Klosterneuburg, Augustiner-Chorherrenstift - Bibliothek, 1018
- A-KN 1018
- Fourteenth-century antiphoner from Klosterneuburg, Austria. Four-line staff in brown ink with F- and C-lines traced in red and yellow. D-, F-, A- and C-clefs. Cathedral cursus. 262 parchment folios, 26.3 x 18.3 cm with a principal writing-space of 21.1 x 13.2 cm. An insertion of Venite tones interrupts the antiphon at the bottom of f. 249v (which continues at the top of f. 262v).
- Liturgical Occasions
- Ff. 2r-170v: Summer Temporale and Sanctorale. 2r, Easter; 30v, George; 31r, Mark; 31v, Philip and James; 33r, Invention of the Cross; 37r, John at the Latin Gate; 37v, Ascension; 43r, Pentecost; 50r, Trinity; 54v, John the Baptist; 59r, John and Paul; 61r, Peter and Paul; 68r, Paul; 73v, Sending of the Apostles; 73v, Margaret; 78r, Mary Magdalene; after 83v, lacuna; 88r, Peter's Chains; 88r, Afra; 94v, Laurence; 100r, Hippolytus; 100v, Assumption of Mary; 110v, Augustine; 117v, Beheading of John the Baptist; 119v, Aegidius; 124r, Nativity of Mary; 129v, Exaltation of the Cross; 131r, Matthew; 131v, Maurice; 132v, Common of Evangelists; 137r, Dedication of a Church; 142, Michael; 147v, Denis; 149, Translation of Augustine; 149r, Luke; 149r, 11,000 Virgins; 149r, All Saints; 153r, Martin; 158r, Brice; 159r, Othmar; 160r, Cecilia; 164r, Clement; 166r, Andrew; 171r, Common of Saints; 193, Summer Histories; 222r, Sundays after Pentecost; 234r, Ursula; 239v, Funeral Office; 246r, Acacius; 250r, Invitatory tones.
The eight manuscripts 1013, 1012, 1010, 589, 1011, 1015, 1017, and 1018 were copied over a period spanning two centuries. Codices Claustroneoburgensis (CCl.) 1013, 1012 and 1010 are among the oldest surviving sources in the Klosterneuburg library of the sung Office liturgy. CCl. 1013 and 1012 can be paired to create a complete twelfth-century representation of the church year, since 1012 begins at Pentecost and 1013 ends just before. CCl. 589, 1011, 1015, 1017 and 1018 date from over a century later. Of these later manuscripts, three contain the chants of the pars hiemalis (winter) and two the pars aestiva (summer).
Several of the Offices found in these manuscripts but not included in CAO appear in full in Analecta hymnica (AH), as well as in other CANTUS files. The Office for Immaculate Conception appears in AH vol. 5, pp. 47-50; Ursula appears in AH vol. 28, pp. 256-9; and Benedict in AH vol. 25, pp. 145-9.
The differentiae of each mode have been numbered with a two-digit system: an upper-case letter indicating the final pitch of the differentia and a sequentially-ordered numeral. These differentia codes are consistent throughout these eight Klosterneuburg indices.
The eight Klosterneuburg manuscripts are likely from the female side of the double house and reflect the particular liturgical practices of the women of Klosterneuburg, as discussed by Klugseder, Norton, and Carr.
- Selected Bibilography
- Heckenbach, Willibrord. “Das mittelalterlichen Reimoffizium ‘Praeclarum late’ zu den Festen das Heiligen Benedict.” In Itinera Domini: Festschrift fuer Emmanuel von Severus OSB zum 80. Geburtstag , 189-210. Münster: Aschendorf, 1988.
- Klugseder, Robert. “Studien zur mittelalterlichen liturgischen Tradition der Klosterneuburger Augustinerklöster St. Maria und St. Magdalena.” Musica Austriaca 27 (2008), 11-42.
- Lacoste, Debra S. “The Earliest Klosterneuburg Antiphoners.” Ph.D. dissertation, The University of Western Ontario, 1999.
- Lacoste, Debra S. ed.. Four Klosterneuburg Antiphoners: Augustiner-Chorherren Stiftsbibliothek, 1013, 1012, 1017, and 1018. Printouts from an Index in Machine-Readable Form. A CANTUS Index. Ottawa: The Institute of Mediaeval Music, 1998.
- Lacoste, Debra S. “Klosterneuburg 1017 and 1018: An Analytical Inventory.” M.A. thesis, The University of Western Ontario, 1994.
- Norton, Michael L. and Amelia J. Carr. “Liturgical Manuscripts, Liturgical Practice, and the Women of Klosterneuburg.” Traditio 66 (2011), 66-170.
- Notes on the Inventory
- The inventory for A-KN 1018 was prepared by Debra Lacoste (The University of Western Ontario) with editorial assistance from Keith Glaeske (Catholic University of America). Melodies in Volpiano were entered by Zack Harrison (Dalhousie University) and proofread by Joel Oliver-Cormier (Dalhousie University). Full texts were added by Marta Borowska (University of Waterloo) with proofreading by Alessandra Ignesti (McGill University).
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