Bibliotheca Arnamagnæana - 01.06.1968, Blaðsíða 174
DE SPIRITU SANCTO
The fragments added together give the music of all the verses
except the first one, whose melody, therefore, had to be borrowed.
It may be mentioned incidentally that this is one of the 5 sequences
which the Pope permitted to remain in use after all the others were
prohibited in 1570.
The form which the melody has in the Graduale Romanum of our
days may perhaps be reckoned as the approved and official one
(Manuale Missæ et Officiorum has it in exactly this form), although
it has a considerable number of differences in Manuale Chorale;
however, these have no interest here. Of greater interest in this
connection is the music of the sequence as presented by the Danish
Hymn-book from 1569 (“Dan. Ps.”).
There are several things to observe about the transcription of the
music given above.
In the first verse it follows the form which Moberg (No. 6) holds to
be the original one (although in Graduale Romanum the first 4 notes
here are: C, D, E, F), except that the flat sign for b is omitted,
because it is not known whether it was there in the missing frag-
ments. Dan. Ps. has the flat sign for b as a permanent one, and
begins the melody with C, D, E, F. On “(a)nime” in v. 2a (and
“ries” in 2b) it has E, D, instead of ED, C.
Moberg also has this flat sign as a permanent one, but in parenthe-
ses, which indicates that some MSS. have it, others not, or that the
sign ought perhaps to stand in places where the copyist has failed to
place it. The Graduale Romanum has b flat in v. 1, b natural in
v. 2, and alternates in this way in the following verses.
In v. 2, L has b natural, and the same in v. 3, throughout, whereas
Grad. Ro. has b flat on “tuorum” and “nihil”. Exactly on this
“nichil” K comes in — with b flat, but shifts to b natural in v. 4,
as does Grad. Ro.
In this v. 4 “Lava quod est sordidum...” (“Sana” in A is a
copying mistake), the MSS. are very confused with regard to the
music. The version of K (c, c,...) is regarded by Moberg as the
normal one; it corresponds almost perfectly with the 4 Swedish
sources there collated; it is to be noticed especially that the melody
of the first line of the verse (7 syllables) is exactly the same in 3 of
these sources as in our K, beginning with c, c.
Now, to begin v. 4 with c, after v. 3 has ended with D, would
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