Bibliotheca Arnamagnæana - 01.06.1968, Síða 181
VENI SPIRITUS ETERNORUM - ALMA CHORUS DOMINI - BENEDICTA SIT BEATA
— K. Fac. 96, 1. 3 — fac. 98, 1. 3. — q. Fac. 328, 11. 1-4; the end
of the sequence from 6b eterna [in the following transcription of the
music n is used for the MS. q].
Text printed in AH 7, No. 96, cf. 53, No. 81b.
Textual differences from APi in all: 6b nostra] + et sålus eterna,
7b Christo solo] Christum solum; — in J, K, q: 8b bonis pro eis] eis
pro bonis; — in A, J, K: 5b Quatenus] Quatinus, 6a Ultimaque —
discrimina] Ultimoque peracto discrimine; — in J, K: 2b nec—
discrepat] et a se discrepans, 3a quae] quod, 3a dedita] credita, 3b
reddit] cedit, 6a alta — palatia] alto perfrui mox palacio (J breaks
off after per-), 6b flagrat lux] lux flagrat, — in A: 2a genitus]
geni tor, 2b nec — unquam] et a se discrepiane (?) aut numquam,
6b Quo perspicua] Qua perspicula, 7b defigant] defigunt; — in J:
6a possimus] possumus, 7b defigant] designant (in 3b agmia is writ-
ten for agmina, in 5b caterna for caterua, in 8a scicient for sitient); —
in K: 2b haud] hane, 5b socia post funera] post funera socia, 8a
sanetorum vel] vel sanetorum.
In the following transcription the 4 sources mentioned above are
combined.
In cases where a syllable has more than one single note above it,
one of the reasons may be that the melody in one and the same MS.
differs at this point in the repetition of a half-verse; another, that
the melody of the several MSS. is different at such a point.
The Norwegian MSS. use b flat from the last line of v. 6b to the
end, whereby the mode changes from Mixolydian (with final G) to
Ionian transposed to F (with final on the second, G; or perhaps
still Mixolydian, but transposed to C, with final on the fifth, G),
while the Icelandic MS., using b natural to the end, preserves the
Mixolydian mode, without transposition.
<‘Trinitas“
pa- ri- ter co- e- qua-lla glo-rl- a. (2a) De- ua ge-nl- tor
(b) Qul-bua eat u- na
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