Basic Data

Numerus
F682
Genre
Antiphonale
Date
s. 15/2
Archives / Library / Collection
Budapest, Pauline Library of the Central Seminary
Shelfmark
Fr. l. m. 94
Material
parchment
Extent
1 incomplete leaf, detached
Page height
204 mm (incomplete)
Page width
338 mm (complete)
Written height
164 mm (incomplete)
Written width
224 mm (complete)
Number of columns
1
Number of lines
4 lines with text and music
Stave height
20 mm
Script
gothica textualis
Musical notation
Bohemian notation
Musical notation/remarks
4-line staves with lines traced in red, C-clef, square custos
Host volume / author, title
Aussführliche und in Gottes Wort wolgründte Glaubensbekenntnis der Evangelischen Kirchen im Königreich Böhmen. Amberg 1611
Host volume / shelfmark
BBj 7 (1—5)
Owners
Collegii Societatis Jesu Posonij ad S. Salvatorem 1692
Content
Martha, Vincula Petri
Origin
Bohemia
Bibliography/References
Mezey László, Fragmenta codicum in Bibliothecis Hungariae I/2. Fragmenta Latina Codicum in Bibliotheca Seminarii Cleri Hungariae Centralis, Budapest, Akadémiai Kiadó, 1989, 89; Zsuzsa Czagány, "Music manuscript fragments with Bohemian notation in the Pauline Library of the Central Seminary in Budapest," Magyar Egyházzene XXV (2021/2022) nr. 1., 77–104XXV
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Analytical Description

The three antiphoner fragments (F 679, 680, 682) from the same codex, written in a typical Bohemian notation, preserve parts from the rhymed office of St Martha (hospita Christi). Two of the three truncated folios in the mother codex are in immediate succession: the fifth antiphon of the Lauds (Iesus coram populo) begins on the verso of F 680 and ends on the recto of F 682. On the third fragment (F 679), the opening chant of the historia (Iucundetur in hoc solemnio) is legible. The historia Iucundetur written in honour of Martha is known only from Bohemian sources. The liturgical veneration of Martha spread in Bohemia in the 30s of the 14th century, at the initiative of Jan z Dražic, bishop of Prague. The bishop was in exile at the court of Pope John XXII in Avignon from 1318 to 1329, and it is there that he probably became acquainted with the cult of Martha, which flourished in Southern France. After his return, the cult also flourished in Bohemia, and the veneration of the hospita Christi was crowned with proper chants (cf. Zsuzsa Czagány, Historia de sancta Martha Hospita Christi redactio Bohemica. Ein spätmittelalterliches Reimoffizium in seiner böhmischen Überlieferung. Wissenschaftliche Abhandlungen, series HISTORIAE 65/9, The Institution of Mediaeval Music, Ottawa, 2004). The chant series is most probably the work of a Bohemian author: although its texts were widely known, its melodies survive only in Bohemian codices. Three of our fragments preserve these “Bohemian” melodies. Thus, in addition to the notation, the content of the fragments clearly confirms that the late mother codex was an antiphoner of Bohemian origin.

Before the chants from the historia Iucundetur, the recto of fragment F 679 preserved the final part of another office. The chants, which are difficult to disentangle, presumably belonged to the second Vespers of a historia of Anne (26 July), the feast that immediately preceded Martha (29 July) in the calendar. The top line preserves the final text line of the verse of a responsory in mode 5 (F-mode) and the almost complete doxology. The text refers to the verse Est haec virga Dei (Est haec virga Dei mater flos ortus ab illa, the section in bold appears on the fragment), which in Hungarian sources belonged to the responsory Inclita stirps Iesse virgam (Responsories, 2126). However, the melody in mode 2 is far from resembling the melody in mode F of the fragment. The rubric recording the hymn and versicle is followed by the Magnificat antiphon of the Vespers Caeleste beneficium. The antiphon is well known in all three Hungarian rite areas (cf. CAO-ECE V Strigonium/Sanctorale, Budapest: MTA Zenetudomány Intézet, 2002, 115-116, 138; CAO-ECE VI Kalocsa-Zagreb/Sanctorale, Budapest: MTA Zenetudomány Intézet, 2008, 88-89; CAO-ECE VII Transylvania-Várad, Budapest: MTA Zenetudomány Intézet, 2010, 94-95), and is also recorded in the Hungarian notated sources (MMMAe V Antiphonen, 1053). The first mode melody notated in these, however, again differs from the fragment’s most probably mode 3 melody. The verso of the fragment, before the opening of the Martha office, presumably contains a blurred torso of the text of the last chant (a Magnificat antiphon?) of the Anna office. This piece has not yet been identified. On the basis of what we have learned so far, we assume that an unknown musical redaction of a known Anna historia has survived on the Bohemian fragment, which deserves further research based on a wider range of mainly Bohemian sources.

Zsuzsa Czagány

Content

RISM Folio Tempus Dies Hora Genre Incipit Mode Cantus ID Mel. Num.
H-Bs Fr. l. m. 94 recto Martha L a5 Iesus coram populo* 5
H-Bs Fr. l. m. 94 recto Martha L Ab Martha chorum audit angelicum*
H-Bs Fr. l. m. 94 verso Vincula Petri V R Surge Petre et indue te vestimentum tuum* 7 007731