Chant and its Origins (Farnham, England; Burlington, VT: Ashgate, 2009); Thomas Forest Kelly, The Practice of Medieval Music: Studies in Chant and Performance (Farnham, England; Burlington, VT: Ashgate, 2010). For some further sources on the Carolingians and cultural developments see Rosamond McKitterick, ed., Carolingian Culture: Emulation and Innovation (Cambridge: Cambridge University Press, 1994); Rosamond McKitterick, The Carolingians and the Written Word (Cambridge; Cambridge University Press, 1989); Rosamond McKitterick, The Frankish Church and the Carolingian Reforms, 789-895 (London: Royal Historical Society, 1977); and Pierre Riché, The Carolingians: A Family Who Forged Europe, translated from the French by Michael Idomir Allen (Philadelphia: University of Pennsylvania Press, 1993). 9 René-Jean Hesbert, ed., Antiphonale Missarum Sextuplex (Rome: Herder, 1985 [first edition 1935]), vii. 10 A pre-Norman source is the Downpatrick Gradual, GB-Ob, Rawl. C. 892. The Drummond Missal is only partialy notated; see Frank Lawrence, “What did They Sing at Cashel in 1172? Wincehster, Sarum and Romano- Frankish chant in Ireland,” Journal of the Society for Musicology in Ireland 3 (2007-8), 121-122, notes 44 -48, online journal, accessed September 30, 2010 <http.//www.music.ucc.ie/jsmi/index>. For more on the Drummond Missal see Casey, “’Through a Glass, Darkly’: Steps Towards Reconstructing Irish Chant from the Neumes of the Drummond Missal.” Early Music (2000): 205-215. 4onto another area of research. The hymns alone are one of its features and the manuscript is an important witness to the extraordinary intellectual milieu of Bangor, the monastic community named as its place of origin. As Frank Lawrence has recently observed about two “un-notated twelfth-century manuscripts, the Corpus Missal and the Rosslyn Missal” also of Irish provenance, “although these are books without musical notation this does not mean that they should be considered as books without music.”11 Spurred by such insights into un-notated sources and intrigued by Cabrol’s theory, my research gives priority to the Antiphonary of Bangor, its hymns and the monastic culture it represents. I contend that as a servicebook the Antiphonary is essential to the study of music. The methodology governing the following chapters is to focus first on the hymns of the Antiphonary. I then discuss the Irish hymn in relation to the history Christian hymnody. The hymns are striking pieces of literature because they combine elements of Irish poetical practice and the style of earlier hymn writers such as Hilary of Poitiers. Crafting poetical features from two spheres of cultural influence, the Irish created something entirely new. Hymns also have a long tradition in the Church and the Antiphonary reflects the influence of the wider Christian world. Therefore, as expressions of faith the hymns have made a valuable contribution to the corpus of Latin literature, and they are of interest to musicologists and medievalists alike. From the hymns I expand my research to monastic developments and the monastery of Bangor in chapter 3. In chapter 4 I discuss the history of the hymn and the influence of the filid the learned class in Irish society. Next, given that the Irish peregrini are known to have influenced the spread of Christianity on the continent, I devote chapter 5 to understanding this spiritual phenomena and implications of peregrinatio. In chapter 6 I consider later continental 11 Lawrence, “What Did They Sing at Cashel in 1172? “ 123. 5developments between Ireland and Austria by way of musical evidence. The musical fragments from the Irish Benedictine Schottenstift in Vienna founded in 1155 are remnants of a significant continental relationship during a period of spiritual renewal. In Ireland, a priory was established in Rosscarbery which supplied recruits to the monasteries of Würzburg and the Vienna, collectively known as the Schottenklöster. While it is tempting to consider the musical evidence from Vienna as evidence of notated sources of Irish liturgical practice, it is important to consider the fragments within the context of local influences. The fragments represent an interesting chapter of Irish continental relationships seem proof that Ireland’s past is still unfolding; perhaps in musical ways previously thought unknowable. Finally, chapter 7 delves into the problem of music notation and the problems which confront research into the so-called Celtic liturgy.

The Antiphonary of Bangor and Its Musical Implications

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