The alleluia Cognoverunt GrN (Graduale Novum) page 192 has a very difficult intonation.
GrN proposes f# f#ga for the first three notes.
Both fa and fa diesis are very well attested in this alleluia, because we have several manuscripts that transpose this piece to the upper quart and end it on la;
thus making possible the use of both sa and si (fa and f diesis in the transposition)
Montpellier 159, 107
Verdun 759, 161
and also Arras 437, 54/54v. (as shown in the att.)
The reason why in GrN there is an opening that puts the two first notes unisono,
is an equaliter in E between the syllables AL- and –LE.
But there is no diastematic ms. that gives this unisono.
Apart from Graz 807 that indicates e-f, all other manuscripts have a minor third.
d-f, e-g or a-c.
Maybe it would be better to follow aquitan manuscripts like PbN 776, PbN 903 or
French like Montpellier, Verdun and Arras and sing the opening as e gag.
(See also All. Domine Deus salutis on GrN 300)
Replies
Un grand merci pour tous ces renseignements, Franco!
It isn't a bad thing to look at 'older' work sometimes! My proposal in july 2004 would be the same as I made yesterday.
But you see a remark on the left side of the first page: Already in BzG 31. The piece was already published in Beiträge zur Gregorianik. And as new member (I'm attendending the Arbeitsgruppe Restitution since october 2004) one doesn't want to question the pieces that have already been made. Surely not the first occasion.
On the neumes in Eins. I was working from the black and white copy from Paleo IV at that time. The neumes are very 'ill lisible'.
franco ackermans a dit :
Reims 221. fo 34. R221 uses a transposition. He ends on a, should end on e.
The tone above the finalis e is of a dual character (fis and f)
The only way to notate this, is the transposition to the finalis a.
In the intonation the scribe uses b, later on in the jubilus b-flat.
Dominique Crochu a dit :
All. Cognoverunt Reims 221,34.jpg
A comparative tableau on All. Domine Deus salutis. Dating from 2004, so a juvenile work. Sorry.
Since Cognoverunt is an adaptation of this alleluia, it must be taken into account.
All GT 317-1.jpg
All GT 317-2.jpg
The equaliter that I am talking about is in the manuscript of Einsiedeln 121. In the GT most of the alleluia are neumed after S. Gall 359. It would indeed be very helpfull if the tableaux from Solesmes were available. I once made a tableau of this alleluia. Maybe I can scan it. Thanks for your reply, every help is welcome.
s. sueyres a dit :
Thank you very much, Dominique. I'm going to study.
An observation that might be important. All. Domine Deus salutis: Bv34 (254), Albi (128) and Montpellier (107) have only a third from the syllabe LE to LU. That was the maior reason why we thought the Vatican version had to be corrected. It seemed as if Vat (following Klosterneuburg (153v), Thomaskirche Leipzig (163) and Rouen (105v) f.e.) transposed the melody on the first two syllabes a whole tone down (keeping the intervalstructure alike) as if to avoid an illegal tone. Yrieix (245) is very interesting because it shows an extra tone. Has the lower version but with this extra tone he retains the minor third in question.
Dominique Crochu a dit :
München Clm 2901 82r (FA MI), Olomouc M II 087,100r (cistercien)
Just a minor observation: In the Triplex Graduel there are no neumes for All. Cogneverunt! However the All. Domine Deus salutis does have neumatic notation and shows no egaliter indicated, even though there is a repetition of the first note in the square notation. It would be very interesting to consult the comparative manuscript(s) in Solemnes Abbey.
Köln 2, 227v (FA FA), Köln 156, 187 (FA MI)
Pourtant, j'ai trouvé des témoins qui sont conformes à l'équaliter de Einsiedeln 121:
Reims 221, fo 34 et Reims 224, fo 27r (debut sur FA FA)...