Bibliotheca Arnamagnæana - 01.06.1968, Blaðsíða 176
DE SPIRITU SANCTO - IN PENTECOSTE
fifth through that of a third to a unison. Indeed, if, in A, at the
beginning of the line, instead of b flat, we read b natural (as it
well may have been originally), a similar convergence appears there
too; and the 3 notes D-C, F on “est sau-” make fifth-parallels with
a, G, c on “quod est sau-”.
More instances of a similar kind meet us in the next (5th) verse.
In the first place, while from the concluding note a in v. 4 (which
both forms have in common) the normal melody ascends to d at the
beginning of v. 5, A descends to D, thus making a spreading from
unison to octave. Further, with the normal notes on “-is fidelibus”,
G, a, c, b, a, the notes C, D, F, E, D in A make fifth-parallels.
Further, if on the 2nd syllable in the 2nd line, “te” (“sa-”), we read
in the normal melody c instead of b (as a Swiss MS. actually has
it), we get, on the 3 syllables “in te con-” (“de salu-”), a spreading
from unison to a fifth, and from that a gathering to unison. And
finally, in several places the melodies cross each other.
A likely reason for the deviations in A is perhaps that the writer
wished to make an accompanying melody to the main one, following
in some places the old organum practice, in others the new one
proposed by Franco de Colonia.
(The melody of the concluding “Alleluia” is borrowed from Mo-
berg, after a Grad. Einsidl. Neither this nor the “Amen”-melody
in A corresponds to the melody of “Amen. Alleluia” such as the
Grad. Ro. has it.).
In AH 113 MSS. containing this sequence are enumerated. “Die
altesten uns bekannten Quellen bis ins 13. Jahrh. (incl.) sind mog-
lichst vollstandig verzeichnet... Vom 14. Jahrh. an lasst sich die
Quellenliste leicht verdoppeln; vom 15. Jahrh. an findet sich die
Sequenz fast in jedem Missale oder Graduale.” Pope Innocentius III
(towards the end of the 12th century) is considered to be the probable
author.
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