Ludwig Senfl et ali
Ad Vesperis Omnium Sanctorum
A reconstruction based on
BSB Mus.ms.52,
Scamnalia secundum ritum ac ordinem
ecclesia et Diocesis Frisingensis, 1520
and
Ioannis Winterpurger; Antiphonarium, 1519
Edited by Andreas Stenberg
Copyright for the edition © 2020 by Andreas Stenberg under the CPDL-license
2
TABLE OF CONTENTS
Incipit
Pater noster ... 3
Ave Maria ... 3
Deus in adjutorium ... 4
Psalmi
Psalmus 112: Laudate pueri Domini ... 7
Antiphone ... 8
Capitulum Hymnus Versus
Versus et responsum ... 9
Hymnus ... 17
Versiculum ... 23
Canticum Magnificat
Magnificat Sexti toni ... 24
Antiphone ... 37
Oratio
Conclusio
Editorial Post Script
INCIPIT
PATER NOSTER
Pater noster, qui es in cælis,sanctificétur nomen tuum:advéniat regnum tuum:fiat volúntas tua, sicut in cælo et in terra.Panem nostrum quotidiánum da nobis hódie:et dimítte nobis débita nostra,sicut et nos dimíttimus debitóribus nostris:et ne nos indúcas in tentatiónem:sed líbera nos a malo. Amen.
AVE MARIA
Ave María, grátia plena; Dóminus tecum:benedícta tu in muliéribus,et benedíctus fructus ventris tui Jesus.Sancta María, Mater Dei, ora pro nobis peccatóribus,nunc et in hora mortis nostræ. Amen.
4 OMNIUM SANCTORUM
DEUS IN ADJUTORIUM
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INCIPIT 5
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Laudate, pueri, Dominum,*
laudate nomen Domini.
2. Sit nomen Domini benedictum:*
ex hoc nunc et usque in sæculum.
3. A solis ortu usque ad occasum:*
laudabile nomen Domini.
4. Excelsus super omnes gentes Dominus,*
et super cælos gloria ejus.
5. Quis sicut Dominus Deus noster, qui in altis habitat,*
et humilia respicit in cælo et in terra?
6. Suscitans a terra inopem,*
et de stercore erigens pauperem:
7. ut collocet eum cum principibus,*
cum principibus populi sui.
8. Qui habitare facit sterilem in domo,*
matrem filiorum lætantem.
Gloria Patri & Filio*& Spiritui Sancto.
Sicut erat in principio & nunc & semper*& in secula seculorum. [Amen.]
ANTIPHONE
Source: Ioannis Winterpurger: Antiphonarius, Vienna 1519
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Ecce ego Joánnes vidi álterum Angelum ascendéntem ab ortu solis, habéntem signum Dei vivi: et clamávitvoce magna quátuor Ángelis, quibus datum est nocére terræ et mari, dicens: Nolíte nocére terræ et mari,neque arbóribus, quoadúsque signémus servos Dei nostri in fróntibus eórum.
R: Deo grátias.
*) Neighter the Scamnalia 1520 nor the Breviarium 1516indicate any Capitulum for the vespers. This is thereading for the Complete. Breviarium Romanum 1570use this lesson for Vaspers also.
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The Music for the Versus is from a Fourteenth-century antiphoner in two volumes (A-Gu 29 and A-Gu 30) fromthe Abbey of Sankt Lambrecht (Steiermark, Austria). Monastic cursus. 382 and 376 fols.In: Graz, Universitätsbibliothek. folios: 290r and 290vhttp://www.literature.at/viewer.alo?objid=1141&viewmode=fullscreen&scale=2&rotate=&page=580http://www.literature.at/viewer.alo?objid=1141&viewmode=fullscreen&scale=2&rotate=&page=581Cantus ID: 00175 and 00175a
CAPITULUM HYMNUS VERSUS 17
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*) The melody used for this hymn according to Bruno Stäblein: Monumenta Monodica Medii Aevi, bd. I,Hymnen. Kassel und Basel 1956, 674, 247 (mel). The melody from the Klosterneuburger Hymnar is close tothe melodic material used by Senfl. The text underlay is editorial.
CAPITULUM HYMNUS VERSUS 23
VERSICULUM
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ANTIPHONE
From: Ioannis Winterpurger: Antiphonarius, 1519
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ORATIODómine, exáudi oratiónem meam.]℣ [
Et clamor meus ad te véniat.]℟ [
[Orémus.]
O Domine Deus noster multiplica su-per nos misericordiam tuam: & quorumpuenim' gloriosa solemnia: tribue sub -
seque in sancta professione letitiam.
Cum Eodem die. Orationis
Dirigátur, Dómine, orátio mea.]℣ [
Sicut incénsum in conspéctu tuo.]℟ [
[Orémus.]
Deus q[uam] nos b[ea]ti Ces-
rij martyris tui annua solenni-
tate letificas: concede propitius: ut cuiusnatalitia colimus etiam actiones imi=temur. Per.
CONCLUSIO Dómine, exáudi oratiónem meam.℣ Et clamor meus ad te véniat.℟ Benedicámus Dómino.℣ Deo grátias.℟
EDITORIAL POST SCRIPTThis is a reconstruction of the vespers on all saints eave, Ad Vesperis Omnium Sanctorum, as celebratedduring Ludwig Senfls time as Capelmeister in Munich. By combining information, texts and music fromseveral liturgical and musical sources most of which are to be found in the collections of the BayerisheStaatsbibliotek, I am trying to create at least a probable liturgical whole for this vespers.The main sources are:* BSB Mus. ms. 52, a manuscript collection of musical settings for parts of office services, mainly firstvespers, throughout the year. The collection was clearly intended as a comprehensive aid for the musicalrealization of office services at the more important feasts. analysing the liturgical content of the manuscriptDavid Crook argues that the manuscript must have originated in Munich after Senfls arrival there. Senfl isalso identified as one of the scribes in the manuscript. The collection is structured to work hand in hand withthe brevier of the diocese of Freising, to wich Munich belonged. It gives evidence that the praxis to includepolyphonic music in at least some of the office services, mainly at first Vespers, known from other sourcessome 20 years after Senfls time, was already in place or at least starting during Senfls time. The collectioncontains some settings for ordinary parts of the offices, two setts of falsibordoni settings for chanting thepsalms to the eight church tones. The main parts of the collection though are two sections with material forthe proprium of the office services, one for the summer half of the year and on for the winter half. Each sectionbegins with an index-like listing of the services of the feasts, to which there, later on, are polyphonic settingsto parts of the proprium. The index though gives only intonations to those proprium parts not to be sungpolyphonically. The main part of each section contains polyphonic settings to different parts of the propriumof the office services indicated: Some Antiphones, Responsoria, hymns and Antiphones for the Magnificat.(David Crook: Orlando di Lasso's imitation Magnificats for Counter-Reformation Munich, Princeton 1994,pag. 41 - 47.)* Scamnalia secundum ritum ac ordinem ecclesia et Diocesis Frisingensis, Venetia 1520. This is the Brevierfor the Diocese of Freising. (This is the second printed Breviarium for this diocese in the beginning years ofthe 1600-th. century: The sligthly earlier Braviarium Frisingense, Venetia 1516 have been consulted butdoes not differ from the Scamnalia in regard of the Omnium Sanctorum vespers.) The Brevier is the sourcefor most of the texts not set musically, Capitulum, versicles, the other verses of the hymn and the Prayers atthe end of the service. I have gone outside this source only in a few regards: I have included the Pater nosterand Ave Maria prayers at the beginning of the service, following the common praxis today, the short respondafter prayers and the usual closing of the service.* Ioannis Winterpurger's Antifonarius printed in Viena 1520 have been the source for some of the monodic
melodies in the service, that is the antiphone's for the Psalm and the Magnificat. Though Winterpurger alsogives a melody variant for the resposorium: Beati estis Sancti... I have used a slightly different variant from amanuscript source, a 14-th. century Antiphonar from the abbey of St. Lambrecht which is in the Graz,Universitätsbibliothek. The Lambrecht Antiphonar version is close, as is the Winterpurger to the melodicmaterial used by Senfl. For the melody those stanzas of the Hymn for which there is no polyphonic setting Ihave used a melody from the Klosterneuburger Hymnar as reproduced by Bruno Stäblein in MonumentaMonodica Medii Aevi, bd. I, Hymnen. Kassel und Basel 1956, 674, 247 (melody) According to Stäblein, thismelody was used for this hymn. The melody is also close to the melodic material used by Senfl in thepolyphonic setting for two of the verses.
Andreas Stenberg
Music engraving by LilyPond 2.20.0—www.lilypond.org