Amiens 162 D, ff. 118-21 Missa de Sancta Katherina 1v
Notation: Copied by Hand C in chant notation upon staff systems 3 in brown ink with red initials and red emphasizing in the text. The scribe entered all text and initials first. Where writing space was needed for prayers and readings, every second staff line was erased and new lines were added. The copying was never finished; only music for Alleluya and the sequence was entered.
Edition: Amiens 162 Edition no. 24 (PDF), Alleluya and Sequence.
Texts and contents of the mass:
(f. 118), [Introitus] Loquebar de testimoniis tuis in conspectu regum et non confundebar et meditabar in mandatis tuis que dilexi nimis. [Ps] Beati immaculati in via. – Empty staves without music; GR p. [51], Commune Virginum. Pro virgine et Martyre.
[Collect] Deus qui dedisti legem moysi in summitate montis sinay et in eodem loco per sanctos angelos tuos corpus beate katherine virginis et martiris tue mirabiliter collocasti: tribue nobis quesumus: ut eius meritis et intercessione ad montem qui Christus est valeamus pervenire. Qui vivis et regnas:
[Epistle] Lectio libri Sapiencie[:] Domine deus meus exaltasti super terram habitationem meam: et pro morte defluenti deprecata sum. Invocavi dominum patrem domini mei ut non derelinquat me in die tribulationis mee: et in tempore superborum sine adiutorio. Laudabo nomen tuum assidue, et collaudabo illud in confessione: et exaudita est oratio mea: Liberasti me de perditione: et eripuisti me de tempore iniquo. Propterea confitebor tibi, et laudem dicam nomini tuo: domine deus noster: (Sirach 51.13-17)
(f. 118v) Gradus[:] Diffusa est gratia in labiis tuis propterea benedixit te deus in eternum. [V] Propter veritatem et mansuetudinem et iusticiam et deducet te mirabiliter dextera tua. – Empty staves without music; GR pp. [69-70], Pro nec virgine nec Martyre; judging from the space available (four staves and a half) the music must have been a simpler than the version in the current gradual.
Alleluya. Hodie Katherina virgo celos ascendit, gaudete quia cum Christo regnat in eternum (with music, see the edition).
(f. 119-120v), Sequence, “Triumphanti verbo” (with music, see the edition), AH 10, p. 223, no. 298 (after Amiens 162).
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[1a] Triumphanti verbo et sanguine [1b] Katherine pangat martirium [2a] Data virgo ex alexandria [2b] Cum videret diis sacrificium [3a] Istud templum non mireris [3b] Ipse est deus deorum, [4a] Diis coniunctis oratores [4b] Sed cedentes veritati [5a] Cesar frudet [5b] Denudatur |
[6a] Hanc regina dum solatur [6b] Quod cum regi nunciatur [7a] Hanc christus cum virginali [7b] Cesar furit et tabescit [8a] Illi rote applicantur [8b] Tandem dempta a cohorte [9a] Katherina [9b] Reddit gressum [10a] Ave virgo martyr ave [10b] Assistentes tuis festis Amen |
(f. 120v), Evangelium[:] Simile est regnum celorum thesauro (Matth. 13.44).
[Offertorium] Offerentur regi virgines post eam proxime eius offerentur tibi. – Empty staves without music; GR p. 437, S. Agathae. Virginis et Martyris.
(f. 121), Secreta[:] Munera domine sacrificii presentis que tibi offerimus in honore beatissime uirginis katherine et martiris fiant nobis quesumus eius precibus vita perpetua et salus eterna. Per ...
Communio[:] Dilexisti justiciam et odisti iniquitatem. – Empty staves without music; GR p. [71], Pro nec virgine nec Martyre.
Postcommunio[:] Sumptis domine salutis eterne misteriis suppliciter deprecamur, ut sicut liquor qui de membris beate katerine uirginis iugiter manat languidorum corpora sanat sic eius oratio cunctas a nobis iniquitates expellat. Per ...
Comments:
Incomplete proprium mass for St Catherine, virgin and martyr (Catherine of Alexandria). The scribe entered two items of the music only, “Alleluya. Hodie Katherina virgo” (the same music was used for the “Alleluia. Hodie Maria virgo”, cf. Schlager 1965, no. 246, p. 183), and the sequence “Triumphanti verbo” (the music was according to Hofmann-Brandt 1967, p. 114, used also for the sequence “Triumphanti cruore” in Assisi, Bibl. Com., MS 695, ff. 210v-211v, AH 8, p. 129, no. 165). These were the two least familiar items in the mass, while the remainder of the music belonged to the standard chant repertory, and their copying was deferred until a more convenient occasion – which apparently never materialized. Accidentals and key signatures of one flat appear in the sequence, copied along with the music. The scribe shows the same lack of care with their placement as in his notation of the vespers for St Barbara (ff. 42v-45v) and in the added signatures in Hand B’s copy of the sequence »Veneremur virginem« (ff. 37v-41).
PWCH July 2014