Winchester Troper
The Winchester Troper refers to two eleventh-century manuscripts of
Manuscripts
In the late nineteenth century, Walter Frere and the Solesmes monks were the first to refer to these manuscripts as the "Winchester Troper."[2] Despite the implications of the name, the manuscripts are not identical, not part of a set (such as Volume 1 and Volume 2), and contain liturgical genres other than tropes. The term "Winchester Troper" can refer to either manuscript or to the repertory of the two as a collective.
Dating
The dating of the two manuscripts has been subject of debate. The core repertory of Corpus 473 was likely copied in the 1020s-1030s.[3] Bodley 775 was possibly copied in the 1050s. However, scholars disagree about the dating of the possible exemplars on which Bodley 775 was based. Perhaps Bodley 775 was copied directly from a now lost exemplar dating from the late 970s or 980s. Therefore, the manuscript is retrospective because it reflects practices different than those at the time it was copied.[4] On the other hand, Bodley 775 may have been copied from two preexisting manuscripts: a late tenth-century gradual and a troper of a possibly later date.[5] This hypothesis considers both the retrospective characteristics of Bodley 775 and its status as a later manuscript than Corpus 473. Bodley 775 was not modeled after Corpus 473.[6]
Each manuscript contains additional chants copied by scribes throughout the eleventh century. Although the core of each manuscript reflects a connection to Northern France, the supplementary chants copied by scribes in the latter half of the eleventh century exhibit a very strong Norman influence.
Physical description
Corpus 473 contains 199 folios of parchment with dimensions of 140/145 x 90/93 mm. The final folio dates to the sixteenth century and is not original to the manuscript. The complete manuscript was rebound and conserved in 2004. It is written mostly in dark brown ink with colored capitals; the handwriting is Caroline minuscule.[11] Corpus 473 may have been used by the succentor or cantor of the Old Minster and Bodley 775 by its cantor.[12][6]
Bodley 775 contains 191 folios of parchment of the size 273 x 167 mm. The manuscript retains its eleventh-century binding, consisting of two quarter-cut oak boards covered in whittawed skin.
Although Wulfstan the Cantor was once thought to have a direct role in the copying of these manuscripts (and perhaps even composing the organa of Corpus 473), more recent dating makes this impossible because the manuscripts are now believed to have been copied after Wulfstan's death. The organa were possibly composed by several people at Winchester and represented the best attempts at improvised polyphony that were deemed worthy of memory.[16][17]
Overview of contents
Corpus 473 and Bodley 775 share much of the same music for many of the same feasts, but there are some notable differences between the contents and organization of the two manuscripts. Corpus 473 contains the voces organales (Latin: organal voices) to 174
Genre | Gathering | Folio | Quantity |
---|---|---|---|
Alleluia cycle | 1 | 1-8 | 44 |
Proper tropes | 2-6 | 9-54 | |
Ordinary tropes and tonary | 7-9 | 55-80 | 4 Kyrie tropes
10 Kyries (one is later) 17 Gloria tropes 6 Sanctus tropes 1 Sanctus 6 Agnus dei tropes |
Sequences | 10 | 81-88 | 52 |
Proses | 11-15 | 89-134 | 51 |
Organa | 16-21 | 135-190 | 174 |
Later material | 22 | 191-198v |
Genre | Gathering | Folio | Quantity |
---|---|---|---|
Later material | 1 | 1r-7v | |
Proper tropes | 2-8 | 8r-61v | |
Ordinary tropes | 8-10 | 62r-76r | 4 Kyrie tropes
11 Kyries 13 Gloria tropes 6 Sanctus tropes 2 Sanctus 6 Agnus dei tropes |
Alleluia cycle | 10-11 | 76v-87v | 107 (core repertory)
4 (late 11th c.) |
Tract cycle | 12-13 | 88r-97r | 25 |
Offertory cycle (with verses) | 13-16 | 97v-121v | 100 |
Sequences | 16-17 | 121r-129r | 51 |
Proses | 17, 18-24 | 130r-190v | 11 (late 11th through early 12th c.)
approx. 64 (core repertory, some erased) 14 (late 11th through early 12th c.) |
Tropes
The Winchester Troper is partly a troper (i.e. a book of tropes). It contains Gregorian chant and tropes, which are musical or textual (or both) expansions of Gregorian chant. Corpus 473 and Bodley 775 contain several introit tropes for feasts of St. Swithun, a ninth century Bishop of Winchester.[24][25][26] Some of the introit tropes for St. Swithun are unique to this repertory.[27][28] St. Swithun is also represented in Offertory and Communion tropes.[29] Both manuscripts contain tropes for various Sanctorale and Temporale feasts, including Christmas, Advent, Epiphany, Pentecost, All Saints, St. Stephen, St. Gregory, and the Innocents. Other local saints, like St. Æthelwold and St. Justus (Iustus), are also represented.[30]
The two manuscripts contain nearly the same proper tropes with some significant exceptions. Bodley 775 contains fewer Communion and Offertory tropes than Corpus 473.[5] Generally, trope repertories across Europe shrank during the eleventh century, meaning the lower number of tropes in Bodley 775 could reflect a later stage of compilation than Corpus 473. This corroborates the claim that Bodley 775 is based on an earlier gradual but a more recent troper, possible one that dates after Corpus 473.[31] Between the two manuscripts, 37 tropes are almost certainly English in origin, while another 48 are of probable English origin.[32] Some of these tropes are also found in other English or North French sources, but many are unique to Winchester. It is often difficult to determine the origin of a specific chant and is subject to interpretation.[5]
The organa and their reconstruction
Corpus 473 contains 174 organal parts of two-part organum pieces, the largest surviving collection of eleventh century polyphony. The polyphony consists of two voices, a vox principalis (Latin plural, voces principales; English, principal voice[s]) and a vox organalis (Latin plural, voces organales; English, organal voice[s]). The vox principalis is a previously composed chant; the vox organalis is a newly composed part in counterpoint with the chant. The organal voices seem to follow a general contour below the principal voices, beginning with parallel movement in fourths, then oblique movement (including the use of holding tones), then meeting in unison at points of ocursus.[33] The gatherings of Corpus 473 dedicated to organa contain only the voces organalis. Singers would have performed the principal voice from a different gathering, another manuscript, or, more likely, from memory. Among the genres that receive organal treatment are troped and untroped Mass Ordinary chants, tracts, sequences, Mass Proper tropes, Alleluias, and Office Responsories.[34]
Because the notation consists of adiestematic neumes, which indicate the melodic contour but not precise pitches,[35] the organal voices were long considered to be indecipherable. However, Andreas Holschneider and, more recently, Susan Rankin have published reconstructions of some of the organa.[36][37] To reconstruct the organa, Rankin matches the organal voice with a chant melody. To determine the best match, she examines the notation of the organal voice against various chant melodies that use the same text. Theoretical rules found in treatises, such as Musica enchiriadis and Guido of Arezzo's Micrologus, are necessary to reconstruct the organal voice. Significantly, the neume shapes and contour of the organal voice sometimes break from the theory.[38] Because Corpus 473 contains multiple organal harmonies to the same melodic gesture, the monks at Winchester exercised a certain degree of compositional freedom when writing organa.[16] Rankin suggests that the composer(s) of organa were engaged in a creative and aesthetic practice, a different conclusion from Holschneider's assessment that the organal voice was precisely bound to the rules of theory.[39]
References
- ^ a b Rankin, Susan (2007). The Winchester Troper: Facsimile Edition and Introduction. London: Stainer and Bell. pp. xi.
- ^ Rankin, Susan (1993). "Winchester Polyphony: The Early Theory and Practice of Organum". In Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong and Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press. pp. 61–62.
- ^ Rankin, Susan (2007). The Winchester Troper: Facsimile Edition and Introduction. London: Stainer and Bell. p. 7.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Vol. 1. Princeton: Princeton University Press. pp. 40–44.
- ^ a b c d e Rankin, Susan (2007). The Winchester Troper: Introduction and Facsimile Edition. London: Stainer & Bell. p. 55.
- ^ a b Rankin, Susan (2007). The Winchester Troper: Introduction and Facsimile Edition. London: Stainer & Bell. p. 9.
- ^ Huglo, Michel (1993). Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press. pp. 49, 57, 58.
- ^ Hiley, David (1994). "Changes in English Chant Repertories in the Eleventh Century as Reflected in the Winchester Sequences". In Chibnall, Marjorie (ed.). Anglo-Norman Studies XVI. Proceeding of the Battle Conference 1993. Rochester, NY: Boydell Press. pp. 137–155.
- ^ Hiley, David (1994). "Changes in English Chant Repertories in the Eleventh Century as Reflected in the Winchester Sequences". In Chibnall, Marjorie (ed.). Anglo-Norman Studies XVI. Proceeding of the Battle Conference 1993. Rochester, NY: Boydell Press. pp. 137–155.
- ^ Huglo, Michel (1993). "Remarks on the Alleluia and Responsory Series in the Winchester Troper". In Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press. pp. 48–49.
- ^ Rankin, Susan (2007). The Winchester Troper: Introduction and Facsimile Edition. London: Stainer & Bell. pp. 3–4.
- ^ Handschin, J (April 1936). "The Two Winchester Tropers". Journal of Theological Studies. 37 (146): 172.
- ^ Clarkson, Christopher (1996). "Further Studies in Anglo-Saxon and Norman Bookbinding: Board Attachment Methods Re-examined". Roger Powell: The Compleat Binder: Liber amicorum. Brepols. p. 190.
- ISBN 9781843832812.)
{{cite book}}
: CS1 maint: multiple names: authors list (link - ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Vol. 1. Princeton: Princeton University Press. pp. 34–36.
- ^ a b Rankin, Susan (2015). "Organa dulcisona docto modulamine compta: Rhetoric and Musical Composition in the Winchester Organa". In Zayaruznaya, Anna; Blackburn, Bonnie J.; Boorman, Stanley (eds.). Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart. Middleton, Wisconsin: American Institute of Musicology. pp. 779–780.
- ^ Arlt, Wulf (1993). "Stylistic Layers in Eleventh-Century Polyphony: How Can Continental Sources Contribute to Our Understanding of the Winchester Organa?". In Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press. p. 141.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Vol. 1. Princeton: Princeton University Press. p. 35.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Vol. 1. Princeton: Princeton University Press. p. 36.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Vol. 1. Princeton: Princeton University Press. p. 20.
- ^ Rankin, Susan (2007). The Winchester Troper: Facsimile Edition and Introduction. London: Stainer and Bell. pp. 5, 49.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Princeton: Princeton University Press. pp. 20–23.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Vol. 1. Princeton: Princeton University Press. pp. 36–39.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Vol. 2. Princeton: Princeton University Press. pp. 160, 169, 173–174.
- ^ Rankin, Susan (2007). The Winchester Troper: Introduction and Facsimile Edition. London: Stainer & Bell. pp. 87, 91.
- ^ Cambridge, Corpus Christi College 473: 38v., 39r., 39v., 78v., 79r.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Vol. 1. Princeton: Princeton University Press. pp. 145–146.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Vol. 2. Princeton: Princeton University Press. pp. 160, 169.
- ^ Rankin, Susan (2007). The Winchester Troper: Introduction and Facsimile Edition. London: Stainer & Bell. p. 87.
- ^ Rankin, Susan (2007). The Winchester Troper: Introduction and Facsimile Edition. London: Stainer & Bell. p. 53.
- ^ Rankin, Susan (2007). The Winchester Troper: Introduction and Facsimile Edition. London: Stainer & Bell. pp. 55–56.
- ^ Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. Princeton: Princeton University Press. pp. 145, 156.
- ^ Rankin, Susan (1993). "Winchester Polyphony: The Early Theory and Practice of Organum". In Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press. p. 68.
- ^ Rankin, Susan (2007). The Winchester Troper: Introduction and Facsimile Edition. London: Stainer & Bell. p. 63.
- ^ Hiley, David (1990). "Editing the Winchester Sequence Repertory of ca. 1000". In Dobszay, László; Halász, Péter; Mezei, János; Prószéky, Gábor (eds.). Cantus Planus: Papers Read at the Third Meeting, Tihany, Hungary 19-24 September 1988. Budapest: Hungarian Academy of Sciences Institute for Musicology. p. 100.
- ^ Holschneider, Andreas (1968). Die Organa von Winchester: Studien zum ältesten Repertoire polyphoner Musik. Hildesheim: G. Olms.
- ^ Rankin, Susan (1993). "Winchester Polyphony: The Early Theory and Practice of Organum". In Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press.
- ^ Rankin, Susan (1993). "Winchester Polyphony: The Early Theory and Practice of Organum". In Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press. p. 78.
- ^ Rankin, Susan (1993). "Winchester Polyphony: The Early Theory and Practice of Organum". In Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press. pp. 85, 95.
Bibliography
Recordings
- "Christmas in Royal Anglo-Saxon Winchester," Herald AV Publications , HAVPCD151, sung by the Schola Gregoriana of Cambridge, directed by Mary Berry.
- "Music for a King: The Winchester Troper," AECD 1436, sung by Discantus, directed by Briggite Lesne.
Manuscripts
Scholarship
Arlt, Wulf (1993). "Stylistic Layers in Eleventh-Century Polyphony: How Can Continental Sources Contribute to Our Understanding of the Winchester Organa?". In Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press.
Frere, Walter Howard (1894). The Winchester troper from MSS. of the Xth and XIth centuries with other documents illustrating the history of tropes in England and France. London: Henry Bradshaw Society.
Handschin, J. (January 1936; April 1936). "The Two Winchester Tropers". Journal of Theological Studies. 37. nos. 145-146.
Hiley, David; Rankin, Susan, eds. (1993). Music in the Medieval English Liturgy. Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press.
Hiley, David (1995). “The Repertory of Sequences at Winchester.” In Boone, Graeme M. (ed). Essays on Medieval Music on Honor of David G. Hughes. In Boone, Greame M. (ed.). Isham Library Papers 4. Cambridge, MA: Harvard University Press.
Hiley, David (1998). “The English Benedictine Version of the Historia Sancti Gregorii and the Date of the ‘Winchester Troper’ (Cambridge, Corpus Christi College, 473).” In Dobszay, László (ed.). Cantus Planus: Papers Read at the Seventh Meeting, Sopron, 1995. Budapest: Hungarian Academy of Sciences Institute for Musicology.
Huglo, Michel (1993). Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong & Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press.
Holschneider, Andreas (1968). Die Organa von Winchester : Studien zum ältesten Repertoire polyphoner Musik. Hildesheim: G. Olms.
Planchart, Alejandro Enrique (1977). The Repertory of Tropes at Winchester. 2 Vols. Princeton: Princeton University Press.
Rankin, Susan (1993). "Winchester Polyphony: The Early Theory and Practice of Organum". In Rankin, Susan; Hiley, David (eds.). Music in the Medieval English Liturgy: Plainsong and Mediaeval Music Society Centennial Essays. Oxford: Clarendon Press.
Rankin, Susan (2007). The Winchester Troper: Facsimile Edition and Introduction. London: Stainer and Bell.
Rankin, Susan (2015). "Organa dulcisona docto modulamine compta: Rhetoric and Musical Composition in the Winchester Organa". In Zayaruznaya, Anna; Blackburn, Bonnie J.; Boorman, Stanley (eds.). Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart. Middleton, Wisconsin: American Institute of Musicology.
External links
- "Cambridge, Corpus Christi College, Parker Library, Ms. 473". Facsimile of the Winchester Troper (11th century). Retrieved 17 March 2018. "Incipiunt melliflua organorum" (fol. 135).
- "Oxford, Bodleian Library, MS Bodl. 775". Facsimile of same pages of the Winchester Troper preserved at Oxford (11th century). Retrieved 24 August 2018.
- "MS Bodl. 775". Bodleian Libraries Catalogue of Medieval Manuscripts. Retrieved 24 August 2018.