Bibliotheca Arnamagnæana - 01.06.1968, Qupperneq 341
ECCE PULCRA - CHRISTO INCLITA CANDIDA
CHRISTO INCLITA CANDIDA
MSS: A. Facs. 34-35; the recto and verso of the lower part of a
leaf; the recto contains vv. 5b [corrobojra — 7b mo[do], the verso
only the concluding words of the sequence amen redempta with
some of the notes, which may be filled out as d, e, c, e, d. —
N. Facs. 120-21; the recto and verso of a fragment, extending from
lb [sancjtis to 4a plus, and from 6a turma to 8b mund[aque].
Text printed in AH 7, No. 118, with additions in AH 53, No. 115.
Textual differences from AH in A: 6a valida] inclita, 6b corpora
atque] corpore quoque, 7b pie] pia; — in N: 2a primum] primam,
2a nobis per quam] per quam nobis, 2b tergat] solue, 3a inclita]
ualida, 3b superam] superna, 3b gloriam] [ga]udia, 7b pie] pia,
8b nostras serva] nostra seruans.
The words of the sequence are also printed in Missale Nidrosiense.
The title of the melody is “Eia turma” or “Adorabo minor”.
But we have two forms of this melody; one, used for “Eia recolamus”
and “Celsa lux Syon”, is reckoned as the shorter form, and the other,
used for “Claris vocibus” and the present sequence, as the longer
form.
The differences are that the verse numbered 9 in the transcription
here (and in “Claris vocibus”) is not in the shorter form, and that
the last verse (11) is somewhat longer here than in the shorter form.
There is, however, another difference between the two forms,
namely that the texts of both “Claris vocibus” and the present se-
quence, as printed in AH 7, Nos. 104 and 118, — viz. the longer
form —, lack what in the shorter form is v. 1, so that v. 1 of the
longer form uses the metre and music of v. 2 of the shorter form,
and so on. The longer form is therefore not so much longer than
the other as might be thought.
On the other hånd the longer form seems, in some cases at least,
to have been compensated by an “Alleluia”, with which both “Claris
vocibus” and the present sequence begin, according to AH 53,
Nos. 101 and 115, where it is numbered as v. 1. Admittedly “Alleluia”
has not so many syllables as v. 1 of “Eia recolamus” and of “Celsa
lux Sion”; but, as we see from Moberg, No. 43, a couple of MSS.
actually use all the notes of v. 1 of “Eia” (or the like, e. g. the
beginning of “Occidentana”) on an “Alleluia”, binding several of
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