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Although little is known of the [[provenance]] of the ''Magnus liber organi'', it is considered most likely to have originated in Paris, and is known today by only a few surviving manuscripts and fragments, although there are records of at least seventeen lost versions.{{sfn|Baltzer|1987}}{{sfn|Husmann|Reaney|1963}}. The ''Liber'' is supposed to have been created by [[Léonin]] (1135–c.1200) and revised by [[Pérotin]] (fl. 1200) and contained compositions attributed to each. Today its contents can be inferred from the 3 surviving major manuscripts. The most complete is commonly known as F (I-Fl [[Pluteo 29.1]], [[Laurentian Library|Biblioteca Medicea-Laurenziana, Florence]]), which first appeared in the library of [[Piero di Cosimo de' Medici|Piero de' Medici]] by 1456.{{sfn|Baltzer|1987}} Of the two others, referred to as W1 & W2 (Wolfenbüttel Cod. Guelf. Helmst. 677 & 1099), both in the [[Herzog August Library|Herzog August Bibliothek (Ducal Library)]],{{sfn|Yudkin|2005}} the first is thought to have originated in the cathedral priory of St Andrews, Scotland.{{sfn|Baltzer|1987}} The Ma fragment (Madrid 20486) is, believed to be originally from Toledo.{{sfn|Tischler|1984}}{{sfn|Hoppin|1978}} Catalogues referring to other lost copies attest to the wide diffusion through Western Europe of the repertoire later called ''[[ars antiqua]]''.{{sfn|Roesner|2001a}} Between all the sources, some 100 different chants in two-part settings can be found.{{sfn|Tischler|1977}}
Although little is known of the [[provenance]] of the ''Magnus liber organi'', it is considered most likely to have originated in Paris, and is known today by only a few surviving manuscripts and fragments, although there are records of at least seventeen lost versions.{{sfn|Baltzer|1987}}{{sfn|Husmann|Reaney|1963}}. The ''Liber'' is supposed to have been created by [[Léonin]] (1135–c.1200) and revised by [[Pérotin]] (fl. 1200) and contained compositions attributed to each. Today its contents can be inferred from the 3 surviving major manuscripts. The most complete is commonly known as F (I-Fl [[Pluteo 29.1]], [[Laurentian Library|Biblioteca Medicea-Laurenziana, Florence]]), which first appeared in the library of [[Piero di Cosimo de' Medici|Piero de' Medici]] by 1456.{{sfn|Baltzer|1987}} Of the two others, referred to as W1 & W2 (Wolfenbüttel Cod. Guelf. Helmst. 677 & 1099), both in the [[Herzog August Library|Herzog August Bibliothek (Ducal Library)]],{{sfn|Yudkin|2005}} the first is thought to have originated in the cathedral priory of St Andrews, Scotland.{{sfn|Baltzer|1987}} The Ma fragment (Madrid 20486) is, believed to be originally from Toledo.{{sfn|Tischler|1984}}{{sfn|Hoppin|1978}} Catalogues referring to other lost copies attest to the wide diffusion through Western Europe of the repertoire later called ''[[ars antiqua]]''.{{sfn|Roesner|2001a}} Between all the sources, some 100 different chants in two-part settings can be found.{{sfn|Tischler|1977}}


== Surviving Manuscripts ==
The ''Magnus Liber organi'' most likely to have originated in Paris and is known today from only a few surviving manuscripts and fragments, and there are records of at least seventeen lost versions. Today its contents can be inferred from the three surviving major manuscripts:


* '''Florence Manuscript [F]''' (I-Fl [[Pluteo 29.1]], [[Laurentian Library|Biblioteca Medicea-Laurenziana, Florence]] ) 1,023 compositions | 1250 A.D.
⚫
== Contributors to the Liber[edit] ==
* '''Wolfenbüttel 677 [W1]''' (Wolfenbüttel Cod. Guelf. Helmst. 677) Saint Andrews, Scotland | 1250 A.D.
* '''Wolfenbüttel 1099 [W2]''' (Wolfenbüttel Cod. Guelf. Helmst 1099) French manuscript | after 1250 A.D.

These three manuscripts date from later than the original ''Magnus Liber,'' but careful study has revealed many details regarding origin and development. "Evidence of lost Notre Dame manuscripts, including the names of their owners, is plentiful indeed" , tracing back to year 1456 when manuscript '''F''' first appeared in the library of [[Piero di Cosimo de' Medici|Piero de' Medici]]. Of the two others, referred to as '''W1''' & '''W2''', both in the [[Herzog August Library|Herzog August Bibliothek (Ducal Library)]], the first is thought to have originated in the cathedral [[priory]] of St Andrews, Scotland, and less is known about '''W2.''' Catalogues referring to other lost copies attest to the wide diffusion through Western Europe of the repertoire later called ''[[ars antiqua]]''.

Heinrich Husmann summarizes that "these manuscripts, then, do not represent any more the original state of the ''Magnus Liber,'' but rather enlarged forms of it, differing from each other. In fact, these manuscripts embody different stylistic developments of the ''Magnus Liber'' itself, particularly in the field of composition mentioned by Anonymous IV, the [[Clausula (music)|clausula]]. This is born out by the differing versions of the discantus parts".  Husmann also notes that a comparison of the repertory contained in the three manuscripts shows there "are a great many pieces common to all three sources" and that "the most reasonable attitude is obviously to consider the pieces in common to all three sources as the original body, consequently as the true ''Magnus Liber organi".''

⚫
== Contributors to the Liber ==
It is unknown whether the ''Magnus'' ''Liber'' had one sole contributor, though it is noted by scholars that large parts were composed by [[Léonin]] (1135–c.1200) and this conclusion is drawn from the writings of Anonymous IV.  Though it is a controversial topic among scholars, some believe parts of the ''Magnus Liber organi'' may have been revised by [[Pérotin]] (fl. 1200), while others such as Heinrich Husmann note that the finding is from 'the rather slim report of Anonymous IV' and that 'as for its connections with Notre Dame Cathedral in Paris, the name of Pérotin alone is adduced' in connection with his books having only been ''used''. This 'by no means confirms that Pérotin himself was active at Notre Dame, or anywhere else in Paris for that matter' .
It is unknown whether the ''Magnus'' ''Liber'' had one sole contributor, though it is noted by scholars that large parts were composed by [[Léonin]] (1135–c.1200) and this conclusion is drawn from the writings of Anonymous IV.  Though it is a controversial topic among scholars, some believe parts of the ''Magnus Liber organi'' may have been revised by [[Pérotin]] (fl. 1200), while others such as Heinrich Husmann note that the finding is from 'the rather slim report of Anonymous IV' and that 'as for its connections with Notre Dame Cathedral in Paris, the name of Pérotin alone is adduced' in connection with his books having only been ''used''. This 'by no means confirms that Pérotin himself was active at Notre Dame, or anywhere else in Paris for that matter' .


Revision as of 17:25, 9 December 2020

Magnus Liber Organi
Illustration at beginning of manuscript F of the Magnus liber
MS F
AuthorAnonymous
LanguageLatin
SubjectMusical score
Published13th century
Publication placeFrance
Websitedigitalcommons.cedarville.edu/sing_polyphony/2

The Magnus Liber or Magnus liber organi (English translation: Great Book of Organum), written in Latin, was a repertory of medieval music known as organum. The book was in use by the Notre-Dame school composers working in Paris around the end of the 12th and beginning of the 13th centuries. It is known from references to a "magnum volumen" by Johannes de Garlandia and to a "Magnus liber organi de graduali et antiphonario pro servitio divino" by the English music theorist known simply as Anonymous IV.[1] Today it is known only from later manuscripts containing compositions named in Anonymous IV's description.

History

Although little is known of the provenance of the Magnus liber organi, it is considered most likely to have originated in Paris, and is known today by only a few surviving manuscripts and fragments, although there are records of at least seventeen lost versions.[2][3]. The Liber is supposed to have been created by Léonin (1135–c.1200) and revised by Pérotin (fl. 1200) and contained compositions attributed to each. Today its contents can be inferred from the 3 surviving major manuscripts. The most complete is commonly known as F (I-Fl Pluteo 29.1, Biblioteca Medicea-Laurenziana, Florence), which first appeared in the library of Piero de' Medici by 1456.[2] Of the two others, referred to as W1 & W2 (Wolfenbüttel Cod. Guelf. Helmst. 677 & 1099), both in the Herzog August Bibliothek (Ducal Library),[4] the first is thought to have originated in the cathedral priory of St Andrews, Scotland.[2] The Ma fragment (Madrid 20486) is, believed to be originally from Toledo.[5][6] Catalogues referring to other lost copies attest to the wide diffusion through Western Europe of the repertoire later called ars antiqua.[7] Between all the sources, some 100 different chants in two-part settings can be found.[8]

Surviving Manuscripts

The Magnus Liber organi most likely to have originated in Paris and is known today from only a few surviving manuscripts and fragments, and there are records of at least seventeen lost versions. Today its contents can be inferred from the three surviving major manuscripts:

  • Florence Manuscript [F] (I-Fl Pluteo 29.1, Biblioteca Medicea-Laurenziana, Florence ) 1,023 compositions | 1250 A.D.
  • Wolfenbüttel 677 [W1] (Wolfenbüttel Cod. Guelf. Helmst. 677) Saint Andrews, Scotland | 1250 A.D.
  • Wolfenbüttel 1099 [W2] (Wolfenbüttel Cod. Guelf. Helmst 1099) French manuscript | after 1250 A.D.

These three manuscripts date from later than the original Magnus Liber, but careful study has revealed many details regarding origin and development. "Evidence of lost Notre Dame manuscripts, including the names of their owners, is plentiful indeed" , tracing back to year 1456 when manuscript F first appeared in the library of Piero de' Medici. Of the two others, referred to as W1 & W2, both in the Herzog August Bibliothek (Ducal Library), the first is thought to have originated in the cathedral priory of St Andrews, Scotland, and less is known about W2. Catalogues referring to other lost copies attest to the wide diffusion through Western Europe of the repertoire later called ars antiqua.

Heinrich Husmann summarizes that "these manuscripts, then, do not represent any more the original state of the Magnus Liber, but rather enlarged forms of it, differing from each other. In fact, these manuscripts embody different stylistic developments of the Magnus Liber itself, particularly in the field of composition mentioned by Anonymous IV, the clausula. This is born out by the differing versions of the discantus parts".  Husmann also notes that a comparison of the repertory contained in the three manuscripts shows there "are a great many pieces common to all three sources" and that "the most reasonable attitude is obviously to consider the pieces in common to all three sources as the original body, consequently as the true Magnus Liber organi".

Contributors to the Liber

It is unknown whether the Magnus Liber had one sole contributor, though it is noted by scholars that large parts were composed by Léonin (1135–c.1200) and this conclusion is drawn from the writings of Anonymous IV.  Though it is a controversial topic among scholars, some believe parts of the Magnus Liber organi may have been revised by Pérotin (fl. 1200), while others such as Heinrich Husmann note that the finding is from 'the rather slim report of Anonymous IV' and that 'as for its connections with Notre Dame Cathedral in Paris, the name of Pérotin alone is adduced' in connection with his books having only been used. This 'by no means confirms that Pérotin himself was active at Notre Dame, or anywhere else in Paris for that matter' .

The music from the Liber has been published in modern times by William Waite (1954) , Hans Tischler (1989)  and by Edward Roesner (1993–2009) .

Music at Notre-Dame

Illustration from the Magnus liber organi
Folio 8 of MS F

The early music repertoire of repertory of Notre Dame cathedral represents one of the highlights of Western culture, coinciding with the architectural innovation that produced the structure itself, from the beginning of its construction in 1163. A handful of surviving manuscripts demonstrate the evolution of polyphonic elaboration of the liturgical plainchant that was used at the cathedral every day throughout the year. While the concept of combining voices in harmony to enrich plainsong chant, was not new, there lacked the musical theory to enable the rational construction of such pieces.[4]

The innovations at Notre Dame consisted of patterns of short and long musical notes and the system of musical notation for directing the duration of the notes in writing. This is attributed to Léonin, who is considered to have been a distinguished poet, scholar, musician, and cathedral administrator.[4]

The Magnus Liber represents a step in the evolution of Western music between plainchant and the intricate polyphony of the later 13th and 14th centuries (see Machaut and Ars Nova).[9] The music of the Magnus Liber displays a connection to the emerging Gothic style of architecture; just as ornate cathedrals were built to house holy relics, organa were written to elaborate Gregorian chant, which too was considered holy. One voice sang the notes of the Gregorian chant elongated to enormous length (called the tenor, which comes from the Latin for "to hold"); this voice, known as the vox principalis, held the chant, although the words were obscured by the length of notes. One, two, or three voices, known as the vox organalis (or vinnola vox, the "vining voice") were notated above it with quicker lines moving and weaving together. The evolution from a single line of music to one where multiple lines all had the same weight moved through the writing of organa. The practice of keeping a slow moving "tenor" line continued into secular music, and the words of the original chant survived in some cases, as well. One of the most common types of organa in the Magnus Liber is the clausula, which are sections of polyphony that can be substituted into longer organa. The extant manuscripts provide a number of notational challenges to modern practice, since they contain only the polyphonic elements, from which the chant has to be inferred.[4]

The music of the Magnus Liber was used in the liturgy of the church throughout the feasts of the church year. The text contains only the polyphonic lines and the notation is not exact, as barlines were still several centuries from invention. The chant was added to the notated music, and it was up to the performers to fit the disparate lines together into a coherent whole. But the fact that the music was even written down is a fairly new development in the history of Western music.[9]

References

  1. ^ Roesner 2001.
  2. ^ a b c Baltzer 1987.
  3. ^ Husmann & Reaney 1963.
  4. ^ a b c d Yudkin 2005.
  5. ^ Tischler 1984.
  6. ^ Hoppin 1978.
  7. ^ Roesner 2001a.
  8. ^ Tischler 1977.
  9. ^ a b Cedarville 2018.

Bibliography

Articles and books

Websites

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