FIFTEENTH MEETING OF THE IMS STUDY GROUP 'CANTUS PLANUS' DOBOGÓKİ, HUNGARY, AUGUST 23-29, 2009 PROGRAM IMS STUDY GROUP 'CANTUS PLANUS' (founded in 1983) Chair: Barbara Haggh-Huglo Past Chairs: Helmut Hucke, David Hiley, Ruth Steiner, Charles Atkinson Advisory Board: Nicolas Bell, James Borders, Christelle Cazaux-Kowalski, Zsuzsa Czagány, Roman Hankeln, Debra Lacoste, Christian Troelsgård LOCAL ARRANGEMENTS 2009 Adviser: László Dobszay Secretary: Beáta Meszéna SUNDAY August 23 10 AM-3 PM Meeting at the Concert Hall of the 'Old Music Academy' in Budapest 3 PM Bus leaves Budapest from the Music Academy 4 PM Arrival in Dobogókı, check-in, rest 6 PM Opening session Chair: Barbara Haggh-Huglo Invited Lecturer 1: Christian Troelsgård Christian Troelsgård is Associate Professor at the Saxo Institute of the University of Copenhagen and has published on Byzantine chant and on medieval topics (bibliography: http://forskning.ku.dk/search/ profil/publikationsliste/?personid=155896 ). He serves as secretary for the enterprise Monumenta Musicae Byzantinae and as a member of the Advisory Board of the IMS Study Group 'Cantus Planus'. Songs for the Theotokos – Pieces of papyrus and the Byzantine theotokia Marian troparia are well represented among the fragments of early Greek chant texts preserved on papyrus sheets. Hypo tēn sēn eusplanchnian , in Latin known as the antiphon Sub tuum praesidium , is a well-known example, since it has parallel transmissions in other chant families. Other early theotokia on papyrus are furnished with modal indications, and some appear to be furnished with signs that have been interpreted as traces of musical notation. This paper will address these early fragments of Marian chants as a group and investigate their relationship to the theotokia of later Byzantine chant collections. 8 PM Dinner MONDAY August 24 Italy and France between East and West Chair: James Borders 9 AM Invited Lecturer 2: Joseph Dyer Joseph Dyer taught music history at the University of Massachusetts Boston until his retirement in 2001. His research interests have included various topics in the fields of medieval chant, liturgy (especially Rome in the Middle Ages), monasticism, performance practice and medieval music theory. He is a Fellow of the Royal School of Church Music. His most recent publications include: “Speculative Musica and the Medieval University of Paris,” Music and Letters 90 (2009), 177-204. “The Power of Music According to Two Medieval Philosophers,” in ‘Dies est letitie’: Essays on Chant in Honour of Janka Szendrei , ed. David Hiley and Gábor Kiss (Budapest-Regensburg-Ottawa, 2008), 211-35. “Boy Singers of the Roman Schola Cantorum,” in Young Choristers, 650-1700 , ed. Susan Boynton and Eric Rice (Woodbridge: Boydell & Brewer, 2008), 19-36. “Roman Processions of the Major Litany ( litaniae maiores ) from the Sixth to the Twelfth Centuries,” in Roma Felix: Formation and Reflections of Medieval Rome , ed. Éamonn Ó Carragain and Carol Neuman de Vegvar (Aldershot: Ashgate, 2007), 112-37. Katakosmēson ton nymphona sou Siōn — Adorna thalamum tuum Sion : East and West in the medieval Roman celebration of Candlemas Beginning as a local commemoration at Jerusalem in the late fourth century, by the beginning of the seventh century the Constantinopolitan observance of Hypapante (western Candlemas) had taken shape as a penitential procession followed by a liturgy at the church of the Theotokos in the Blachernae quarter. It was introduced to Rome sometime during the latter half of the seventh century, thanks to the presence in Rome of Greek-speaking clergy and monks. The first mention of a Roman celebration of the feast ‘of St Simeon, which the Greeks call Ypapanti ’ with a procession occurs in the Liber pontificalis . There it is linked with a reorganization of Marian feasts by Pope Sergius I (687-701). The earliest musical repertory for this and other Roman processions, generally penitential in character, may be preserved in the series of sixteen antiphons in the Old Roman gradual, BAV, vat. lat. 5319. After the time of Sergius, the feast took on a stronger Marian cast, coming to be known as the ‘Purification’, thus referring to the ritual to which Mary submitted herself forty days after Jesus’s birth in obedience to the Mosaic law (Lk 2:22-39). Providing testimony to the Byzantine influence on the Roman celebration of Hypapante /Purification are two Greek chants that were translated into Latin as Adorna thalamum tuum and Ave gratia plena . They were given original musical settings in the Old Roman chant idiom, though apparently relying on the structure of their Greek models. Incorporated in the earliest transmission of the Roman repertory to the Carolingians, the chants were recast according to the stylistic criteria of Frankish singers. One of the earliest northern antiphoners of the Mass (Mont-Blandin, without notation) has bilingual versions of the chants, whose Latin transcriptions follow divergent principles. 9:30 Terence Bailey Rome, Milan and the confractoria Often mentioned casually in the scholarly literature, in support of widely-held assumptions about the relationships between the Gallican, Iberian and Milanese rites, the place of the Ambrosian confractoria in the splendid texture of the Latin liturgy of the West has been consistently misunderstood. 9:55 Michel Huglo (to be read in English by Barbara Haggh-Huglo) Observations sur les pièces de plain-chant traduites du grec Depuis la restauration du plain chant au XIXe siècle jusqu'au début du XXIe siècle, plusieurs musicologues ont examiné les pièces de chant traduites du grec à différentes époques de l'histoire. Aujourd'hui, il semble nécessaire de faire la synthèse des résultats acquis par ces analyses pour déterminer les époques et les lieux où ces traductions furent entreprises et enfin par quelle méthode concrète textes et mélodies passèrent d'Orient en Occident. Les lieux: ce sont les grandes métropoles chrétiennes du bassin méditerranéen où Grecs et Latins se croisent et se rencontrent pour des motifs différents: diplomatie, commerce, conciles. Les époques: à l'exception du Gloria in excelsis Deo , il semble bien qu'il ne reste aucune pièce traduite du grec antérieure au concile de Nicée (325). Les pièces composéés en Orient à l'époque des controverses théologiques sur les deux natures dans la personne de Jésus-Christ, né de Marie Theotocos, sont de peu postérieures aux conciles d'Ephèse (431) et de Chalcédoine (451): ainsi, l'antienne Sub tuum praesidium et les antiennes du 1er Janvier. Enfin, la Querelle des images du VIIIe siècle, qui causa l'immigration de milliers de moines grecs en Italie du sud et amena 17 ambassades du basileus à Aix-la- Chapelle: Cheroubicon et Hymne acathiste. Les méthodes: Traduction par écrit avec corrections et améliorations successives. Traduction par trois collaborateurs: un lecteur du texte grec, un interprète, un scribe qui note au vol les mots du traducteur, avec ou sans les fautes dues à des confusions de mots: ex. l'antienne Sub tuum praesidium . Il reste à expliquer pourquoi les mélodies des pièces traduites diffèrent des mélodies grecques originales. 10:15 Discussion 10:30 Coffee Break Basic Questions Chair: David Hiley 11 Kate Helsen ‘The stream or the source’? Comparing Gregorian and Old Roman Great Responsories Recounting the transmission of Roman chant north of the Alps in the early ninth century, John the Deacon describes Charlemagne’s dissatisfaction at the discrepancies he perceives between Roman and Gallican chant. In a quotation now famous, Charlemagne asks whether the ‘stream or the source’ is liable to provide the purest water, advising the Gauls to return to the Roman ‘source’. Recent scholarship has shown that purity is an extravagant claim for either tradition; links between the Gregorian and the Old Roman repertories have been identified and examined, however. This paper compares the Gregorian corpus of Great Responsories with the Old Roman corpus. In the past, this kind of comparison was undertaken using the repertories of graduals (by Nancy van Deusen), tracts (by Emma Hornby), and offertories (by Rebecca Maloy). Paul Cutter initiated the comparison of responsories, limiting his work to those in mode 2. Extending the comparison to other modes, I compare information in my database of Gregorian responsories (as found in nine early antiphoners across Europe) to the Old Roman responsory repertory and discuss why certain melodic differences between them might occur. 11:25 László Dobszay Comments on Albi 44 Albi 44 is a very archaic source with regard to both its organization and its repertory. A comparison with the CAO and with Old Roman sources leads to conclusions about the earliest stages of the Roman Office Chant. 11:50 Jeremy Llewellyn A modernioribus vocantur caudae : Jacobus Leodiensis and textlessness in medieval chant Writing at the beginning of the fourteenth century, Iacobus Leodiensis’s polemics against the Moderns are well documented and well known. Of interest, however, is a statement from the sixth book of his Speculum musicae , in which he describes the differentiae of Office antiphons, which were in certain localities performed with textless melodic extensions: whereas these, according to Iacobus, are called aptitudines , formulae , neumae , odae or iubili by some, they are termed caudae by more modern authors. This roll-call of textless forms in medieval chant provides the main material for the paper. The historical usage and context of each term will be examined — also with reference to notated