Codex Bamberg (music manuscript)

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The Codex Bamberg (also Bamberger Motettenhandschrift , Ba) is a manuscript that is kept in the Bamberg State Library under the signature Msc.Lit.115. Alongside the Codex Montpellier , the Codex is one of the most important motet manuscripts of its time. The dating, the localization and the circumstances of the origin are controversial in research. The manuscript is dated to either the end of the 13th century or the beginning of the 14th century. The localization of the main part to Paris , which is often suggested, has recently been ruled out from an art-historical point of view: the fleuronné decoration indicates that it was made in southern France (or possibly Italy ).

description

The manuscript consists of 80 numbered parchment - folios and unnumbered two, added later sheets of paper. The dimensions are 26.3 by 18.6 cm. It has 10 layers with a quaternio each and can be divided into four fascicles . The second part of the manuscript with the two music treatises was probably made a little later. As the pinholes of the original binding suggest, it was probably a separate volume before it was bound together with the first part at an unknown time.

The manuscript was part of the Bamberg Cathedral Library . In 1611 it was rebound, as was the entire collection of parchment manuscripts in the cathedral library between 1611 and 1614. The binding is made of pigskin over wooden covers with gold embossing . The coat of arms of the Bamberg cathedral chapter (enthroned Emperor Heinrich II ) can be seen on the front . On the back are the coats of arms of the cathedral provost Johann Christoph Neustetter called Stürmer (1570–1638) and the cathedral dean Hektor von Kotzau (1578–1619). The manuscripts of the cathedral library have been in today's Bamberg State Library since the secularization of 1802/1803.

Content classification

The Codex Bamberg can be divided into the following four fascicles (the two unnumbered sheets of paper do not belong to the corpus of the manuscript):

  • Fascicle 1: Folio 1 - 62
  • Fascicle 2: Folio 62 '- 64'
  • Fascicle 3: Folio 65 - 79 '
  • Fascicle 4: Folio 80 - 80 '

The first fascicle contains 100 double motets : 44 Latin, 47 French and 9 Latin / French motets. These are arranged alphabetically according to the beginning of the motetus and within the individual letters the order Latin - French - Latin / French mixed applies. The double motets are written in columns. These are exclusively three-part, multi-text motets. The second fascicle contains eight pieces in score notation : the conductus “Deus in adiutorium” and seven clauses . The third fascicle contains the music-theoretical treatise "Practica artis musicae" by Amerus. The fourth fascicle, which concludes the Codex, contains two tones : the two-part motets "Alma redemptoris" and "Dulcis Ihesus memoria dat vera", which were added later.

Temporal classification of the repertoire

The relevant literature on Codex Ba divides the motets in Ba into five different groups according to their stages of development. 16 motets belong to the oldest demonstrable form of the motet. Its origin lies in a melismatic source and the exit clauses for the tenor can already be proven. All of these motets have already appeared in the Notre Dame repertoire. Another 15 motets are motets of the oldest surviving form of this genre. In Ba, however, only the six French double motets from this stage of development are in their original form. All other motets in this group have been greatly changed from the original. 36 motets come from the multi-text repertoire of the old corpus of the Codex Montpellier. In Ba there are also 15 motets which were first handed down in the seventh fascicle of Codex Mo. With regard to their creation, they can be assigned to the latest stage of development. These motets have retained their original shape. These are mainly Latin motets. The last group consists of 18 motets, which are recorded for the first time in Codex Ba. They cannot be found in the Notre Dame repertoire or in Codex Mo. These motets are not stylistically uniform and, moreover, do not bring any innovations to the style. They form the youngest group in Codex Ba.

Concordances

The examination of the concordances with other musical manuscripts results in the following division into five categories (according to Ludwig, p. VI):

  • The oldest demonstrable form of the composition is a Notre-Dame - or St. V-Melisma
  • The oldest surviving form of the composition is a motet or conductus form of the Notre Dame manuscripts
  • The oldest preserved form of the composition is the form of the doublum or triple motet in the old corpus of Montpellier
  • Works that have survived first in Montpellier, fascicle 7
  • Works first handed down in Codex Bamberg

The largest part comes from the "old corpus" (fascicles two to six) of the Montpellier manuscript : 36 of the 100 motets (a good third) can be found in their oldest preserved form in this part of Montpellier. In addition, there are fifteen other motets which appear for the first time in the seventh fascicle of Montpellier. Altogether, with 51 motets, more than half already appear in the Montpellier manuscript. About a sixth of the remaining motets fall into the other categories: Eighteen of the pieces are preserved for the first time in Bamberg, another fifteen appear in motet or conductus form in another Notre Dame manuscript. Finally, of the remaining 16 motets, the oldest form that can be traced to date is a Notre Dame or St. V melisma. However, when compiling the works, the concordance with other manuscripts, especially Mo, was not a classification criterion. The motets are arranged alphabetically in ascending order according to the first letter.

Discography

  • The Rose, the Lily & the Whortleberry. Medieval Gardens in Music, Orlando Consort (Donald Greig, Robert MacDonald), Harmonia Mundi 2006
    • In addition to compositions from the Bamberg Codex, it contains works by: Alexander Agricola, Jacques Arcadelt, Antoine Brumel, Crapentras, Rodrigo de Ceballos, Clemens non Papa, Thomas Crecquillon, Walter Frye, Nicolas Gombert, Francisco Guerrero, Johannes Lupi, Guillaume de Machaut, Gabriel Mena , Dominique Phinot
  • Joculatores Upsalienses, De Fyra Arstiderna / The Four Seasons, BIS 1990
    • In addition to compositions from the Bamberg Codex, it contains works by: Alfonso X (el Sabio), Canconer del duc de Calabria (anonymus)
  • Codex Bamberg, Ensemble Chominciamento di Gioia (director: Luigi Taglioni), 2004
  • The Saracen and the Dove. Music from the Courts of Padua and Pavia, Orlando Consort, Polygram Records 1999
    • In addition to compositions from the Bamberg Codex, it contains works by: Bartolino da Padova, Anthonello da Caserta, Johannes Ciconia, Antonio Zacara da Teramo et al.
  • Monastic Chant. 12th and 13th C. European Sacred Music, Theater of Voices (director: Paul Hillier), Harmonia Mundi 2003
    • In addition to compositions from the Bamberg Codex, it contains works by: Codex Faenza, Codex Ivrea, Codex Montpellier, Rossi Codex, Johannes Ciconia, Leonin, Guillaume de Machaut, Giovanni da Firenze et al.
  • Faces of a women. Tales of remarkable women throughout the centuries, Tapestry (Darrick Yee, Sarah Freiberg, Cristi Catt, Laurie Monahan), MD&G Records 2008
    • In addition to compositions from the Bamberg Codex, it contains works by: Beatriz de Dia, Dom Dinis, Hildegard von Bingen, Marcos Drieger, Rabanus Maurus, Sergeij Rachmaninov et al.
  • Tempus fugit. Chants sacré, Nebbiu, Long Distance France (Label) 2004
  • La Camerata de Paris. Moyen Age (musique Instrumentale du moyen âge), Elena Polonska, Isabelle Quellier (et al.), Gallo 2001
    • In addition to compositions from the Bamberg Codex, it contains works by: Audefroi le Bastart, Codex Faenza, Alfonso X (el Sabio), Gace Brule, Guillaume de Machaut et al.
  • Ave Mater, o Maria !, Dekameron, Dux Recording Prod. 2003
    • In addition to compositions from the Bamberg Codex, it contains works by: Codex Montpellier, Alfonso X (el Sabio), Reinmar von Zweter et al.

bibliography

expenditure

  • Albert Stimming: The old French motet of the Bamberg manuscript. In addition to an appendix containing old French motets from other German manuscripts, with annotations and a glossary . Dresden 1906 (= Society for Romance Literature, Volume 13).
    • Edition of all French motet texts by Msc.Lit.115
  • Pierre Aubry: Cent Motets du XIII.e siècle, publiés d'apres le manuscript Ed. IV. 6 de Bamberg , 3 volumes, Paris 1908 (= Publications de la Société internationale de musique, section de Paris).
    • Volume 1: Reproduction phototypique du manuscript original (facsimile)
    • Volume 2: Transcription en notation modern et mise en partition (transmission) digitized
    • Volume 3: Etudes et commentaires (Commentary)
    • Facsimile, transmission and commentary from ff. 1-64v
  • Gordon Athol Anderson (Ed.): Compositions of the Bamberg Manuscript . Bamberg State Library, Lit.115 (olim Ed.IV.6), translation of the French texts by R. Smith, Neuhausen-Stuttgart 1977 (= CMM 75).
  • Ameri Practica artis musicae 1271, ed. by C. Ruini, o. O. 1977 (= CSM 25).
  • M. Huglo (Ed.): Le Traité de "cantus mensurabilis" du manuscrit de Bamberg . In: R. Jacobsson (Ed.): Pax et sapientia. Studies in Text and Music of Liturgical Tropes and Sequences. In Memory of Gordon Anderson . Stockholm 1986, pp. 91-95 (= Acta Universitatis Stockholmiensis. Studia latina Stockholmiana, Volume 28).

literature

  • GA Anderson: The Notation of the Bamberg and Las Huelgas Manuscripts . In: Musica Disciplina . Volume 32, 1978, pp. 19-67.
  • Sarah Carleton: A rose is a rose is a rose? The rose as symbol in the ars antique motet . In: Discourses in music . Volume 5, No. 1, 2004.
  • Hans Heinrich Eggebrecht: The theory of polyphony from its beginnings to the 12th century. In: Frieder Zaminer (ed.): History of music theory . Volume 5, pp. 9-87.
  • Mark Everist: Polyphonic music in thirteenth-century france. Aspects of sources and distribution . New York 1985.
  • Mark Everist: The refrain cento. Myth or motet? . In: Journal of the Royal Musical Association . Volume 114, No. 2, 1989, pp. 164-188, especially 149-153.
  • Hans Grüß: Text and textural moments in motets of the Codex Bamberg . In: Tobias Plebuch and Hermann Danuser (eds.): Music as text . Kassel 1998, pp. 247–253 (also in: Hans Grüß: Sichtssachen . Altenburg 1999, pp. 135–144).
  • M. Haas: Music teaching in the 13th century from Johannes de Garlandia to Franco . In: F. Zaminer (ed.): History of music theory. Volume 5: The medieval doctrine of polyphony . Darmstadt 1984, pp. 89-158.
  • Richard H. Hoppin: Medieval Music . New York 1978 (= Norton introduction to music history 1), esp. Pp. 324-338.
  • Heinrich Husman: Bamberg manuscript . In: Music in the past and present . Volume 1, 1949, Col. 1201-1206.
  • Franz Körndle: On "Ars antiqua motets" from the Codex Bamberg . In: Music in Bavaria . Volume 36, 1988, pp. 31-42.
  • Friedrich Ludwig: The sources of the motets of the oldest style . In: Archives for Musicology . Volume 5, 1923, pp. 185-222 and pp. 273-315 (especially 198 ff. And 220); Reprinted in: Fr. Gennrich (Ed.): Summa musicae medii aevi. Volume 7, Darmstadt 1961.
  • Friedrich Ludwig: Repertorium organorum recentioris et motetorum vetustissimi stili . Volume 1 (Catalog raisonné of the sources), Division 2 (manuscripts in mensural notation), o. O. 1978, pp. 472–504, 640 f. (= Scientific Treatises, Volume 26)
  • Patricia Lynn Patterson Norwood: A Study of the Provenance and French Motets in Bamberg . Diss. Univ. of Texas at Austin 1979.
  • Patricia Lynn Patterson Norwood: Performance Manuscripts from the Thirteenth Century? . In: College Music Symposium . Volume 26, 1986, pp. 92-96.
  • Patricia Lynn Patterson Norwood: Evidence Concerning the Provenance of the Bamberg Codex . In: The Journal of Musicology . Volume 8, 1990, pp. 491-504.
  • Karin Paulsmeier: Accidents in Codex Bamberg . In: Swiss contributions to musicology . Volume 2, 1974, pp. 21-46.
  • Dolores Pesce: The significance of text in thirteenth-century Latin motets . In: Acta Musicologica . Volume 58, No. 1, 1986, pp. 91-117.
  • Karl-Georg Pfändtner, Stefanie Westphal, Gude Suckale-Redlefsen: Catalog of the illuminated manuscripts of the Bamberg State Library, Volume 3: The manuscripts of the 13th and 14th centuries of the Bamberg State Library. With additions to manuscripts and fragments from the 10th to 12th centuries. Part 1: Texts . Wiesbaden 2015, cat. No. 145, pp. 209-213. Part 2: illustrations. Wiesbaden 2015, fig. 429–433.
  • Ernest H. Sanders and Peter M. Lefferts: Sources, MS, § V. Early motet . In: The New Grove dictionary of music and musicians . 2nd edition, Volume 23, 2001, pp. 874-877, especially p. 876.
  • Hans Schmid: Bavarian music manuscripts of the Middle Ages . In: Music in Bavaria . 1974, pp. 67-78.
  • Rudolf Stephan: Bamberg. Manuscripts (B) . In: Music in the past and present . 2nd edition, Volume 1, 1994, Col. 1185 f.
  • Linda Jean Speck: Relationships between music and text in the late thirteenth-century French motet . Diss. Univ. of Michigan 1977.

Web links

Individual evidence

  1. ^ Karl-Georg Pfändtner, Stefanie Westphal, Gude Suckale-Redlefsen: Catalog of the illuminated manuscripts of the Bamberg State Library, Volume 3: The manuscripts of the 13th and 14th centuries of the Bamberg State Library. With additions to manuscripts and fragments from the 10th to 12th centuries. Part 1: Texts . Wiesbaden 2015, cat. No. 145, pp. 209-213. Part 2: illustrations. Wiesbaden 2015, fig. 429–433.