This discussion is dedicated to the use of accidentals to indicate pitch alteration in Geert Maessen's fluxus notation. The idea is to apply it to the particular intonation of mesos tetartos, its presence is documented since the 11th century by Latin sources by the odd intonation formular AIANEOEANE.
Background:
The hymnus trium puerorum (canticle 8) belongs to the apocryphic parts of the Old Testament, but it is written at the end of most of the psalteria as the 8th ode or canticum of 14 cantica. It once had a prominent place in the mass ordinary of the former Gallican rite, at least it is mentioned in Pseudo-Germanus' Expositio Antiquae Liturgiae Gallicanae in connection with a lectio libri prophetae (see: Michel Huglo et al., "Gallican chant", Grove Music Online.Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/10559, and the interpretation of Ensemble Organum according to their concept of Mozarabic chant). Another arrangement is used in the Ambrosian lecture office.
The version in discussion here is not a simple recitation of canticle 8, it compiles a part of canticle 7 (as refrains) with the strophes of canticle 8, and its chant is a melismatic elaborated E mode, which usually has its melos in the octave of DO and RE, sometimes even extended to the octave of MI.
Was this particular arrangement codified the first time as a chant of Gallican or Visigothic origin which had no counterpart in Roman liturgy? If so, it did not prevent Roman cantores to write it down in their graduals during the 11th and 12th century. It became also part of the Mozarabic liturgy and there was presumably a particular interest for other Andalusian poets, because of the permanent repetition of the same words, which create a strophic rhyme structure similar to the popular forms of cordal poem, as long as the refrain arranged three verses into one group.
Selected Sources:
10th century:
The version in the St. Gallen cantatorium (Sankt Gallen, Stiftsbibliothek, Cod. 359, p. 32-35):
http://www.e-codices.unifr.ch/de/csg/0359/32/large
The version in the Laon gradual (Bibliothèque municipale de Laon, ms 239, fol. 25' – type "55" as page number in the flash presentation of the facsimile):
http://manuscrit.ville-laon.fr/oeb/Ms239/index.htm
11th century:
An Aquitanian version in the St. Yrieix gradual (Paris, Bibliothèque Nationale, Codex 903, fol. 41’).
A Beneventan version in the gradual 38 (Benevento, Biblioteca Capitolare, MS 38, fol. 12').
An Old Roman version in the gradual of the schola cantorum (Rome, Biblioteca apostolica vaticana, fondo vaticano latino 5319, fol. 8).
Interpretation:
Some insights in different philosophies of performance practice:
Gregorian redaction (10th century):
Hartkeriana, Bratislava:
Vers 1-4: https://www.youtube.com/user/marterikmarterik#p/u/5/v_k-adetvvw
Vers 5-10: https://www.youtube.com/user/marterikmarterik#p/u/4/GIXzVwR6O18
Vers 11 (without final refrain): https://www.youtube.com/user/marterikmarterik#p/u/3/X41ifeHqbHw
Trio Gregoriana, Amsterdam:
Vers 5: https://www.youtube.com/user/lelalilu#p/u/9/Dq-mk5NnoEg
Vers 10: https://www.youtube.com/user/lelalilu#p/u/8/MvY9_QDAcB0
Mozarabic redaction (15th century):
Ensemble Organum, Moissac:
Vers 1 & 11: https://www.youtube.com/watch?v=Mh_vXC_GYX4
Replies
Geert Maessen a annoncé dans un email que il Concerzender d'Amsterdam va diffuser un programme dédié au cantique des trois adolecents au four pour le 18 décembre, où on peut écouter les interpretations trés différent de ce chant extraordinaire:
http://www.concertzender.nl/programmagids.php?date=2011-12-18&m...
Je voudrais bien communiquer ce liens à tous qui s'intéresse au sujet.
J'attends l'annonce du concert de sa groupe (cette fois chanté par un coeur féminin) dans la rubrique des évènements.