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Detailed record for Additional 34209

Title Antiphoner and Gradual, imperfect (Pars hiemalis)
Origin France
Date 12th century
Language Latin
Script Protogothic
Decoration 17 initials with a foliate and interlace decoration in a red, brown and green ground, and eight initials with zoomorphic or antropomorphic decoration in red, green, yellow and brown grounds. Musical notation in brown, red and green.
Dimensions in mm 250 x 140 (165 x 105)
Official foliation ff. 135 (+ 3 unfoliated paper flyleaves at the beginning and at the end).
Form Parchment codex
Binding BM/BL in-house; marbled end papers.
Provenance Added fragment with musical notation between ff. 22v-23.
Ludwig Rosenthal (b. 1840, d. 1928), art and book collector; purchased from him by the British Museum on 9 July 1892 for £130: inscription (f. i).
Notes The manuscript is considered to be one of the earliest surviving redaction of music for the winter part of the Ambrosian liturgy.
Contents: imperfect, extending from the middle of the 1st Sunday in Advent to Easter Eve. Besides the usual Offices from the Temporale the Feast of the Translation of S. James is introduced after that of the Holy Innocents, and the Feasts of SS. Sebastian and Solutor, Agnes, Vincent, Babylas, Julius of Novara, Severus, and the Purification of the Virgin, between the 5th Sunday after Epiphany and Septuagesima Sunday. At the end (ff. 131-135) are added some Preces or Litanies for the first two Sundays in Lent, Antiphons for the Monday and Tuesday before Christmas, the hymn Magno salutis gaudio for Palm Sunday, Gloria in excelsis, Venite, exultemus and Desiderabiliora sunt followed by several Alleluias with very long and elaborate pneumata, Lux orta est, and Lucerna pedibus.
Select bibliography Dom Ambroise Kienle, ‘Uber die Ambrosianishe Liturgie und Ambrosianishen Gesang’ in Studien und Mittheilungen aus dem Benetictiner und Cistercienser orden de Raigern, 5 (Würzburg, 1884), vol. 1 part 2, p. 346; vol. II, part 4, p. 340.

Catalogue of Additions to the Manuscripts in the British Museum in the years 1888-1893 (London: British Museum, 1984), p.236.

Antiphonarium Ambrosianum du Musée Britannique (XIIe siècle), Codex Additional 34209, Pale´ographie musicale, Facsimile´s phototypiques, 5 (1896), 6 (1900) [facsimile].

Michel Huglo, Fonti e Paleografia del canto ambrosiano, trans. by Aurelio Fossati and others (Milan 1956), pp. 39-44.

Klaus Gamber, Codice liturgici latini antiquiores, 2nd edn (Freiburg: Universita¨tsverlag Freiburg, 1968), p. 66, n. 55.

Edward B. Garrison, Early Italian Painting. Selected Studies , 2 vols (London: Pindar Press, 1984), II, p. 324, n. 10.

K. Levy, ‘Latin Chants outside the Roman Tradition', in The Early Middle Ages to 1300, The New Oxford History of Music, ed. by R. Crocker and D. Hiley, (Oxford: Oxford University Press, 1990), II, pp. 84-88 [with additional bibliography].

G. Baroffio, 'Iter Liturgicum Ambrosianum', Aevum, 74 (2000), 583-603 (585).

A. Zayaruznaya, 'In defense of green lines, or The Notation of B-flat in Early Ambrosian Antiphoners', in Ambrosiana at Harvard: New Sources of Milanese Chant, ed. by T. F. Kelly and M. Mugmon (Boston, MA: Houghton Library Harvard, 2010), 33-56, figs. 3.1, 3.5, 3.7, 3.8, 3.14, 3.15, 3.16, 321.

Emma Hornby and Rebecca Maloy, Music and Meaning in Old Hispanic Lenten Chants. Psalmi, Threni and the Easter Vigil Canticles Suffolk: Boydell Press, 2013), pp. 284-85, 290-91, 297.


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