Fragmenti srednjeveških koralnih rokopisov s poznogotsko notacijo v Ljubljan

Jurij Snoj

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Muzikološki zbornik Jurij Snoj Ljubljana Musicological Annual XXIV, Ljubljana 1988 DISERTACIJE DISSERT ATIONS Fragmenti srednjeveških koralnih rokopisov s poznogotsko notacijo v Ljubljani Fragments of Medieval Plainchant Manuscripts in Late Gothic Notation in Ljubljana Delo obravnava v Ljubljani ohranjene fragmente nekdaj popolnih, kasneje uniče­nih srednjeveških bogoslužnih rokopisov, ki vsebujejo zapis gregorijanskega korala v poznogotski notaciji. V celoti ohranjene knjige s tem tipom notacije niso upoštevane. Fragmenti so se pokazali kot možni predmet raziskave ob sistematičnem iskanju pre-ostankov srednjeveških glasbenih rokopisov v Ljubljani. Ostanki uničenih srednjeveš-kih knjig so se ohranili predvsem kot knjigoveško gradivo, kot pergamentni nalepki na platnicah ali hrbtih mlajših knjig; ob načrtnem pregledu domala vsega vezanega ar-hivskega gradiva do približno srede 18. stol. v Ljubljani se je pokazala obsežna skupina 151 fragmentov koralnih rokopisov, pisanih z isto poznogotsko notacijo, in ti so bili določeni za posebno raziskavo. S številko 1 51 so omenjeni fragmenti zaobseženi kot arhivske in knjižnične enote, ne glede na to, ali sestoje iz enega samega popolnega ali nepopolnega folija, iz več foli-jev ali zgolj iz drobnega odrezka, za katerega je bilo prav tako možno ugotoviti, da je ostanek koralnega rokopisa s poznogotsko notacijo. Medsebojna primerjava je poka-zala, da so mnogi od 151 fragmentov ostanki istih rokopisov. Če se ne upošteva nekaj drobnih in nedoločenih odrezkov, pripadajo 69 različnim, nekdaj popolnim, kasneje pa uničenim rokopisom. Med njimi je 20 fragmentov gradualov, 8 fragmentov sekven-ciarjev, 1 fragment missale plenarium, 1 fragment misala, 2 fragmenta kirialov, 30 fragmentov antifonalov, 1 fragment breviarium plenarium, 3 fragmenti psalterjev ter 3 fragmenti, ki jih vsebinsko ni bilo mogoče določiti. Po obsežnosti sestoji 30 frag-mentov iz enega samega popolnega ali nepopolnega folija ali drobnega odrezka, 13 je iz dveh folijev, nekaj največjih pa šteje od 12 do 37 popolnih ali nepopolnih folijev. Re-konstruiranih 69 fragmentov je kronološko razvrščenih; opisana je njihova zunanjost in navedena njihova vsebina. Da bi bilo mogoče določiti prostor, iz katerega izhajajo obravnavani fragmenti ozi-roma rokopisi, ki so jim fragmenti nekdaj pripadali, je njihova vsebina primerjana z več srednjeveškimi rokopisi in tiski, med drugim s tiskanim oglejskim misalom in brevirjem s konca 15. stol.; večji del današnjega slovenskega ozemlja je namreč v srednjem ve-ku spadal cerkvenoupravno pod oglejski patriarhat. Med primerjanimi viri se je pokaza-la nenavadno velika raznolikost, tako da je bilo le v zelo redkih primerih možno z večjo gotoyostjo določiti bogoslužni izvor. Za 7 gradualnih fragmentov, 5 antifonalnih ter 1 107 psalterski fragment je možno domnevati, da so ostanki bogoslužno oglejskih rokopi-sov, nekaj je najbrž neoglejskih, večina pa je ostala nedoločena. Ohranjeni repertoar je v glavnem splošno znan, vendar so v njem tudi enote, ki jih v dostopnih popisih in iz-dajah gregorijanskega repertoarja ni. Sekvence in himni so obravnavni posebej. Natančnejši notacijski kriterij, po katerem so bili obravnavani fragmenti izbrani, je: 1 . izključna uporaba punctuma ali pa uporaba punctuma in redkejše virge kot znamenj za edini ton nad zlogom; 2. uporaba punctuma in virge v večtonskih znamenjih. Med 1 51 fragmenti torej ni takih, ki bi se kot znamenja za edini ton nad zlogom posluževali predvsem virge, niti ne takih, ki bi se tudi v večtonskih znamenjih posluževali samo punctuma. Vsa v obravnavanih fragmentih prisotna notacijska znamenja - vseh sku-paj je 387 - so izpisana; sistematizirana so: 1. glede na izvor (npr. vsa znamenja, ki izhajajo iz podatusa, zapisanega s punctumom in virgo itd.); 2. glede na to, kako so sestavljena (npr. vsa znamenja, pri katerih je osnovnemu znamenju dodan en relativno višji ton, t.j. znamenja s pridevnikom „resupinus" itd.). Posebej so sistematizirana in obravnavana znamenja, pri katerih imajo posamezni punctumi dodane tanke poševne črtice in ki so ostanki likvescentnih in ornamentalnih nevm. Po kriteriju, ki ga označuje pridevnik „poznogotski", so med 151 fragmenti samo taki, ki kažejo očitno težnjo k debelim in kaligrafsko izdelanim potezam. Na osnovi zunanjega izgleda pisave je 69 fragmentov kronološko razvrščenih od 14. do druge polovice 16. stol. S tem je preko-račeno 15. stoL kot konec srednjega veka, vendar predstavljajo v gregorijaniki dejan-ski konec srednjeveškega izročila šele reforme tridentinskega koncila v drugi polovici 16. stol. Glasbena obravnava se iz metodoloških razlogov omejuje le na vezane oblike. Za oficijske antifone je izdelan tonar, kjer so vse antifone razporejene glede na 53 različ­nih diferenc antifonalne oficijske psalmodije, prisotnih v obravnavanih fragmentih. Po-leg diferenc so prikazane še antifonalna mašna psalmodija, invitatorijalna psalmodija, responzorijalna oficijska psalmodija, lamentacije, prefacije in kratki responzorijL Kot preizkus zanesljivosti izročila so primerjani zapisi tistih oficijskih antifon, ki so se ohra-nile v več fragmentih. Na prvi pogled kaže primerjava precejšnjo stopnjo neenotnosti, vendar je večina odstopanj takih, da je absolutni melodični tok le malo spremenjen ali pa sploh nespremenjen. Od 69 obravnavanih fragmentov se jih je 43 ohranilo v zvezi s knjigami, ki so bile gotovo vezane na Kranjskem, kar pomeni, da na Kranjsko niso prišli kot že uporabljeno knjigoveško gradivo. Med temi je 1 O takih, ki glede na vsebino najbrž ne bi mogli biti v uporabi na Kranjskem, ostalih 33 pa bi lahko zadostovalo potrebam trinajstih ali nekaj manj cerkva. Vendar je v mreži kranjskih cerkva s konca srednjega veka možno določi­ti le tri svetne in tri samostanske, kjer se je z večjo gotovostjo opravljalo koralno bogo-služje in kjer bi se lahko uporabljali s poznogotsko notacijo pisani rokopisi. Oglejski obred je bil na Kranjskem odpravljen približno do srede 17. stol. Zdi se, da je temu sle-dilo množično uničenje srednjeveškega bogoslužnega rokopisja, saj izvira večina del, v vezavi katerih so se ohranili tisti fragmenti, ki so bili tudi pred uporabo v knjigoveške namene na Kranjskem, iz stoletja od konca drugega desetletja 17. stol. do konca dru-gega desetletja 18. stol. Delo vsebuje abecedni seznam vseh v obravnavanih fragmentih popolno ali nepo-polno ohranjenih spevov in drugih bogoslužnih besedil. Obranjena dne 15. januarja 1988 na Filozofski fakulteti v Ljubljani. The object of study are the fragments of once integral, but later on destroyed medieval liturgical manuscripts which contain the Gregorian chant in late Gothic nota-tion and have been found preserved in Ljubljana. No account has been taken of the in-108 tegrally preserved books containing this type of notation. The fragments have been perceived as a possible object of examination during the systematic search tor the re-mains of medieval music manuscripts in Ljubljana. Scraps of medieval books now de-stroyed have been preserved mostly in the form of bookbinder's material, such as parchment paste-up strips or sheets on the covers or spines of some later books. The systematic survey of virtually all the binded material in Ljubljana archives and libraries from the period prior to the mid-18th century has produced an outstanding corpus of 1 51 fragments of plainchant manuscripts written in the same late Gothic notation. These have been set apart for a separate examination. The figure 1 51 stands here tor the number of the above-mentioned fragments counted as archive and library units, regardless of whether they consist of a single folio, integral or incomplete, a number of folios, or a mere fragmentary clipping which has well enough admitted of being ascertained as a remainder of a plainchant manu-script in late Gothic notation. The comparison of individual units has proven many of the 1 51 fragments to have once belonged to the same manuscripts. When a few un-identifiable bits are disregarded, the entire corpus of fragments is now perceived as having once belonged to 69 different, at one tirne integral but later destroyed manu-scripts. The corpus includes 20 fragments ot graduals, 8 fragments of sequentiaries, 1 fragment ot a missale plenarium, 1 fragment of a missal, 2 fragments of kyriales, 30 fragments of antiphoners, 1 fragment of a breviarium plenarium, 3 fragments of psal-ters, and 3 fragments which defy any identification as to their contents. With regard to their size and coverage, 30 fragments have been found to consist of a single folio, either integral or incomplete, or a single fragmentary clipping, 13 of pair of folios, and severa! major ones of 12-37 folios, either integral or incomplete. The 69 reconstruc-ted fragments have been arranged chronologically, with their externals outlined and their contents stated. For the purpose of ascertaining the place of origin of the present fragments and manuscripts to which these fragments once belonged, a comparison has been made between the contents of the fragments and those of severa! medieval manuscripts and prints, including the late-1 5th-century missal and breviary of Aquileia, which is only logical since the greater part of the territory now covered by the Republic of Slo-venia used to belong under the ecclesiastical administration of the Patriarchate of Aquileia in the Middle Ages. The comparison has established an amazig variety between the units, so that the exact liturgical source could be ascertained accurately enough but in few rare cases. 7 gradual, 5 antiphoner, and 1 psalter fragment permit of the conjecture that they represent the remainder of some liturgical manuscripts of the rite of Aquileia, another few are suppose·d to be of non-Aquileian origin, while the overwhelming majority remains unidentified. For the most part, the preserved reper-tory consists of chants commonly known at the tirne, but there are some that cannot be traced in the available registers and editions of the Gregorian repertoire. Sequen-ces and hymns are considered in separation. The exact notational criterion applied in the selection of the discussed fragments stands as follows: ( 1) the exclusive use of punctum, or the use of punctum and only rarely of virga, as the signs for the only tone over a syllable, (2) the use of both punc-tum and virga in the signs tor more than one tone. None of the 1 51 fragments, then, use virga as the primary sign for the only tone over a syllable, and none use punctum as the exclusive sign in the signs tor more than one tone. All notational signs found in the discussed fragments - altogether there are 387 of them - have been copied out and arranged systematically according to (1) their origin (e.g. all the signs originating 109 in the podatus codified with a punctum and a virga, etc.), (2) their structure (e.g. all the signs in which the simple sign has been enlarged by a relatively higher tone, i.e. the signs with the adjective "resupinus", etc.). Systematized and discussed sepa-rately are the signs where individual puncta have been furnished with thin oblique strokes and which are the remains of liquescent and ornamenta! neumes. In accor-dance with the criterion designed by the adjectival phrase "late Gothic" all the 1 51 fragments display a marked tendency to thick-lined and calligraphic handwritting. The external characteristics of the handwriting have served to place the 69 fragments in chronological order between the 14th and the latter half of the 16th centuries. Ttius, the landmark of the 1 5th century chosen to denote the end of the Middle Ages has been crossed; nevertheless, one should remember that the end of the medieval tradi-tion in the Gregorian chant was only marked by the retorms of the Council of Trent in the latter half of the 16th century. For methodological reasons the musical discussion has been limited to the tones. A tonary has been produced tor the office antiphons, with all the antiphons arranged according to the 53 different psalm tone terminations tound in the discussed frag-ments. Besides showing the terminations, the study presents the tones for the in-troits, the tones of the invitatory psalm, the tones tor the responsories, lamentations, prefaces, and short responsories. In order to test the accuracy of the tradition a mEtlo-dic comparison has been made between those office antiphons that have been pre-served in more than one fragment. Prima facie, the comparison has displayed a con-siderable degree of inconsistency, yet, nevertheless, most of the divergencies have proved to have but little effect on the absolute melodic course, or none at all. 43 of the 69 discussed fragments have been preserved in connection with some books which are certain to have been binded in Carniola (province in the German Em-pire, capital city Ljubljana), which proves that these fragments had not been brought to Carniola as bookbinder' s material. These 43 fragments include 1 O of the kind that, such as they were, were not likely to be in use in Carniola, while the remaining 33 may have met the needs of the thirteen, or fewer, churches there. However, there were but three secular and three monastic churches in the Carniolian network of chur-ches in the late Middle Ages where the plainchant liturgy is fairly likely to have been in use, and where some manuscripts written in the late Gothic notation may have been used. The rite of Aquileia had been abolished in Carniola approximately by the mid-1 7th century. It would seem that the abolition was then tollowed by a mass destruction of medieval liturgical manuscripts since the greater part of the books which include in their binding the fragments of the manuscripts which had been in Carniola before they were used tor bookbinding purposes originate from the late 1620's through the late 1720's. The study includes an alphabetical index of all the chants and other liturgical texts that have been preserved integrally or partly in the discussed fragments. Defended January 15, 1988, Philosophical Faculty in Ljubljana. 110 

Fragmenti srednjeveških koralnih rokopisov s poznogotsko notacijo v Ljubljani

Fragments of Medieval Plainchant Manuscripts in Late Gothic Notation in LjubljanaFragmenti srednjeveških koralnih rokopisov s poznogotsko notacijo v Ljubljan

Snoj, Jurij

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Fragmenti srednjeveških koralnih rokopisov s poznogotsko notacijo v Ljubljani

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