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Copyright
by
William Manning Sherrill
2011

The Dissertation Committee for William Manning Sherrill Certifies that this is the
approved version of the following dissertation:
The Gradual of St. Yrieix in Eleventh-Century Aquitaine
Committee:
Luisa Nardini , Supervisor
Andrew Dell‟Antonio
Alison Frazier
Guido Olivieri
Michael Tusa

The Gradual of St. Yrieix in Eleventh-Century Aquitaine
by
William Manning Sherrill, B.A.; B.S.; M.S.; M.M.
Dissertation
Presented to the Faculty of the Graduate School of
The University of Texas at Austin
in Partial Fulfillment
of the Requirements
for the Degree of
Doctor of Philosophy
The University of Texas at Austin
May 2011

Dedication
To Lucy Jo, my wife and best friend,
for her love and support every day of this venture.

Acknowledgements
I express deep gratitude to Luisa Nardini, who has mentored and encouraged me
through these years of medieval scholarship. Her interest, patience, and scholarly
example were indispensable to me in completing this work. To the members of my
committee, professors Andrew Dell‟Antonio, Alison Frazier, Guido Olivieri, and Michael
Tusa, talented and devoted scholars and teachers, I owe personal thanks for the interest
they showed in my work and their help through the past years of graduate study.
While Latin translations are not included in this dissertation, I am especially
grateful to my graduate student colleagues, Mark Lomanno (ethnomusicology) and James
Patterson (classics), who gave me much assistance in translating Latin material for my
own use in this work. Thanks are also due to the staff of the Fine Arts Library of the
University of Texas at Austin, especially to David Hunter, Music Librarian, and Boris
Brodsky who were always helpful in finding an obscure source or keeping the microfilm
reader operating.
And special thanks go to Deborah Schwartz-Kates, musicologist and friend, who
first introduced me to the challenge of medieval scholarship in my undergraduate years in
music.
v

The Gradual of St. Yrieix in Eleventh-Century Aquitaine
Publication No._____________
William Manning Sherrill, Ph. D.
The University of Texas at Austin, 2011
Supervisor: Luisa Nardini
During the eleventh century the Aquitanian monastery of St. Yrieix, located forty
kilometers south of Limoges, acquired a new gradual, a manuscript containing the
liturgical Mass chants for the year. The Gradual of St. Yrieix, now at the Paris
Bibliothèque Nationale (Pa903), includes both text and music, redacted with the musical
notation typical of the region of Aquitaine.
The objective of this research is to analyze Pa903 as a document of liturgical
musical practice and as a participant in the historical events of its region and time.
While the Gregorian chant repertory dominates the gradual, this dissertation addresses the
neo-Gregorian chants of Pa903, composed in the period following the dissemination of
Gregorian chant throughout Europe. These neo-Gregorian chants were open to the
influence of the contemporary regional musical style and cultural traditions surrounding
St. Yrieix.
Chapter II reviews the backdrop of historical events surrounding Pa903, focusing
on the reform and expansion at St. Yrieix and its transition from a monastery to a chapter
of canons. The musical and liturgical characteristics of Pa903 (Chapter III) show that St.
vi

Yrieix favored its senior patron St. Martin of Tours and St. Aredius (its patron saint)
above St. Martial of Limoges (a powerful neighbor) and presented in the gradual a
community of saints with strong regional influence.
Chapters IV and V analyze the concordances of antiphons, tropes, prosulas,
prosas, and neo-Gregorian Mass chants of Pa903 with those of the Aquitanian graduals
and other sources throughout Europe. The tropes of the Proper and Ordinary, the
complete repertory of prosulas and prosas, and the neo-Gregorian Mass chants of Pa903
are collected together here for the first time outside of Pa903. The neo-Gregorian chants
are found in the sanctoral, temporal, and the ritual Masses and include a group of chants
that reflects textual and musical elements of the prior Gallican tradition. The chant
repertory of the gradual also presents a subgroup of forty-nine antiphons, prosas,
prosulas, and neo-Gregorian Mass chants found only in Pa903, documented here with
musical examples.
vii

Table of Contents
List of Tables .................................................................................................... xii
List of Figures ................................................................................................... xv
I. Introduction ................................................................................................ 1
A. Aredius and the Gradual of St. Yrieix.................................................... 1
B. The Scholarship on Pa903 ..................................................................... 3
C. Pa903 in Aquitaine ................................................................................ 5
II. Aredius and St. Yrieix .................................................................................. 10
A. Overview ......................................................................................... 10
B. Aredius, Patron Saint ....................................................................... 12
1. Contemporary Witness (Sixth Century) ....................................... 12
2. The Testament of Aredius ........................................................... 13
3. The Vitae .................................................................................... 16
4. Canonization ............................................................................... 17
C. St. Yrieix ............................................................................................. 19
1. The Early Centuries ..................................................................... 19
2. St. Yrieix in the Eighth to Tenth Centuries .................................. 19
3. St. Yrieix in the Eleventh Century ............................................... 23
(a.) The St. Yrieix Establishment ........................................... 24
(b.) Moutier-Roseille .............................................................. 27
(c.) Eleventh-Century Canonization ........................................ 29
(d.) The Later Centuries........................................................... 31
D. Summary ........................................................................................... 36
III. The Usage of St. Yrieix ............................................................................. 42
A. Overview ......................................................................................... 42
B. Pa903 Manuscript and Provenance ................................................... 42
1. Description .................................................................................. 42
2. Provenance .................................................................................. 47
viii

C. Elements of Usage in Pa903 and Related Sources ............................... 50
1. Paleographic Comparison with Other Aquitanian Graduals ......... 52
2. St. Yrieix Sanctoral ..................................................................... 54
(a.) Masses of the Sanctoral ..................................................... 54
(b.) Sanctoral Hierarchy .......................................................... 55
3. Related Sacramentaries and Missals ............................................. 58
4. Aquitanian Graduals. ................................................................... 62
5. Summary ..................................................................................... 65
D. Usage of Eleventh-Century St. Yrieix ................................................. 66
IV. Repertories of Antiphons, Tropes, Prosulas, and Prosas .............................. 68
A. Overview ............................................................................................ 68
B. Antiphons............................................................................................ 70
1. Antiphons of Pa903 ..................................................................... 71
2. Repertory of Regional and St. Yrieix Antiphons .......................... 72
(a.) Regional Antiphons. .......................................................... 72
(b.) St. Yrieix Antiphons. ........................................................ 76
3. Summary ..................................................................................... 77
C. Tropes .................................................................................................. 79
1. Proper Tropes .............................................................................. 80
2. Ordinary Tropes .......................................................................... 84
D. Prosulas and Prosas ............................................................................. 88
E. Prominent Embellished Masses ........................................................... 95
F. Conclusions ......................................................................................... 97
V. Neo-Gregorian Chants of the St. Yrieix Sanctoral ....................................... 99
A. Overview ............................................................................................ 99
B. Neo-Gregorian Chants in Pa903 .........................................................100
1. Method of Identification .............................................................100
2. Neo-Gregorian Chants of the Gradual ........................................101
(a.) Chants of the Temporal and Ritual Masses ......................107
(b.) Chants of the Sanctoral Masses .......................................107
ix

3. Neo-Gregorian Chant Exchange .................................................110
C. Neo-Gregorian Feast of St. Aredius ....................................................114
1. Foremass ....................................................................................114
2. Eucharist ....................................................................................122
(a.) Offertory ..........................................................................122
(b.) Communion .....................................................................125
3. Alternative Prosa and Tropes .......................................................125
(a.) Prosa ................................................................................125
(b.) Aredius Tropes ................................................................128
4. Summary ....................................................................................128
D. Masses for the Second Sunday of Lent and for the Dead ....................130
1. Pa903 Second Sunday of Lent .....................................................132
2. Mass for the Dead .......................................................................135
E. Neo-Gregorian Mass Chants and Gallican Influence ...........................137
1. Neo-Gregorian Chant Characteristics .........................................137
2. Gallican Influence ......................................................................138
(a.) Neo-Gregorian Chants ......................................................138
(b.) Traditional Gallican Chants..............................................140
F. Aquitaine and St. Yrieix Repertories in the Pa903 Sanctoral ................142
1. Regional and Local Neo-Gregorian Sanctoral Chants .................142
2. Conclusion .................................................................................145
VI. The Gradual of St. Yrieix in Aquitaine .....................................................148
A. Overview ...........................................................................................148
B. St. Yrieix in Transition .......................................................................148
C. Pa903: Usage and Ecclesiastical Identity ............................................151
D. Pa903 Chant Repertories ....................................................................154
1. Antiphons, Tropes, Prosulas, and Prosas.....................................154
2. Mass Chants ...............................................................................155
(a.) Neo-Gregorian Chants ......................................................155
(b.) Gallican Influence ............................................................155
x

3. Chants Transmitted only by Pa903 ............................................156
E. The Aquitanian Graduals ....................................................................157
1. Similarity of the Manuscripts ......................................................157
2. Copying of Pa903........................................................................158
F. Conclusion .........................................................................................159
Appendices.......................................................................................................163
Appendix A3-1 Front Guard Paper of Pa903 ............................................163
Appendix A3-2 Table of St. Yrieix Sanctoral Feasts ................................165
Appendix A3-3 Pa903 AMS GALL Tours Limousin Usage .....................169
Appendix A3-4 Aquitanian Sanctorals .....................................................176
Appendix A4-1 Pa903 Antiphons ............................................................183
Appendix A4-2 Pa903 Tropes ..................................................................193
Appendix A4-3 Complete Pa903 Prosulas and Prosas ..............................198
Appendix A5-1 Neo-Gregorian Repertory ..............................................202
Appendix A5-2 Finding of the Cross: Aquitanian Formularies .................225
Appendix A5-3 Aquitanian Notation of Pa903 .........................................229
Appendix A5-4 Neo-Gregorian Mass Chant Concordances (Sanctoral) ....231
Appendix A5-5 Transcriptions of the St. Yrieix Unicum Mass Chants .....239
List of Abbreviations ........................................................................................252
List of Manuscripts...........................................................................................252
Bibliography ....................................................................................................253
Vita …………………………………………………………………………….265
xi

List of Tables
Table 2-1 List of St. Aredius Bequests ca 572.................................................... 15
Table 2-2 St. Aredius and St. Yrieix in Reverse Chronology ............................. 37
Table 3-1 Contents Pa903 .................................................................................. 43
Table 3-2 Neo-Gregorian Regional and Local Feasts ......................................... 57
Table 3-3 Pa903 Neo-Gregorian Feasts in Sanctorals of Tours & the Limousin . 61
Table 3-4 Pa903 Neo-Gregorian Feast Concordances in Aquitanian Graduals ... 64
Table 4-1 Pa903 Regional Antiphons ................................................................ 73
Table 4-2a St. Yrieix Antiphon Repertory in Pa903 ........................................... 77
Table 4-2b St. Yrieix Antiphon Repertory Unicum in CAO ............................... 77
Table 4-3 Troped Masses in Pa903 .................................................................... 81
Table 4-4 Pa903 Tropes for Chants Not Used for the Assigned Saint ................. 83
Table 4-5 Pa903 Tropes for Feasts Not Listed in the Gradual ............................ 84
Table 4-7 Pa903 Gloria, Sanctus, Agnus Embellishments .................................. 87
Table 4-8 Pa903 Prosulas and Prosas ................................................................. 90
Table 4-9 Offertory Prosulas of Pa903 (Alphabetic Order) ................................ 93
Table 4-10 Prosas/Prosulas Found Only in Pa903 .............................................. 94
Table 4-11 List of Major Sanctoral Feasts in Pa903 by Proper Hierarchy .......... 96
Table 5-1 Distribution of Neo-Gregorian Chants in Pa903 ...............................102
Table 5-2a Temporal and Ritual Masses with Neo-Gregorian Chants ...............103
Table 5-2b Sanctoral Masses with Neo-Gregorian Chants ................................104
Table 5-3 Number of Masses in Pa903 with Neo-Gregorian Chants .................105
Table 5-4 Complete Neo-Gregorian Masses in Pa903 .......................................106
Table 5-5 Pa903 Prominent Neo-Gregorian Feasts ...........................................109
xii

Table 5-6 Pa903 Neo-Gregorian Concordances with Beneventan Sources ........111
Table 5-7 Prosa for Aredius ..............................................................................120
Table 5-8 Alternate Prosa for St. Aredius .........................................................126
Table 5-9 Introit Trope Sets for St. Aredius ......................................................129
Table 5-10 Neo-Gregorian Masses for the Second Sunday of Lent and the Dead131
Table 5-11 Characteristics of Gallican Chant* ..................................................139
Table 5-12 Traditional Gallican Chants and Aquitanian Concordances .............141
Table 5-13 Neo-Gregorian Mass Chants Found Only in Pa903 .........................144
Table A4-1.1 Concordances with Aquitanian and CAO Sources .......................184
Table A4-1.2 Gregorian Antiphons in Pa903 with Concordances ......................191
Table A4-2.1 Proper Tropes ff.147v-163 ..........................................................194
Table A5-1.1 Complete List of Neo-Gregorian Chants in Pa903 ......................203
Table A5-1.2 Number of Masses in Pa903 with Neo-Gregorian Chants ...........211
Table A5-1.3 Temporal and Ritual Masses with Neo-Gregorian Chants ..........212
Table A5-1.4 Sanctoral Feasts in Pa903 with Neo-Gregorian Chants ...............213
Table A5-1.5 Neo-Gregorian Chants of the Temporal.......................................215
Table A5-1.6 Neo-Gregorian Chants of the Ritual Masses ...............................218
Table A5-1.7 Neo-Gregorian Chants of the Gregorian Sanctoral Feasts ...........219
Table A5-1.8 Neo-Gregorian Chants of the Neo-Gregorian Sanctoral Feasts ...222
Table A5-2.1 Finding of the Cross Aquitanian Chant Concordances ................225
Table A5-2.2a Summary of Finding of the Cross Concordances with Pa903 .....226
Table A5-2.2b Finding of the Cross Aquitanian and Beneventan Concordances227
Table A5-2.3 Feasts with Neo-Gregorian Chants and Beneventan Concordances228
Table A5-4.1 Pa903 Concordances in Neo-Gregorian Sanctoral Feasts .............232
Table A5-4.2 Neo-Gregorian Concordances with Neo-Gregorian Feasts ...........236
xiii

Table A5-4.3 Pa903 Neo-Greg Chant Incipits in Neo-Greg Feasts ....................238
Table A5-5.1 Neo-Gregorian Mass Chants only in Pa903 .................................239
xiv

List of Figures
Figure 1-1 Map of Aquitaine ............................................................................... 2
Figure 2-1 Map of St. Aredius Bequests ca 572 ................................................. 14
Figure 2-2 Summary of Events in the History of St. Yrieix ................................ 21
Figure 2-3 Chapter Church of St. Yrieix in Gothic Style (Twelfth Century) ....... 33
Figure 2-4 Reliquary Head of St. Aredius, Thirteenth Century ........................... 34
Figure 2-5 Saint Yrieix Bible, Thirteenth Century ............................................. 35
Figure 3-1 Example Initials and Capitals in Aquitanian Style ............................ 45
Figure 3-2 Ad te lavavi Rubric for the First Sunday in Advent ......................... 46
Figure 5-1 Methodology for Developing the St. Yrieix Chant Repertory ..........101
Figure 5 -2a The St. Aredius Introit ..................................................................115
Figure 5-2b The St. Aredius Gradual ................................................................116
Figure 5-2c The St. Aredius Alleluia ................................................................117
Figure 5-2d The Aredius Prosa Alleluia vox promat Christo .............................121
Figure 5-3 The Aredius Offertory .....................................................................123
Figure 5-4 The Aredius Communion ................................................................124
Figure 5-5 The Aredius Prosa Astra hodie ........................................................127
Figure 5-6 Pa903 Second Sunday in Lent .........................................................134
Figure 5-7 Neo-Gregorian Chants from the Mass for the Dead in Pa903 ...........136
Figure 5-8 Alleluia Ascension Day ...................................................................137
Figure 5-9 Examples of the Use of the Pes Stratus in Pa903 .............................140
Figure A5-5.1 Aredius Introit Sancte pater Aredii ............................................240
Figure A5-5.2 Aredius Gradual Beatam Aredii animam ....................................241
Figure A5-5.3 Aredius Allelluia Speciosum fecit ..............................................242
xv

Figure A5-5.4a Aredius Offertory Immaculatas hostiarum ..............................243
Figure A5-5.4b Aredius Offertory Transcription ...............................................244
Figure A5-5.4c Aredius Offertory Verse Transcriptions ...................................245
Figure A5-5.5 Aredius Communion Virtutem pennis ........................................246
Figure A5-5.6 Finding of the Cross Introit Dum esset gens ...............................247
Figure A5-5.7 Pa903 Finding of the Cross Alleluia Verse Per signum sancte ...248
Figure A5-5.8 Pa903 Benedict Alleluia Verse Sancte Benedicte .......................249
Figure A5-5.9 Pa903 St. Martial Alleluia Verse Marcialis magnus ..................250
Figure A5-5.10 Barnabas Alleluia Verse Hoc est perceptum .............................251
xvi

I. Introduction
A. AREDIUS AND THE GRADUAL OF ST. YRIEIX
The monastery of Attanum, located forty kilometers south of Limoges (Figure 1-
1), was founded in the final decades of the sixth century by Aredius of Limoges from his
paternal estate. 1 The establishment included the central monastery site plus eleven other
dependent properties and chapels in the region. 2 Many of Aredius‟s activities and
miracles in the Limousin were recounted by his friend and ecclesiastical superior, Bishop
Gregory of Tours, in the History of the Franks. 3 Aredius became patron saint of Attanum
after his death, while the monastery and the village that grew up around it became known
as St. Yrieix, Aredius‟s French name. 4 Through the ensuing centuries, St. Yrieix
survived the collapse of the Merovingian dynasty and the rise and fragmentation of the
Carolingian Empire. Until the eleventh century it was an establishment of marginal
wealth in an unstable world, vulnerable to regional wars, conflicts between the Church
and the local nobles, and cycles of famine and other natural disasters. But the fortunes of
St. Yrieix changed in the eleventh century, as the monastery was closed and taken over
by the resident chapter of canons at St. Yrieix. In addition, a major dependency
(Moutier-Roseille) was returned for its benefit; and as the twelfth century arrived, St.
1 Michel Aubrun, L’Ancien diocèse de Limoges des origines au milieu du XI siècle, Publication
de l’Institut d’Etudes du Massif Central Fascicule XXI (Clermont-Ferrand: Presses Universitaires Blaise-
Pascal, Réimpression, 1981):110-112.
2 Testament of Aredius, ed. Bruno Krusch, Scriptorii rerum merovingicarum, in MGH Societas
Aperiendis Fontibus (Hannoverae: Impensis Bibliopolii Hahniani, 1896) 3:581-612.
3 Gregory of Tours, The History of the Franks, trans. Lewis Thorpe (Harmonsworth, UK: Penguin
Books Ltd., 1974): 589-592.
4 August Bosvieux, “Origines du monastéres de Saint-Yrieix,” Bulletin de la Société
archéologique et historique du Limousin 40 (1892):610-621. Hereafter, Aredius will refer to the saint; St.
Yrieix will refer fo the religious establishment.
1

Yrieix became increasingly incorporated into the ecclesiastical activities of the Bishop of
Limoges and the vicecomital Lastours family.
Figure 1-1 Map of Aquitaine
Adapted from “Carte 2” in Graduel Romain, Edition Critique Vol II, Les Sources. Moines de Solesmes,
eds. (Solesmes: Abbaye Saint-Pierre de Solesmes, 1957) 2:230. Locations of the Aquitanian religious
houses relevant to this study are marked.
2

As a further part of the renewal program, St. Yrieix acquired a new gradual in the
eleventh century, a manuscript containing the chants of the Mass to be sung by the schola
and soloists of the establishment. The Gradual of St. Yrieix, similar to the other
manuscripts of this era, contains both the melodies and texts of the chants in a written
record of Aquitanian liturgical musical practice. The Gradual of St. Yrieix, now held by
the Paris Bibliothèque Nationale (hereafter abbreviated Pa903), is one of only five
graduals surviving from eleventh-century Aquitaine. 5 It is organized according to the
liturgical calendar, with Masses of the temporal and sanctoral interleaved in calendric
order (as usual for the period), followed by Masses for particular occasions, and sections
following the gradual that provide repertories of antiphons, tropes, prosulas, and prosas.
B. THE SCHOLARSHIP ON PA903
Thanks to the photographic facsimile edition of the Gradual of St. Yrieix
published by the monks of Solesmes in 1925, Pa903 became the leading, accessible
exemplar of Aquitanian Mass chant, used extensively by chant scholars through the
twentieth century. 6 This published edition (hereafter abbreviated PM13) included the
chants of the temporal, sanctoral, and miscellaneous votive Masses, as well as a detailed
historical essay on the gradual and a descriptive essay on its Aquitanian notation. The
5 Paris: Bibliothèque Nationale, fond latin 903 Gradual of Saint-Yrieix. The four other Aquitanian
graduals of this period are from Narbonne, Gaillac, Toulouse, and St. Martial of Limoges, respectively (see
the list of manuscripts preceding the Bibliography).
6 André Mocquereau, ed., “Le graduel de Saint-Yrieix le codex 903 Bibliothèque Nationale de
Paris,” Paléographie Musicale les principaux manuscrits de chant Grégorien, Ambrosien, Mozarabe,
Gallican, Vol. 13 no. 119, 1925. Because of its public availability, Pa903 was included in Karl-Heinz
Schlager, Thematischer Katalog der ältesten Alleluia-Melodien aus Handschriften des 10. und 11.
Jahrhunderts, ausgenommen das ambrosianische, alt römische und alt-spanische Repertoire ( München:
Verlegt bei Walter Ricke, 1965), and in John R. Bryden and David Hughes, An Index of Gregorian Chant:
Vol. 1 Alphabetical Index, Vol. 2 Thematic Index ( Cambridge, MA: Harvard University Press, 1969). This
subsequently led to inclusion into the databases of Cantus-Planus, Globalchant URL:
www.globalchant.org/search.php, and others (see bibliography).
3

additional sections of antiphons, tropes, prosulas, and prosas following the gradual,
however, were not published in PM13. In the ensuing decades, Clyde Brockett published
an article about the entire repertory of antiphons of Pa903, including those from the
unpublished section. 7 Cheryl Frasch analyzed the diastematic notational system of
Aquitanian neumes in Pa903 that permits accurate determination of pitch in the absence
of clef and staff (the latter were not used in Aquitanian notation). 8 The concordances of
various chant genres with Pa903 and the other Aquitanian sources have also been
published for alleluias 9 and for Lenten offertories and all of the offertory prosulas. 10 The
tropes of Pa903 have been included in various studies: introit and communion tropes,
tropes of the Mass Ordinary, and contributions to the larger trope repertory produced at
St. Martial of Limoges, a leading center of early trope composition. 11 Finally, by virtue
of its transmission of traditional Gallican chant and other specialized repertories, Pa903
7 C.W. Brockett, “Unpublished Antiphons and Antiphon Series Found in the Gradual of St.
Yrieix,” Musica Disciplina 26 (1972): 5-35.
8 Cheryl Crawford Frasch, “Notation as a Guide to Modality in the Offertories of Paris, B.N. lat.
903,” in 2 Vols. Ph. D. diss., The Ohio State University, 1986.
9 Sr. Anthony Marie Herzo, “Five Aquitainian Graduals: Their Mass Propers and Alleluia
Cycles,” Ph.D. diss., University of Southern California, 1966; and Amanda Schmidt Burt, “The Alleluias
in the Manuscript Paris, Bibliotheque Nationale, f. lat. 903,” Ph.D. diss., The Catholic University of
America, 1969.
10 Grover Allen Pitman, “The Lenten Offertories of the Aquitanian Manuscripts,” Ph. D. diss.,
The Catholic University of America, 1972. Roman Hankeln, Die Offertoriumsprosuln der aquitanischen
Handschriften voruntersuchungen zur Edition de-s acquitanischen Offertoriumscorpus und seiner
Erweiterungen, Band I Darstellung, Band II Indices, Tafeln, kritischer Bericht, Band III Edition
(Tutzing: Verlegt bei Hans Schneider, 1999).
11 Greta Mary Hair, “Troped Introits and Communions from Eleventh-Century Aquitaine
Manuscript Paris Bibliothèque Nationale fonds Latin 903 : A Study in Musical Reconstruction,” Thesis
(Ph. D.) in 3 vols.University of Sydney, 1988. Also David A. Bjork, The Aquitaine Kyrie Repertory of the
Tenth and Eleventh Centuries, Richard Crocker, ed. (Aldershot, UK: Ashgate Publishing Limited, 2003),
and Gunilla Iversen, “A Thematic Study on Tropes from Different Traditions,” in Pax et Spientia: Studies
in the Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson, Corpus
Troporum (Stockhom: Almqvist And Wiksell, 1986) 28: 23-58. A study of Limousin troping style is given
in Jacques Chailley, “Les anciens tropaires et séquentiaires de l’école de saint-Martial de Limoges (X˚- XI˚
s),” Études gregoriennes II (1957): 163-188.
4

(particularly from PM13) has also been used in Roederer‟s studies of Aquitanian style
and Gallican-influenced repertories. 12
C. PA903 IN AQUITAINE
The objective of this research is to focus on Pa903 as a musical document of St.
Yrieix and its participation in the musical and historical events of its time. This
dissertation particularly addresses the neo-Gregorian chants 13 of Pa903 and the cultural
traditions surrounding the institution of St. Yrieix and the cult of Aredius. Throughout its
history, St. Yrieix participated in the conflicts between feudal factions of lay and church
power in Aquitaine. The St. Yrieix manuscript, by its selection of prominent feasts and
celebrations, and by its texts and music, reveals much about the musical liturgy and
religious practice of its time, as well as the secular and ecclesiastic allegiances that
defined the position of St. Yrieix in its own society. This dissertation identifies the
repertory of neo-Gregorian chants in Pa903, comprising approximately one third of the
total number of chants in the gradual. These chants participate in the practice of regional
neo-Gregorian chant composition practiced in Aquitaine, Southern Italy, 14 and
throughout Europe after the dissemination of the Gregorian corpus. The neo-Gregorian
repertory of Pa903 witnesses to the vigor of liturgical music activity embraced at St.
Yrieix in the eleventh century.
12 Charlotte D Roederer, “Can We Identify an Aquitanian Chant Style?” Journal of the American
Musicological Society 27 (Spring, 1974):75-99, and Charlotte Roederer,. “Eleventh-Century Aquitanian
Chant: Studies Relating to a Local Repertory of Processional Antiphons,” Ph.D. diss., Yale University,
1971.
13 Neo-Gregorian chants were composed generically in the style of Gregorian chant, but they
comprised new texts and music composed after the dissemination of the international Gregorian chant
repertory.
14 Luisa Nardini, Neo-Gregorian Chant in Beneventan Manuscripts: The Proper of the Mass,
forthcoming.
5

Many graduals are known only by their approximate time and location of origin,
and for others, not even this basic information is known. But the Gradual of St. Yrieix is
surrounded by a rich history of secular and clerical incident, noted in contemporary
chronicles, and actively pursued in modern scholarship. Chapter II surveys the historical
events that brought St. Yrieix from its sixth-century origins to a period of rapid expansion
in the eleventh century, resulting from new initiatives in regional ecclesiastic affairs
taken by the patronal collegiate church of St. Martin of Tours and by the noble Lastours
family of Limoges. 15 The challenge of Chapter II is to manage the many contemporary
medieval documents available on this subject that are either outright forgeries or are of
dubious validity. However, the objective of this work is not to establish the most credible
chain of events in the histories of Aredius and St. Yrieix. Rather, this work surveys the
documents for what they reveal about the traditions of political and institutional identity
and survival in this volatile period in Aquitaine. The historical issues behind the
documents include the controversies related to the de facto proprietary status of Church
establishments, the controversy of the lay investiture of clerics by their proprietary
patrons, and the influence of the cult of saints in this region. 16 These documents reveal
the traditions of St. Yrieix as an active participant in the realpolitik of Aquitaine during
this period, participation that is also reflected in the contents of its contemporary gradual.
The musical study of Pa903 is pursued in the three succeeding chapters. Chapter
III characterizes the manuscript, reviewing its date and provenance, and focuses on the
usage of St. Yrieix as reflected in its choice of Masses and their hierarchical
relationships. This usage served as the hallmark of St. Yrieix in its community and in
15 The essential document is Aredius’s Testament, which gave his monastery in the Limousin to
St. Martin of Tours at the end of the sixth century. This Testament continued to influence the status and
position of St. Yrieix through the intervening centuries.
16 Susan Wood, The Proprietary Church in the Medieval West (Oxford: Oxford University Press,
2006):372-391.
6

the region. 17 The usage of St. Yrieix distinctively featured Masses for (1) Aredius,
founder and patron saint, (2) Martin and Benedict, in senior patronal relationship to St.
Yrieix, and (3) Saturninus (Toulouse) and Martial (Limoges), both leading regional
patron saints. St. Yrieix also featured Masses for feasts found in eighth-century Gallican
sacramentaries that were not included in the Gregorian calendar. These prominent
Masses are part of a group of thirty-three “neo-Gregorian” feasts in the Pa903 sanctoral
that are not found in the international Gregorian calendar; they feature neo-Gregorian
chants, written after the dissemination of the Gregorian repertory, that reflect the regional
traditions and allegiances of St. Yrieix.
Chapter IV surveys the repertories of antiphons, tropes, prosulas, and prosas
written to embellish and expand the Mass repertory in Pa903, particularly for the
presentation of the most significant feasts celebrated at St. Yrieix. These embellishing
genres exemplify contemporary trends of liturgical music-making of the eleventh century
as practiced at St. Yrieix and throughout Europe. The chapter identifies the regional
repertories of these chants through concordances with the other Aquitanian graduals and
identifies the repertories of antiphons and prosulas that appear only in Pa903.
Chapter V addresses the neo-Gregorian Mass chant genres of the manuscript,
beginning with a survey of the neo-Gregorian corpus found in all sections of Pa903. The
repertory of neo-Gregorian chants identified here is the first collection of these chants
from an Aquitanian source. Also reviewed is evidence in Pa903 for the exchange of neo-
Gregorian chants both within Aquitaine (Aquitanian concordances) and with Benevento
(based on the Beneventan neo-Gregorian repertory described by Nardini). 18 This general
17 Roman Hankeln, “A Blasphemous Paradox? Approaches to Socio-Political Aspects of
Medieval Western Plainchant,” in Political Plainchant? Music, Text and Historical Context of Medieval
Saints’ Offices, Roman Hankeln, ed. (Ottawa: The Institute of Mediaeval Music, 2009): 1-11.
18 Nardini, Neo-Gregorian Chant in Beneventan Manuscripts, forthcoming.
7

survey is followed by the discussion of three neo-Gregorian Masses with entirely neo-
Gregorian formularies: the St. Aredius Mass Proper from the sanctoral, with tropes and
prosas, the Mass for the second Sunday of Lent from the temporal, and the Mass for the
Dead from the section of ritual Masses. The musical characteristics of particular neo-
Gregorian chants are then examined in detail, including examples of Gallican influence
based on current surveys of Gallican traits. 19 This review of neo-Gregorian chant
culminates in a repertory of ten neo-Gregorian examples in all Mass genres that appear
only in Pa903. These examples show the particular intention of the musicians of St.
Yrieix to reserve chants of their own choosing (or making) for certain prominent feasts of
their usage.
Chapter VI is a commentary on the nature of the gradual in Aquitanian culture as
indicated in this work. While conveying the liturgical ideology of the Church, the
gradual also reflects the society in which it was produced. The gradual of St. Yrieix
contributed to the program of expansion at St. Yrieix, which authorized a chapter of
canons that ultimately supplanted the five-hundred year-old monastic establishment. The
stance of St. Yrieix in this time, as reflected in Pa903, was carefully balanced between
Tours (its patronal church) and Limoges (its benefactor). 20 This balance reflected the
prevailing overlap of jurisdiction and authority typical of Aquitaine in this period: St.
Yrieix functioned as a major establishment in the diocese of Limoges, while it remained a
19 Michel Huglo with Jane Bellingham and Marcel Zijlstra, “Gallican Chant,” in New Grove
Dictionary of Music and Musicians, Stanely Sadie and John Tyrell, eds. ( London:Macmillan, 2001) 9:
458-472; and Kenneth Levy, “Toledo, Rome, and the Legacy of Gaul,” Early Music History 4 (1984):49-
99.
20 St. Yrieix also equitably includes a feast for St. Front of Perigueux, a contemporary
nominee for apostle, similar to the controversial nomination of St. Martial in Limoges in the same
period; see Samantha Herrick, “Studying Apostolic Hagiography: The Case of Fronto of Perigueux,
Disciple of Christ,” Speculum 85 no. 2 (2010): 235-270.
8

dependency of the Collegiate Church of St. Martin of Tours. 21 The usage of St. Yrieix
favored its senior patron Martin over St. Martial with two feasts for Martin as well as
selected saints of Tours associated with Martin; 22 yet the sanctoral of St. Yrieix as a
whole favored the saints of Limousin monastic usage, perhaps as a mark of loyalty to the
ancient monastic traditions of St. Yrieix. In Pa903 the selection of the regional feasts, the
selection of chants for the feasts, the inclusion of traditional Gallican feasts and
antiphons, as well as the newly composed and Gallican- influenced elements of the Mass-
- each of these is a salient feature of the Gradual of St. Yrieix, and all would reflect the
stance of St. Yrieix in Aquitaine.
21 Jean Becquet, “Collégiales et sanctuaires de chanoines séculiers (Saint-Yrieix et Moutier-
Roseille),” Bulletin de la société archéologique et historique du Limousin 103 (1976): 80-90, shows that
the monastery of St. Martin of Tours was converted to the collegiate church of St. Martin of
Tours in the ninth century. Thus while Aredius bequeathed St. Yrieix to the monastery of St.
Martin as a dependency, by the eleventh century St. Yrieix had been a dependency of the
collegiate church of St. Martin for more than a century.
22 The Viscounts of Limoges, who actively supported St. Yrieix, had altered their relationship to
the Monastery of St. Martial by negotiating (for their own benefit) the transfer of St. Martial to the Abbey
of Cluny as a dependency.
9

A. OVERVIEW
II. Aredius and St. Yrieix
In this Chapter the discourse and scholarly debate on both Aredius and the history
of St. Yrieix reveal the historical background of Pa903. The monastery of St. Yrieix
became a dependency of the Monastery of St. Martin of Tours in the last quarter of the
sixth century under the terms of the Testament of Aredius. 1 With the dissolution of the
monastery of St. Martin of Tours in the ninth century in favor of a chapter of canons, the
dependency of St. Yrieix devolved upon the Collegiate Church of St. Martin of Tours in
the old monastery. 2 The Chapter of St. Martin remained there until the closure of French
churches in the eighteenth century.
In his writings on the diocese of Tours, Gregory, Bishop of Tours (d. 594),
provides the earliest contemporary biographical report about Aredius of Limoges. 3
Gregory was an acquaintance of Aredius and author of the most prominent chronicle on
sixth-century Aquitaine that has survived. Various contributions to the Aredius
hagiography in subsequent centuries were studied by distinguished authors from the
seventeenth through the nineteenth centuries, but the details of the life of Aredius became
increasingly controversial with each succeeding century.
1 Testament of Aredius, ed., Bruno Krusch, Scriptorii rerum merovingicarum, in MGH Societas
Aperiendis Fontibus (Hannoverae: Impensis Bibliopolii Hahniani, 1896) 3: 581-612.
2 Joseph Maurey, “Music and Ceremony at St. Martin of Tours, 1205-1500,” in 2 Vols., Ph. D.
diss., The University of Chicago, 2005 1: 3.
3 Gregory of Tours, The History of the Franks, trans. Lewis Thorpe (Harmonsworth, UK: Penguin
Books Ltd., 1974):589-592. A reference edition is the Historiae Francorum, Wulf Arndt and Bruno
Krusch, eds., in Monumenta Germaniae Historica, Scriptores rerum Merovingicarum, Vol. I (Hanover,
1885, Reprinted 1961).
10

In contrast to the Aredius hagiography, the primary documents pertaining to the
history of St. Yrieix and thus relating to Pa903 can be found in the Instrumenta of the
Dioceses of Tours, Limoges, and the surrounding counties of Aquitaine. However, the
archives of St. Yrieix itself do not survive. 4 The most prominent medieval narrative
commentary on the subsequent fortunes of St. Yrieix is the late twelfth-century Chronicle
of Geoffrey, Prior of Vigeois. 5
In the Limousin and throughout Aquitaine, the survival of religious houses rested
on wealth (i.e., land and the income therefrom), feudal and family loyalties, and the
power of relics in the cult of saints. As shown in the following sections, each of these
factors played a role in the fortunes of St. Yrieix from its founding to its period of
prominence beginning in the eleventh and twelfth centuries. Emblematic of this growth
were the major expansion of the Church of St. Yrieix, the acquisition of the Gradual
(Pa903), and the acquisition of a major illuminated Bible and a jeweled reliquary head of
Aredius. 6 The historical scholarship on St. Yrieix has been influenced by contemporary
documents that recorded significant events relating to the St. Yrieix establishment: (1)
the Testament of Aredius (there are two versions), (2) the chronicles of Gregory of Tours
and Geoffrey of Vigeois, (3) the foundation legend of St. Yrieix (an eleventh-century
forgery), and (4) the late eleventh-century terms of dependency re-established between
the canons of St. Yrieix and the canons of St. Martin of Tours. Behind these documents
is the sustaining support of the monastery, then the chapter of St. Martin of Tours, and
the powerful intervention of the Bishop and Viscounts of Limoges in the eleventh and
4 Geoffroi Tenant de la Tour, “Saint- Yrieix…ville d’église 510-1790,” Bulletin de la société
archéologique et historique de Limousin 74 (1933): 290.
5 Geoffroy (de Breuil), Prieur de Vigeois, Chronique de Geoffroy Prieur de Vigeois, translated
into French by Francois Baunélye (Tulle, FR: Imprimerie de Mme Veuve Detournelle, 1864).
6 L’Abbé Arbellot, Vie de S. Yrieix ses miracles et son culte (Limoges: Imprimerie Ve, H.
Ducourtieux, 1900) : 86.
11

twelfth centuries that rehabilitated and expanded St. Yrieix. This process culminated in
active participation of St. Yrieix in the historical events of the Limousin from the twelfth
century on. Each of these subjects will be addressed in the following Sections.
B. AREDIUS, PATRON SAINT
1. Contemporary Witness (Sixth Century)
Gregory of Tours reports that Aredius of Limoges was born into a prominent
Limousin family in the first half of the sixth century. 7 According to Gregory, Aredius
was sent to the court of the Merovingian King, Theudebert, for his basic education.
Gregory ascribes Aredius‟s religious vocation to Nicetius, Bishop of Trier, who met
Aredius at court and in whose care Aredius received religious training. 8 Upon the death
of his father and brother, Aredius willed his property to the Church, and took an active
part in the building of churches (more about this in the next Section). Gregory describes
Aredius as a healer, a worker of miracles, and distributor of brandea to support the cults
of the local churches. 9 According to Gregory, Aredius at the end of his life made a visit
to the tomb of St. Martin of Tours, then prepared his will, set his affairs in order, and died
in 591. 10 As he died, a woman suffering from an evil spirit reported seeing the Saints
gathering above Aredius: Julien of Brioude, Privatus of Mende, Martin of Tours, Martial
of Limoges, Saturninus of Toulouse, Dionysus of Paris, and “all the others.” 11 During his
7 Gregory of Tours, The History of the Franks, trans. Lewis Thorpe, Book X.28 (Harmonsworth,
UK: Penguin Books Ltd., 1974): 589.
8 History of the Franks, ibid. : 589. This passage also describes a dove (as a symbol of the Grace
of God) which descended on Aredius while he was in training and often accompanied him through the day.
9 Ibid. : 590-591. Brandea were items of religious veneration which had touched the relics. They
were distributed to shrines where relics were otherwise not available.
10 Ibid. : 591
11 This is a sixth-century list of major Gallican saints. In the eleventh century Pa903 would
include feasts for Martin, Saturninus, Germanus of Paris (rather than Denis), and omit Julien and Privatus.
12

funeral Aredius saved two women suffering from evil spirits, and at his tomb restored
speech to a third. 12
2. The Testament of Aredius
In addition to Gregory of Tours‟s contemporary witness, the other surviving
document of major significance in the history of St. Yrieix is Aredius‟s Testament, 13
written jointly with his mother, Pelagia, in which they bequeathed their entire estates to
the Church. 14 There were twelve properties in this bequest, including the principal estate
of Attanum on which Aredius had built the monastery. He became its abbot, while
Pelagia served as manager of the properties. This monastery and the village that grew up
around it became known as St. Yrieix. Aubrun located each of the twelve properties (as
shown in Figure 2-1), many of which became church establishments built at Aredius‟s
behest. 15 Table 2-1 (also taken from Aubrun) identifies each of the places shown in
Figure 2-1.
The Testament of Aredius has attracted the attention of modern scholars,
becoming one of the most carefully analyzed of all the documents associated with the
saint. It is the only substantial Testament surviving from sixth-century Aquitaine and
12 Gregory of Tours, History of the Franks : 592
13 “Testament of Aredius,”, Scriptorii rerum merovingicarumin in MGH Societas Aperiendis
Fontibus, Bruno Krusch, ed..(Hannoverae: Impensis Bibliopolii Hahniani, 1896): 3: 581-612. See also
Testamentum Sancti Aredii Abbatis Attanensis taken from the archive of St. Martin of Tours in Patrologia
Latina Vol. 71, col. 1143-50, also found in Patrologia Latina Database (Alexandria, VA: Chadwick-
Healy, Inc. 1996).
14 According to Aquitanian custom (deriving from Visigothic law), spouses could inherit the
estates of each other, thus both Pelagia (wife of the deceased) and Aredius (only surviving son) jointly
made the testament. See Archibald R. Lewis, The Development of Southern French and Catalan Society,
718-1050 (Austin, TX: University of Texas Press, 1965): 80, 170-171.
15 Michel Aubrun, L’Ancien diocèse de Limoges des origines au milieu du XI siècle, Reprint of
the Publication de l’Institut d’Etudes du Massif Central Fascicule 21, 1981 (Clermont-Ferrand: Presses
Universitaires Blaise-Pascal, 2007): 113-114.
13

provides insight on contemporary practices in the selection of crops and the assignment
of labor in working the vineyards, in wine production, agricultural plantings, etc. 16
Figure 2-1 Map of St. Aredius Bequests ca 572
(From Aubrun, L’ancien diocèse de Limoges : 113.)
2005): 284-287.
16 Chris Wickham, Framing the Early Middle Ages 400-800 (Oxford: Oxford University Press,
14

Table 2-1 List of St. Aredius Bequests ca 572
(Both the Latin and vernacular place names are provided; taken from Aubrun, L’ancien diocèse
de Limoges:114.)
15

Other important details in the Testament include the number of free men, serfs,
and slaves attached to each of Aredius‟s properties, and many names of individuals on
these estates. This type of information is of unique value for the economic analysis of
southern France in the Merovingian period.
This Testament circulated in several different redactions used in the ninth to the
eleventh centuries. 17 In the version of 572, Aredius commends himself and his
ecclesiastical establishments after his death to the monastery of St. Martin of Tours. The
second version of the Testament, produced in evidence in the ninth century (see Section
C.2), is substantially in agreement with the Testament of 572, but includes an additional
major bequest to St. Hilary. 18 In the eleventh and twelfth centuries, Aredius‟s last
bequests and interment became significant to St. Yrieix and to the Aredius cult because
of the translations of the Aredius relics (see the section on St. Yrieix below).
3. The Vitae
The elements of a Vita of St. Aredius can be constructed from Gregory of Tours‟s
History of the Franks, On the Virtues of Martin, and The Glory of the Confessors, in
which Aredius appears prominently in each. In the seventeenth century, under the
influence of the Maurists to make a rationally defensible study of hagiographical texts,
Jean Mabillon discussed a long version of the Aredius vita (Vita prolixior) and a shorter
one (Vita breve), attributing them to Gregory of Tours. 19 Thiery Ruinart and, more
forcefully, Étienne Foncemagne in the same period showed that because of an
17 The version of the Aredius Testament dated 572 was used by Chris Wickham (Framing the
Middle Ages) and is the version most generally quoted in the literature. This version has the earliest date,
but the story of its origin does not accord with Gregory of Tours, who relates that Aredius made his
Testament shortly before his death in 591.
18 For discussion of this version of the Aredius Testament, see Abbé Arbellot, Vie de S. Yrieix
(Limoges: Imprimerie Ve, H. Ducourtieux, 1900): 79-81 relating to the interment of Aredius.
19 Jean Mabillon, published in his edition of Gregory of Tours in Vetera Analecta, 2:48-68.
16

anachronism in these vitae, authorship should be attributed to an anonymous monk of
Attanum in the eighth century. 20 However, all were satisfied as to the authenticity of the
sanctity of Aredius.
In the mid-eighteenth century the Bollandist Giullielmo Cupero prepared the
edition of the Aredius vita for the Acta Sanctorum; he included both the long and shorter
versions and described the life, death, and miracles of Aredius. 21 But by the end of the
nineteenth century, Bruno Krusch, in editing the Aredius vita for Monumenta Germaniae
Historiae (MGH), showed for the first time that substantial sections of the Aredius Vitae
in the Acta Sanctorum had been copied from a vita of St. Elegius, which was written after
the supposed eighth-century date of the Aredius vita. 22 While the contemporary
Bollandist scholars agreed with Krusch‟s conclusions on this medieval appropriation
from Elegius, they contended that the problems of the text in the vita did not affect the
sanctity of Aredius. 23
4. Canonization
Gregory of Tours, as an eye-witness to events in Aredius‟s life, related the
conventional signs of Aredius‟s sainthood: the miracles, healings, devotion to orthodoxy,
and welcome into heaven by the Saints of Aquitaine in attendance at his death. In the late
sixth century, sainthood could be declared by the bishop on his own authority in
consultation with the local clerics. Such canonizations were valid within the region of
20 Étienne Lauréault de Foncemagne, “Que S. Gregoire de Tours n’est pas auteur de la vie de
Saint-Yrieix,” Histoire de l’Académie royale des Inscript. et belles lettres (Paris, 1733) 7: 278-280; as
cited in René Aigrain, “Aredius or Aridius,” in Dictionnaire d’histoire et de geographie ecclesiastiques,
ed., Mgr. Alfred Baudrillart (Paris: Librarie Letouzey et Ané, 1924) 3: col. 1632.
21 Giullielmo Cupero, “De S. Aredio Abbate Atanensi apud Lemovices in Gallia,” in Acta
Sanctorum Augusti Tomus V, Jerome Carnandet, , ed. (Paris: Victorem Palmé, 1868) 5: 171-194.
22 Vita Aredii, ed. Bruno Krusch. in Scriptorii rerum merovingicarum in MGH Societas
Aperiendis Fontibus. (Hannoverae: Impensis Bibliopolii Hahniani, 1896) 3: 581-612.
23 René Aigrain, “Aredius or Aridius,” in DHGE, (1924) 3: col. 1632-1636.
17

authority of the granting bishop. 24 Thus by local tradition, Abbot Aredius of Attanum
became Saint Aredius, patron saint of St. Yrieix. August 25th, the anniversary of his
birth into heaven (i.e., the anniversary of his death), could be celebrated as an annual
feast in the calendar of the monastery of St. Yrieix. 25 This feast would include a proper
Mass in his honor as well as a proper Office, although we have no record of an Aredius
Mass or Office from the seventh century. Similarly, a feast for St. Aredius does not
appear in the surviving sacramentaries of the Gallican Church; 26 but this absence is not
unusual, since the Gallican rite was remarkable for the variety of its regional practices.
The local churches in this period reserved the right not only to celebrate the feasts of the
major saints of the Gallican rite (appearing in the sacramentaries), but also the local and
regional saints according to their preference. 27 In fact, there was no apparent move to
unify the liturgical practices of the Gallican churches in Francia until the renowned
interventions of the Carolingians in the eighth century. The Gallican rite was slowly
extinguished in this process, as the Roman rite, while incorporating some Gallican
elements, became the conventional liturgical practice of the kingdom in the ninth
century. 28
The mention of Aredius in the writings of Gregory of Tours, the most
prominent chronicler of sixth-century Aquitaine, attracted influential scholars to the
24 André Vauchez, La sainteté en occident aux derniers siécles du moyen age: D’apres les procès
de canonisation et les documents hagiographiques (Rome: École Française de Rome, 1981):20-24.
25 Frederick G. Holweck, “ Introduction,” A Biographical Dictionary of the Saints (St Louis,
MO and London: B. Herder Book Co., 1924, republished by Gale Research Co., 1969) : pg. xx.
26 J. M. Neale, and G. H. Forbes, eds., The Ancient Liturgies of the Gallican Church, New First
Collected, with an Introductory Dissertation, Notes, and Various Readings together with Parallel passages
from the Roman, Ambrosian, and Mozarabic Rites (New York: AMS Press, Inc. 1970, First printed 1855,
London.) This source compares the liturgies found in the Gallican sacramentaries: Missale Gothicum in
the editions of Thomasius and of Mabillon, and the Bobbio Missal in the Lowe edition.
27 Cyrille Vogel, Medieval Liturgy An Introduction to the Sources, revised and translated by
William Story and Niels Rasmussen with the assistance of John Brooks-Leonard (Portland OR: Pastoral
Press, 1981) : 62.
28 Vogel, ibid. : 2.
18

hagiography of Aredius, from Mabillon in the seventeenth, to René Aigrain in the
twentieth century. This review of the Aredius scholarship has neither attempted to
construct a “best reading” of his vita nor sought to draw conclusions about the veracity of
the two versions of his Testament. Rather, this review has provided background relevant
to the fortunes of St. Yrieix. The next section outlines the rehabilitation of St. Yrieix in
the eleventh century, after five centuries of hazardous existence.
C. ST. YRIEIX
1. The Early Centuries
By the terms of the Aredius testament, Attanum (or St. Yrieix, as it would
be called) received regular income from the eleven dependant churches within 60
kilometers of the monastery. Similarly, because of its dedication to St. Martin in the
testament of Aredius, Attanum contributed to the income of the monastery of St. Martin
of Tours. In Merovingian society this flow of income was typically enforced as
necessary by the secular members of the noble family of the founder (or the abbot) who
had the wealth and military capacity to protect the establishment. 29 In the case of St.
Yrieix, no powerful family members remained to provide this guarantee. As an
unprotected religious house, St. Yrieix was vulnerable to attack by the dominant noble
either through his jurisdictional power (his law-court) or by outright appropriation of the
establishment for the benefit of the challenging family. 30
2. St. Yrieix in the Eighth to Tenth Centuries
In addition to the property around St. Yrieix, the monastery of Moutier-Roseille in
Vigeois region, by tradition also founded by Aredius, had been bequeathed by Aredius to
29 Archibald R Lewis, The Development of Southern French and Catalan Society, 718-1050
(Austin, TX: University of Texas Press, 1965) : 403-404.
30 Lewis, ibid.
19

his nephew, Astidius. 31 In her testament of the mid-eighth century, Karissima, who
identified herself as a niece of Aredius, returned the monastery of Moutier-Roseille to St.
Yrieix as a dependency and benefice. 32 But before St. Yrieix could receive the benefits
of this bequest, the local count of Aubusson decided to claim Moutier-Roseille for
himself, thus taking the property and any income it could contribute away from St.
Yrieix. 33 These events in the early history of St. Yrieix are summarized in Figure 2-2; we
will return to Roseille later in this section.
In the ninth century, a second version of the Aredius testament was brought to
light by Hilduin, Bishop of Tours, who produced it in evidence at the Council of Touzey,
a general synod of the diocese of Tours (843). 34 The council addressed the issues of
rebuilding after a series of Norman attacks. Hilduin used the testament of Aredius, which
contemporaries acknowledged as a sixth century document, in defense of his claim on St.
Yrieix as a dependency of his diocese. In this second version of the Aredius Testament,
Aredius commends Attanum to St. Martin of Tours and provides a major bequest to the
church of St. Hilary, requesting interment at his oratory there and memorial Masses. 35
31 “Aredius Testament,” Patrologia Latina, Cursus Completus (Garniers fratres and J-P Migne,
1838) 71:cols. 1143-1150.
32 Karissima, “XX Additamentum ad instrumentum pro Attanensi monasterio, quod edidit
Quercetanus in notis ad bibliothecam Cluniacensem,” Instrumenta Eccleasiae Lemovicensis Spectantia,
Gallia Christiana, Pauli Piolin, ed. (Paris: Victorem Palmé Bibliopolam, 1873) 2 :col. 177 (Instrumenta).
This document is dated 753 by the editor, based on references to Pippin, King of the Franks and Gaifero,
Duke of Aquitaine. However, there are questions regarding the credibility of its signatures.
33 Arbellot, Vie de S. Yrieix :82-83. Arbellot cites Bonaventure and Labbe regarding the
acquisition and return of Roseille (see bibliography).
34 Aubrun, L’ancien diocèse de Limoges :132.
35 Arbellot, Vie de S. Yrieix : 82-83. The manuscript of the Testament of 572 has a smudged
bequest that was understood to be to St. Martial of Limoges, but altered in the second version to a bequest
to Hillary.
20

Figure 2-2 Summary of Events in the History of St. Yrieix
Hilduin‟s arguments about the prior commitments of Aredius to St. Martin of
Tours succeeded at the Council, which sustained the claim of the Diocese of Tours to St.
Yrieix. 36 But Carolo Le Cointe (seventeenth century) raised the issue of the authenticity
36 Tenant de la Tour, “Saint-Yrieix…ville d’église,” BSAHL 74 (1933) : 290.
21

of the two versions of the Testaments, arguing that the second version was conveniently
produced in time to influence the Bishop of Tours‟s case for the St. Yrieix dependency. 37
After the fall of the Carolingians, St. Yrieix became a victim of the growing trend
of lay investiture of the clergy. While the practice of the landed nobles and bishops to
build churches on their lands and donate them to the Church was well established, it
became the trend in the tenth century for the lay proprietor to provide further
endowments and install church administrators for these establishments (priests, priors,
abbots, bishops), either from the clergy of his family or from those allied with him. 38
By this practice of “lay investiture” in the tenth and eleventh centuries, the nobles
in effect took it upon themselves to ordain the clerics of the churches they had founded.
By doing so, the lay proprietor could achieve higher status in the social hierarchy not
only by his continuing access to the Church establishment but also as an agent of church
reform. 39 Literally hundreds of churches and abbeys were built in this way through the
eleventh century in West Francia. 40
37 Carolo Le Cointe, Annales ecclesiasticum Francorum 2: 52-3, 392-393. This is criticism of
the 572 Testament as produced by Hilduin (mid-ninth century) as quoted in Arbellot. Le Cointe belonged to
the early group of scholars who studied St. Aredius and St. Yrieix in the seventeenth century. In the
scholarship of the twentieth century, the Testament version of 572 has assumed the dominant position,
particularly as the definitive source for the economic analysis of the region, and of particular interest to
these historians. The issue of the location of the Aredius relics would become important in the historical
scholarship of St. Yrieix and Aredius in the nineteenth century with regard to the eleventh- and twelfthcentury
translations of Aredius, ascribed to the establishments of St. Yrieix and of St. Hilary, respectively.
38 Maureen C. Miller, Power and the Holy in the Age of the Investiture Conflict: A Brief History
with Documents (New York: Palgrave Macmillan, 2005) :3-14.
39 Susan Wood, The Proprietary Church in the Medieval West ( Oxford: Oxford University
Press, 2006) : 25-26. Maureen Miller, “The Crisis in the Investiture Crisis Narrative.” History Compass
7/6 (2009) :1571-1580. Miller argues that these initiatives of the lay aristocracy were also significant
sources of legitimate ecclesiastical reforms in this period.
40 Jean Dunbabin, France in the Making 843-1180 (Oxford: Oxford University Press, 2000;
reprinted 2005): 1-2. Dunbabin refers to the area of France, the Low Countries, Northern Spain, and
Northern Italy in the ninth century as West Francia, i.e., the western region of the Carolingian Empire, as
distinguished from Lotharingia and the German Areas of East Francia.
22

According to Carolingian law, the local church and its land enjoyed the right of
royal protection. In this period the tradition of nomination and appointment of church
administrators to a donated church developed into a hereditary right of the original donor.
As an example of proprietorship taken to this extreme, St. Yrieix was faced with a lay
abbot in the person of Eménon of Poitiers (from the family of the duke of Aquitaine) in
the ninth-century aftermath of Norman invasions in the Limousin. Eménon assumed the
abbacy of St. Yrieix for a period of three years and in so doing assumed control of the
funds collected in its name. But a shift in power in Aquitaine permitted the Bishop of
Tours to force the removal of Eménon through a diocesan synod. 41
The issue of lay investiture was the critical element in the final control of what
had become a proprietary church. But the practice was ultimately suppressed in favor of
exclusive ecclesiastical control of spiritual ordination by the ranking clergy. This
extended from the local bishop, who ordained the general clergy, to the Pope, who
ordained Bishops, in both cases with the consultation of the local nobles. 42 The next
section reviews the positive impact of lay proprietorship in the fortunes of St. Yrieix and
Moutier-Roseille in the eleventh century.
3. St. Yrieix in the Eleventh Century
The further history of St. Yrieix through the tenth and eleventh centuries is found
in the Chronicles and Instrumenta of the surrounding counties, cathedrals, and abbeys of
the Limousin. The records of St. Yrieix itself, however, were lost in a series of fires,
particularly in 1565 as a result of Protestant attacks. 43
41 Tenant de la Tour, L’homme et la terre de Charlemagne a Saint Louis: Essai sur les origines et
des caractères d’une feodalité (Paris: Desclée de Brouwer, et Cie, 1942): 44 . This was a diocesan synod
of Touzey, at which it appears that the second version of the Aredius Testament was entered in evidence.
42 Maureen Miller, Power and the Holy :3-25 .
43 Geoffroi Tenant de la Tour, “Saint- Yrieix…ville d’église 510-1790,” Bulletin de la société
archéologique et historique de Limousin, 74 (1933): 290. This appears to be a total loss, without even a
23

The eleventh century was an extremely important period for St. Yrieix, marking
the turning point in its fortunes by virtue of its increasing wealth, influence, and prestige.
By this time the clerics of St. Yrieix had requested and received approval to form a
chapter of regular canons, living under a rule in common. The Chapter, resident
alongside the monks of St. Yrieix, would have observed a version of the Office,
ministered to the poor, and provided liturgical services to the people of their parish. In
this period, the physical conditions of St. Yrieix were improved by the income obtained
from the monastery of Moutier-Roseille, which was returned to St. Yrieix as a
dependency. In addition, expansion and renovation of the church of St. Yrieix was
initiated in the 1080s, and in the 1090s the canons re-affirmed their dependency to St.
Martin of Tours, producing a new foundation diploma (dated in the eighth century) that
approved the Chapter and asserted ratification by Charlemagne himself. During these
changes, a new, high quality gradual of St. Yrieix was acquired (mid-eleventh century),
and the Aredius cult was formally authorized with a simple feast on August 25. Each of
these events surrounding the composition of the gradual and the rise of St. Yrieix will be
discussed in the following Sections.
(a.) The St. Yrieix Establishment
By the 1060s, the St. Yrieix establishment included a chapter of canons as well as
the monastery. 44 A chapter of canons co-located in a monastery was not uncommon in
this early period of the chapter establishments of the Limousin. 45 But with the death of
cartulary. However, the Gradual of St. Yrieix (Pa903) survived in the monastery library of St. Martial of
Limoges into the eighteenth century.
44 Tenant de la Tour, L’homme et la terre : 44. The period during which monks and canons
resided at St. Yrieix is attested by the document of 1060 that relates the return of Moutier-Roseille and
refers also to the Canons of St. Yrieix (see Michel Aubrun, L’Ancien Diocèse de Limoges: n.75, p.151-52).
45 J. C Dickinson, The Origins of the Austin Canons and Their Introduction into England.
(London: S.P.C.K., 1950) : 7-58. The introduction of this book reviews the beginning of the canon
24

Seguin as the last abbot of St. Yrieix (d. 1070), the monastery was closed and the Chapter
of Canons of St. Yrieix inherited the establishment and carried on its tradition. 46
Thus the year 1060 represents a terminus ante quem for the establishment of the
chapter. But Tenant de la Tour notes that the initiation of the St. Yrieix chapter is not
mentioned by Geoffrey of Vigeois in his two thirteenth-century Chronicle(s) surveying
Limousin church history. Geoffrey‟s chronicles are extant in two versions: the first
covers the period 1031-1184 and the second 996-1184. 47 Because of de la Tour‟s
confidence in Geoffrey to note everything of consequence in the period and place of these
chronicles, de la Tour concludes that an event of the magnitude of installing a chapter of
canons at St. Yrieix would not have been ignored. De la Tour thus concludes that the
Chapter must have originated either before or after the period of these two chronicles. 48
De la Tour, who favors the earlier date, then develops an argument to date the origin of
the Chapter at the beginning of the tenth century, based on the imagery and style of the
St. Yrieix foundation diploma of the 1090s. 49
The foundation diploma of St. Yrieix, like all Church documents of this type, was
prepared to record the origin and legitimacy of the Chapter. Perhaps the need for this
document was based on the closure of the original monastery (1070), which would have
left the Chapter vulnerable to challenge as the legitimate inheritors of St. Yrieix after
centuries of prior monastic tradition. The foundation diploma, published in the MGH
movement in the eleventh century before the widespread convention of adopting the Rule of Augustine and
the various alternative modes of organization permitted within the movement.
46 Tenant de la Tour, “St. Yrieix….ville d’église,” BSAHL 74 (1933) : 335.
47 Chronique de Geoffroi de Breuil, cited in Tenant de la Tour, “St. Yrieix…ville d’église,”
ibid.: 321. Tenant de la Tour also mentions other estimates for the beginning of the Chapter at St. Yrieix:
Dadaud estimates 1053, ibid. n. 46: 320; Alfred Laroux, reading Geoffroy de Vigeois, estimates 1090 at the
building of the collegiate church of St. Yrieix, ibid. n.46 :321.
48 De la Tour, ibid.
49 De la Tour, ibid.
25

Diplomata of the Carolingians, 50 purports to be written in the words of Charlemagne as
he visits St. Yrieix while on military campaign to Spain in 794. 51 While he rests at St.
Yrieix, Charlemagne is entertained by reviewing the original Merovingian foundation
documents which he observes were kept in chronological sequence. He also obtains a
report on the state of St. Yrieix since the original visit by Pepin III, who had made a
promise to St. Yrieix of royal support and protection from outside interference.
Charlemagne resolves to complete Pepin‟s program of restoring the buildings of St.
Yrieix and re-establishing the monastery; but the monks request that a chapter of canons
be authorized under a rule of life in common. Charlemagne agrees to this (“Why delay?”
he asks), and further authorizes 32 prebends for the Chapter. Among the witnesses to this
diploma were Turpione and Aldegaris, and other peers of Charlemagne. 52
Tenant de la Tour analyzes the forms of address, the scenario, imagery, and
dramatis personae of this diploma in order to estimate a date of origin of the St. Yrieix
chapter of canons. He places the date before the previous late eleventh century estimates
that were based on the Instrumenta. De la Tour argues that the events described in the
diploma that was prepared by the canons of St. Yrieix fit well with events in the
Limousin under the reforms of Bishop Turpione of Limoges and Hildegaire, Viscount of
Limoges, at the turn of the tenth century. 53 In the tenth century St. Yrieix and the
Limousin were recovering from the destruction inflicted in Norman attacks. The
50 “Foundation Diploma of Saint-Yrieix-La-Perche,” in Diplomata Karolinorum I no. 251, Die
Urkunden Pippins, Karlmanns, Karls des Grossen, Engelbert Műhlbacher, ed. Monumenta Germanicae
Historica (1906) : 355-57.
51 Amy G Remensnyder, Remembering Kings Past: Monastic Foundation Legends in Medieval
Southern France (Ithaca, NY: Cornell University Press, 1995) : 146-148. Remensyder points out that this
is an anachronism in dating made by the preparers of the Diploma; the date of the march to Spain was 778.
52 Remensnyder, ibid.:147(n.169). Members of this group would later appear in the Chanson de
Roland, expanded to a group of twelve peers. The 1090s date of forgery of this diploma predates the
earliest copies of the Chanson de Roland of the twelfth century and thus is of interest to scholars of the
Chanson.
53 Tenant de la Tour, “St. Yrieix….ville d’église,” BSAHL 74 (1933): 326 .
26

eferences in the diploma to the failing monastery, the need for reform, the support
provided by Turpione and Aldegaris, and the request for a chapter of canons all reflect, in
de la Tour‟s interpretation, the reforms under Bishop Turpione and Viscount Hildegaire
of Limoges. De la Tour proposes an alternative time for the probable approval of the
chapter of canons at St. Yrieix (when both of these principes were in office) as the period
before the death of Bishop Turpione and after the appointment of Hildegaire, i.e.,
between 900 and 934.
Leaving aside the question of the precise time of origin of the Chapter at St.
Yrieix, the culminating event in the restoration of St. Yrieix is the agreement struck
between the canons of St. Martin of Tours and St. Yrieix in 1090 (Appendix A3-3). 54
By this agreement the canons of St. Yrieix repent their culpability in not acknowledging
the dominion of St. Martin and reaffirm their dependent status. The canons of St. Martin,
in reciprocation, accept this pledge and agree to supervise the elections at St. Yrieix,
grant certain reciprocal rights of participation in the ceremonies of the two
establishments, and extend the rank of prebend of St. Martin to the Prior of St. Yrieix.
This agreement dates within the time period of the composition of the new foundation
diploma and the return of Moutier-Roseille, and thus further recognizes the claim to
legitimacy of the canons at St. Yrieix by St. Martin. The events surrounding Moutier-
Roseille are reviewed in the following Section.
(b.) Moutier-Roseille
Documents regarding Moutier-Roseille were mentioned above; the pertinent
document is a letter from Raymond, Viscount of Aubusson, piously returning Roseille to
54 Jean Becquet, “Collégiales et sanctuaires de chanoines séculiers (Saint-Yrieix et Moutier-
Roseille),” BASHL 103 (1976): 101-103.
27

St. Yrieix in 1060. 55 The letter explains that the Count of Auvergne had prevailed on
Raymond of Aubusson to repent the sins of his predecessors (who had previously taken
Moutier-Roseille from St. Yrieix) and return the monastery of Roseille to St. Yrieix. The
family interconnections of Aubusson, Auvergne, and Limoges make it possible that the
Bishop and the Viscount of Limoges were implicated in this event as well. 56 In the mid-
eleventh century the Viscounts of Limoges were taking new initiatives in church matters.
By 1063, they had sold the Abbey of St. Martial of Limoges to Abbot Hugh of Cluny and
compelled the compliance of the monks in the election of a new Cluniac Abbot for the
reform of abbey. 57 The return of Moutier-Roseille enhanced the position of St. Yrieix by
its wealth and prestige and so participated in the restoration of the establishment.
The allusive language of the St. Martin agreement of 1090 may also refer to the
failure of St. Yrieix to recognize its dependency on St. Martin after the return of Roseille.
The date of 1090 for the agreement with St. Martin would imply an interval of nearly
thirty years since the return of Roseille (in 1060) and their obligation to increase
contributions to St. Martin as patronal church. In any event, St. Martin required
recognition of its authority over St. Yrieix and obtained that recognition by this
agreement at the close of the eleventh century. In addition to these initiatives, an
55 Aubrun, L’ancien diocèse de Limoges :151. A full text of the letter is provided in Aubrun,
ibid. n.75 : 151-152, taken from Baluze, Histoire genérale de la maison d’Auvergne (1706) 2:47. This
letter is also found in Ecclesiae Lemonicensis Instrumenta, Gallia Christiana, Instrumenta, 2: col. 177-78.
For the date of the text, see Becquet, BSAHL 103 (1976):86.
56 Christian Settipani, La noblesse du midi carolingien: Etudes sur quelques grandes familles
d’Aquitaine et du Languedoc du IX au XI siecles, Prosopographica et Genealogica, Vol. 5. for the Unit for
Prosopographical Research, Linacre College Oxford (Hockley, UK: 4edge, Ltd., 2004) 5: 181-259. This
book includes individual genealogies for the counties of Toulouse, Poitou, Limousin, Auvergne,
etc., including dukes and lower nobility of each.
57 Geoffroy de Vigeois, Chronique de Geoffroy Prieur de Vigeois, Francois Baunélye, trans.
(Tulle, FR: Imprimerie de Mme Veuve Detournelle, 1864): 27-29.
28

officially promulgated canonization of St. Aredius was undertaken, as discussed in the
next Section.
(c.) Eleventh-Century Canonization
Aredius‟s canonization in the sixth century was a local event, authorized by the
local bishop in consultation with local clerics and valid in the jurisdiction of the bishop.
The cult of the saint could be extended wherever there were relics, or where feasts and
Masses were celebrated in his honor. In the eleventh century the Popes began to
participate directly in canonization as part of their overall policy to assert and consolidate
papal power. 58 The tradition of elevation of the relics in a general synod, witnessed by
dignitaries of the church, the nobility, and the congregation was a further step in the
papally sanctioned canonization process. 59 This policy influenced St. Yrieix to seek papal
recognition of Aredius‟s cult with papally approved feast and feast day for the saint
featured among their reforms of the eleventh century.
The papal canonization was successful (although no documents remain) and was
marked by celebrations of the elevation of the Aredius relics. After the first recorded
translation of the relics, attributed to Pepin III at St. Yrieix in the eighth century, 60 the
first recorded eleventh-century translation was in 1053 at Moutier-Roseille. This
translation was recorded in the chronicle of Geoffrey of Vigeois for the celebration of the
return of Roseille to St. Yrieix. 61 According to Geoffrey, this solemn translation was
58 T.Ortolan, “I. Canonisation dans l’Église Romaine,” Dictionaire de Theologie Catholique. Vol.
2 (1908): cols. 1626-59; and Eric W. Kemp, Canonization and Authority in the Western Church (London:
Geoffrey Cumberlege, Oxford University Press, 1948) :53-55.
59 Vauchez, Sainteté en occident :22. This was part of the papally approved “equivalent
canonization” for those saints with an established cult tradition that had been venerated from a remote time.
60 Arbellot, Vie de S. Yrieix ses miracles et son culte : 82-83 in which a sarcophagus, banded in
iron, was found at St. Yrieix and attributed to Aredius.
61 P. Bonaventure de Saint-Amable, Histoire de saint Martial apôtre de Gaules 3 vols in folio
(Limoges: François Charbounier-Pachi, 1676-1683) 3:407, cited in Arbellot, ibid. :83 n.4. The date of
29

witnessed and celebrated by the ecclesiastical hierarchy of the Limousin, Limoges, and
St. Yrieix, as well as the Counts of Aubusson and Auvergne, and the Viscounts of
Limoges. The entourage witnessed various miracles throughout the journey.
The next two translations (1181 and 1183, respectively) were also described by
Geoffrey of Vigeois. These occurred as a result of the renovation of the collegiate church
of St. Yrieix. 62 The translation ceremony at St. Yrieix on 17 May 1181 was conducted in
the presence of the Bishop of Limoges, the Abbot of Castres, the Priors of Chalois and of
Artige, and the congregation. The saints of the diocese were also miraculously in
attendance. In the tomb of Aredius the sarcophagus fitted in iron bands was found at this
elevation, as originally found by Pepin III (see note 60). Two years later in 1183 the
relics were returned to their permanent resting place in the church, after the completion of
renovation, again in the presence of the abbots, bishops, and nobles of the Limousin,
including the families of Beraud, Seguin, and the Lastours, family of Aymar V, Viscount
of Limoges.
The cult of Aredius received Papal approval with a simple feast on August 25. 63
In view of the lack of papal records ambiguities remain as to the date of papal approval of
the feast, as well as to the final resting place of the Aredius relics (see further below).
1053 conflicts with the letter published in Gallia Christiana dated 1060 returning Roseille to St. Yrieix (see
Michel Aubrun, L’Ancien Diocèse de Limoges: n.75, p.151-52).
62 Historian of art and architecture, Claude Andrault-Schmitt, “La reconstruction de la collégiale
limousine de Saint-Yrieix (1181): une ambition monumentale dans le goût Plantagenêt,” Cahiers de
civilization mediéval 36 (1993) : 115-140, has taken exception to the two-year renovations of the church as
too short for the amount of renovations performed. This paper places the 1181 renovations at St. Yrieix in
accordance with the historical analysis of Jean Becquet in a group of five papers published in the Bulletin
de la société archéologique et historique du Limousin, 104 (1977):63-90, 105(1978):79-104,
106(1979):84-114, 107(1980):109-141, 108(1981): 98-116.
63 Arbellot, Vie de S. Yrieix : 83-84. The date of 17 May 1181 (perhaps because of its precision)
has been reported as the date of canonization in various collections of the lives of saints, including The
Catholic Encyclopedia (1:865), and in Holweck , Biographical Dictionary: 102 .
30

(d.) The Later Centuries
After the new beginning in the eleventh century, St. Yrieix was confronted by a
perilous conflict with the neighboring monastery of Solignac in the mid-twelfth century. 64
In 1147 the archbishop of Bourges issued an order to St. Yrieix to make amends to the
abbot of Solignac for the violent robbery of the church at Ayen (which belonged to
Solignac). 65 After more exchanges between Solignac, St. Yrieix, and the archbishop, the
bishop of Limoges ordered St. Yrieix to return the church at Ayen to Solignac under pain
of ex-communication. St. Yrieix apparently failed to comply, for the bishop informed the
Limousin clergy by letter of the excommunication of the dean of St. Yrieix. 66 His order
was reinforced by the archbishop of Bourges at the request of the abbot of Solignac, who
alleged that fresh attacks on Ayen by St. Yrieix had the secret approval of the bishop of
Limoges. The acrimony between St. Yrieix and Solignac was resolved by the end of
1147 when the prior of St. Yrieix apologized, returned Ayen, and the excommunication
order was rescinded. 67
Twenty-seven years later, in 1174, the viscount of Limoges moved to install
Bernard of Limoges, an influential member of his family, as dean of the chapter of
canons of St. Yrieix. Previously, Bernard had acted as co-regent of Limoges and tutor to
Viscount Aymar V in his minority. 68 When Henry II of England (also Duke of
Normandy, Aquitaine, and Anjou) laid siege to Limoges in 1177, Bernard, Dean of St.
Yrieix, advised Henry in the successful prosecution of the siege, gaining prestige for
64 A. Leroux, “Chronologie de l’histoire de Saint-Yrieix-La-Perche,” Bulletin de la société
archéologique et historique du Limousin 40 no.2 (1892-93) : 629-643. Note that all the participants in
this conflict were directly under the jurisdiction of the archbishop of Bourges.
65 Leroux, ibid.: 629-630.
66 Leroux, ibid.:630.
67 Leroux, ibid. These events were recorded in the instrumenta of the Archbishop of Bourges;
documentation from the St. Yrieix side in the confrontation has not been preserved.
68 From the papers of Bosvieux reviewed by Leroux in BSAHL; Auguste Bosvieux, “Origines du
Monasteres de Saint-Yrieix “ BSAHL 40 no.2 (1892-93) : 610-21 .
31

himself and St. Yrieix. 69 Afterward, Henry visited St. Yrieix in 1180 and subscribed to
the immunities offered St. Yrieix in the foundation charter. In succeeding years Richard I
(Lion Heart) assumed the Duchy of Aquitaine and also visited St. Yrieix during his
campaigns. Meanwhile, Dean Bernard of St. Yrieix fell from grace when he backed a
candidate for abbot of St. Martial of Limoges against Henry II. Bernard was
subsequently sent to Jerusalem on a pilgrimage from which he did not return. 70
The completed church of St. Yrieix (Figure 2-3) featured the new gothic style of
the twelfth century. In the thirteenth century the chapter also acquired a jeweled reliquary
head of St. Aredius (Figure 2-4) and a large ceremonial Bible (Figure 2-5). Subsequent
deans of the chapter occupied positions of increasing prestige in the diocese, including
the responsibility to carry the staff of the bishop in certain ceremonies.
With the vicecomital family of Aymar V installed at St. Yrieix, a castellany was
formed by the viscount with St. Yrieix as the administrative center. 71 This action
authorized a vicecomital jurisdictional court in the region around St. Yrieix. It
functioned within the equivalence of secular and church administrative power that was
customary in the Limousin, and it was administered by a Church establishment within his
family that the viscount could trust. The castellany included six parishes: Moutier-Saint-
Yrieix, Glandon, La Nouaille, La Rochette, Sanlande, and La Meyze, all in the environs
of St. Yrieix. 72
69 Bosvieux, “Origines de Saint-Yrieix ,“ BSAHL 40 (1892-93) :610-21.
70 Bosvieux, “Origines de Saint-Yrieix , “ BSAHL 40 (1892-93) :610-21.
71 A. Leroux, “Chronologie de l’histoire de Saint-Yrieix-La-Perche,” BSAHL 40 no.2 (1892-
93): 561-581.
72 Leroux, ibid. In addition, note that the parish of La Rochette mentioned above takes credit as
the first place where Aredius resided, in his early period of eremitic contemplation before the founding of
Attanum; see Christian Belingard, Un Village Aredien sur le route a Compostelle (Périgueux: Editions
Fanlac, 1997):47-49.
32

Figure 2-3 Chapter Church of St. Yrieix in Gothic Style (Twelfth Century)
(Taken from the Saint-Yrieix-La-Perche website, March 2009)
33

Figure 2-4 Reliquary Head of St. Aredius, Thirteenth Century
(Metropolitan Museum of Art, New York, a gift from J. Pierpont Morgan in the early
twentieth century) Taken from:
http://www.metmuseum.org/special/eternal_ancestors/view_1.asp?item=11&view=1
Accessed 2/6/2009.
34

Figure 2-5 Saint Yrieix Bible, Thirteenth Century
(Now on display at the Bibliothèque Municipale of Saint-Yrieix-La-Perche) Taken from:
http://www.saint-yrieix.fr/v2/patrimoine-La%20Bible%20de%20Saint-Yrieix, accessed
2/6/2009.
35

Under authority of the viscount, secular courts of justice were conducted through
St. Yrieix, with high justice (for major crimes) conducted by the Chapter in the place of
the lord of the town (but on par with the king after 1307). 73 Low justice (for minor
crimes) was addressed in the name of the provost, authorized by the Viscount of Limoges
under charge of homage received from the Dean of St. Yrieix. 74
After the French Revolution, the St. Yrieix establishment was dissolved, but the
buildings were retained for use in government administration. 75 The Aredius feast is still
observed in the church of the town of St. Yrieix-La-Perche (its modern name); the church
and Bible are on display to the public. The reliquary head of Aredius was bought by J.
Pierpont Morgan in the late nineteenth century and given to the New York Metropolitan
Museum of Art, where it resides today. 76 Table 2-2 summarizes these events in reverse
chronology.
D. SUMMARY
The social and ecclesiastical history of St. Yrieix and the Limousin from ca. 500
to 1300 provides the cultural context for the Gradual of St. Yrieix. Overall, eleventh-
century Limousin enjoyed increasing political stability and growing prosperity compared
to the previous two centuries. Church and secular institutions exercised joint proprietary
opportunities for the church and the nobility, responding to new opportunities for reform,
consolidation, and growth.
73 Leroux, “Chronologie,” BSAHL 40 (1892-93) :561-581.
74 Leroux, “Chronologie,” ibid. :629-643.
75 Arbellot, Vie de S. Yriex,: 83-84.
76 New York, Metropolitan Museum of Art show including St. Yrieix.URL:
www.metmuseum.org/TOAH/hd/face/ho_17,.190.352a,b.htm. (Spring 2009)
36

Table 2-2 St. Aredius and St. Yrieix in Reverse Chronology
Year Events and Documents Saint-Yrieix Events
Present Gradual of St. Yrieix (Pa903)
published (1925)
Reliquary head St. Aredius, to NY
Metropolitan Museum of Art
37
Gothic Collegiate Church building
Municipal Library displays the 13 th - century
Bible
1750 Church and abbey sold to King of France for
an administration building.
1730 St. Martial Library sold MS to the
King of France for the Bibliothèque
Royale (includes St. Yrieix Gradual)
13th -
14th
century
12th
century
11th
century
Manuscript Pa903 is located at the
monastery of St. Martial of Limoges.
Illuminated Bible and reliquary head of St.
Aredius acquired. Dean of St. Yrieix
appointed Bishop of Limoges.
Aredius relics translated Church of St. Yrieix is expanded
St. Yrieix dean hosts Henry II Plantagenet of
1090s (Forged) foundation diploma;
St. Martin/St. Yrieix re-establish
terms of dependency;
Aredius canonized with approved
cult, single feast, August 25;
St. Yrieix Gradual ca. 1050 with
Aredius Mass Proper
England
1062 Cluny invited to acquire St. Martial of
Limoges by Viscount of Limoges
1060 Canons receive Moutier-Roseille from Count
of Aubusson plus the churches of St. Julien,
St. Priest, and the Chapel of the Aubussons
ca 860
Hilduin produces Aredius‟s Will in a case to
recover St. Yrieix basilica from Emenon after
ca 845
Norman attacks
Stodilus, Abbot of St. Yrieix is 33rd bishop
of Limoges
Moutier-Roseille lost to Aubussons until 11th
century, St. Yrieix declines.
752 Karrisima donates Moutier-Roseille to the
8th First Vita of Aredius (anonymous
century monk)
591 Aredius dies on August 25 th ;
Gregory of Tours includes Aredius in
his History of the Franks
monks of St. Yrieix
Monastery of Attanum founded by Aredius
in 570s; named St. Yrieix after his death.

With the exception of the Gradual of St. Yrieix, every major surviving document
associated with the history of St. Yrieix and Aredius is surrounded by questions of
authenticity and veracity. This situation is not unusual in the scholarship of the Middle
Ages, when documents might be lost, and “copies” were in no sense literal reproductions
as we understand them today. 77 But these caveats regarding the historical record are not
unique to this period, or any period, or are they ultimately of crucial importance in this
work.
This chapter has focused on the prevailing cultural traditions surrounding the
institution of St. Yrieix and the person of St. Aredius. For it is the contemporary
traditions --- in which the testaments were the basis of action, the vitae were evidence of
sanctity, the translations of relics were manifestations of spiritual power, and the wealth
and influence of the nobility were the essential motive forces --- that inform this inquiry
into the intent and import of the Gradual of St. Yrieix. According to the tradition of St.
Yrieix, Aredius bequeathed the monastery with eleven dependent properties to St. Martin
of Tours as a dependency in the sixth century. Aredius also donated to Vigeois the
monastery that he had founded at Moutier-Roseille. Although the monastery and village
of St. Yrieix were located within forty kilometers of Limoges, there was no apparent
tradition of Limogian lay or ecclesiastic protection of the monastery until the eleventh
century. But these actions of the sixth and seventh centuries form the basis of events of
major significance to St. Yrieix in the eleventh century.
St. Yrieix had survived a range of historical confrontations: military invasion, lay
investiture, and lay appropriation of its own dependency of Moutier-Roseille. In the
eleventh century the bishop and viscounts of Limoges began to include St. Yrieix among
77 See Cyrille Vogel, Medieval Liturgy: 69-70 for examples in liturgical books; M. T. Clanchy,
From Memory to Written Record: England 1066-1307, 2d ed. (Oxford: Blackwell Publishing, 1993):109-
113 for a more general discussion.
38

their reforming initiatives. This is an example of the positive side of lay investiture that
is beginning to receive its due consideration in recent scholarship, whereby substantial
reforms were undertaken in behalf of local monasteries and churches as a part of the
growing movement of “Gregorian” reforms of this period. 78 By the end of the eleventh
century the church of St. Yrieix was being restored and expanded in the new gothic style,
and St. Yrieix had become the beneficiary not only of the return of Roseille, but also of
major development by the local viscount of Limoges.
These changes represented the physical aspects of the reforming program at St.
Yrieix, but there were also significant initiatives addressing the chapter of canons formed
at St. Yrieix. The canons began as a chapter co-located with the monks of St. Yrieix; but
they took full control of the St. Yrieix establishment when the monastery was closed in
1070. This change gave rise to a series of actions intended to demonstrate the legitimacy
of the chapter as inheritors of the nearly five-hundred-year monastic tradition of St.
Yrieix. The chapter produced its foundation diploma, signed by Charlemagne, that
established the canons within the tradition of St. Yrieix. In addition, the powerful canons
of St. Martin of Tours again asserted their dominion over St. Yrieix and affirmed a
mutual agreement with the canons of St. Yrieix (1090) regarding the protocols of
elections and reciprocal participation at liturgical services.
Finally, the cult of Aredius was regularized according to the newest papal
requirements. The cult was formally approved with a simple feast on August 25 in
accordance with the prevailing rules of equivalent canonization for a cult of long
standing. The eleventh- and twelfth-century traditions of St. Yrieix and Vigeois relate
translations of the Aredius relics, made under the auspices of a general ecclesiastical
78 John Howe, “The Nobility‟s Reform of the Medieval Church.” The American Historical Review
93 no.2 (1988):317-339.
39

synod of the region, in which the regional bishops, dukes, counts, viscounts, other
nobility, and regional saints all participated. These elevations, with their attendant
miracles, demonstrated the continued favor of St. Aredius and the principes of society
toward St. Yrieix and assured recognition of the legitimacy of the chapter of canons. In
the tradition of St. Yrieix to this day, the relics of Aredius rest in the church of St. Yrieix,
along with those of Pelagia. 79 In short, thanks to the solid stewardship of its chapter of
canons in negotiating their position between Tours and Limoges, the eleventh-century
religious house of St. Yrieix was firmly established and moving into the mainstream of
diocesan activities of the Limousin.
The manuscript of the Gradual of St. Yrieix was conceived and produced in the
beginning decades of this period of expansion and growth. The usage of the Gradual
would reflect the position of St. Yrieix, recognizing the dominance of St. Martin of
Tours, but now under the growing influence of the central figures of power in Limoges.
The Gradual is not as elaborately prepared as the great thirteenth-century Bible of St.
Yrieix, created for ceremonial display during the liturgical service. The Gradual was
carefully wrought as a repository of the liturgical chant for practical use by the musicians
of the monastery and the chapter. While some of the contemporary Aquitanian graduals
are more richly decorated, 80 the Gradual of St. Yrieix is nevertheless representative of the
best contemporary standards of paleography and Aquitanian diastematic notation of the
period. The selection of the regional feasts in the usage of the chapter, the selection of
chants for the feasts, and the inclusion of traditional Gallican feasts and antiphons would
79 The record of the translations is inconsistent; claims of Aredius’s interment are made both at St.
Hilary of Limoges and at St. Yrieix. Jean Becquet resolved the historical argument in favor of St. Yrieix
(see note 62 above). Any competing claims from Limoges were rendered moot by the destruction of the
church of St. Hilary in past centuries.
80 Pa776 (Gaillac) contains more elaborate initials and decorative penwork than Pa903; Harl.4951
contains a tonary section with a colorful drawing of an eleventh-century musician characterizing the mode
of each modal list of chants.
40

eflect the growing security and importance of St. Yrieix. 81 These subjects will be the
focus of the remaining chapters of this work.
81 The patron Saint Aredius and the prominent saints of Aquitaine and the Limousin are present in
the gradual, but the Cluniac saints, Odo and Odilo, the founding abbots of Cluny, are missing in spite of the
presence of Cluny at St. Martial of Limoges in this period.
41

A. OVERVIEW
III. The Usage of St. Yrieix
This chapter briefly introduces manuscript Pa903 and focuses primarily on the
liturgical usage of St. Yrieix as a principal means of presenting itself in the Limousin
community. The description of the manuscript and its provenance (Section B) includes a
review of the overall structure of Pa903, compares its hierarchical decorative style to that
of the other four eleventh-century Aquitanian graduals, and reviews the literature
regarding the provenance of the manuscript. 1 The principal focus of this chapter is the
description of the usage of St. Yrieix (Section C), as defined by the selection of feasts and
celebrations included in Pa903. The St. Yrieix usage is also compared to that of the other
contemporary Aquitanian graduals and to contemporary sacramentaries of the region that
underlie the gradual. Finally, Section D discusses the usage of St. Yrieix in the context
of its position in eleventh-century Aquitaine.
B. PA903 MANUSCRIPT AND PROVENANCE
1. Description
Pa903 consists of a gradual that also contains separate sections of antiphons,
tropes, prosulas, and prosas. 2 Table 3-1 lists the contents of Pa903 divided into four
sections. 3
1 The surviving eleventh-century Aquitanian graduals in addition to Pa903 are Pa776 (St. Michel
de Gaillac), Pa780 (Narbonne), Pa1132 (St. Martial of Limoges), and Harley 4951 (Toulouse). See the
Bibliography for details.
2 The repertory marked as “prosas” in Pa903 reflects use of this word for types of composition
now consistently referred to as “sequences,” as discussed in Chapter IV.
3 This Table is based on the analysis of Pa903 in Jacques Chailley, “Les anciens tropaires et
séquentiaires de l’école de saint-Martial de Limoges (X˚- XI˚ s.),” Études gregoriennes 2 (1957): 163-188.
42

Table 3-1 Contents Pa903
Based on Chailley, Etudes Gregoriennes 2 (1957): 172-3
Item
ff.
I Guard page (Cartulary page dated 1023)
Fragment of another MS Prior to the first folio
II Principal MS 11th century
II a Gradual
1-147v
(Published Gradual of St. Yrieix PM13) (1-133)
II b Additional Antiphons
133v-147v
Tropes of the Proper
147v-163
Tropes of the Ordinary
163-179
Prosulas and Prosas
180-200
III Interleaved interpolations and entries from the 12th-13th century
Prosula for the Virgin Mary
125v
Two Benedicamus tropes of St. Martial 138v
From Eius tumba (St. Nicolas)
139v
Various pieces in the hand of Bernard Itier 140
Prose Verbum bonum 141v
Sequences
145v-157v
Tropes of St. Martial
157v-160
Iam patronis Marcialem duodenus
Plebs devota Marcialem meritum
OF Marcialem CO O sacer gloriose 161
Kyrie rex
167v
Kyrie pater
169
Sequence Omnes gentes
173v
Ave Jesu fili David
184
IV Final Part, 13th - 14th Century
Ad honorem (St. Catherine) 199v
Office of St. Valerie
200v
Prosa of St. Martial (apostle)
203
Garde prole Gretia
203v
Guard page
204
Each section is based on its content and the approximate time of its inclusion in
the manuscript as suggested by paleographic evidence. Section I contains the front guard
papers of the manuscript, including fragments of a charter dated 1023 (see Appendix A3-
43

1) 4 and fragments of another chant manuscript inserted on the first page of the Gradual.
Section II is the main body of the manuscript, containing the gradual with antiphons,
tropes, prosulas, and prosas presented in a single consistent hand. 5 Sections III and IV
include interpolations and additions interleaved into the main manuscript in other hands,
including that of Bernard Itier, a scribe and librarian of St. Martial in the late twelfth and
early thirteenth centuries. 6 Although the gradual is complete for most of the liturgical
year, there is a major lacuna for the calendar period from 28 August to 18 October (folia
110-111).
Paleographically, the style of Pa903 is typical of eleventh-century Aquitanian
chant books: the text is in Caroline minuscule with frequent use of uncial capitals; the
musical notation consists of diastematic Aquitanian neumes without staff or clef. Each
Mass in Pa903 was begun with a large decorated initial (one text line or more high) and
each successive chant piece begun with a capital one-half line or less high. A larger
initial (2-lines or more in height) was used to begin the major feasts and celebrations
throughout the codex. Figure 3-1 shows typical examples of the paleographic style of
Pa903 with comparative examples from the other Aquitanian graduals. The principal
initials and capitals of these graduals in the Figure are uncial except in Pa1132, where
uncials are used to a lesser degree than in the other graduals.
4 The front guard paper was published by Andreas Sohn, Der Abbatiat Ademars von Saint-
Martial de Limoges (1063-1114) Ein Beitrag zur Geschichte des cluniacensischen Klosterverbandes
(Műnster Westfallen : Aschendorfesche Verlagsbuchhandlung, 1989): 326-28.
5 A gradual was conventionally prepared jointly by a text scribe and a music scribe, and perhaps
by other specialists for decorated initials. The consistency of the resulting manuscript often appears as if it
were prepared by a single “hand.”
6 The final guard paper has also been published by Sohn, ibid.: 339-41.
44

Figure 3-1 Example Initials and Capitals in Aquitanian Style
45

Figure 3-2 Ad te lavavi Rubric for the First Sunday in Advent
(Pa780 lacks the page with this Introit initial.)
46

The ornamental pen-work in the design of the principal initials is conservative in
Pa903, much less elaborate than that of the other Aquitanian graduals (compare the “P”
examples from the third Sunday of Advent in the Figure). But the design of the initials
and capitals in Pa903 is in a similar style to that of its contemporaries.
Similarly, in Pa903 (and in Pa1132) the conventionally elaborate page which
begins the first Sunday of Advent (introit Ad te levavi) is modestly presented as text in
rustic and uncial capitals, in contrast to the letter-overlapping orthography of the other
graduals (Figure 3-2). It appears that this page in Pa903 originally reserved sufficient
space to accommodate a large ornamental initial; but a communion and trope with music
and text in two parallel versions was inserted there instead. 7
The gradations of decorative elaboration in these manuscripts reflect the relative
hierarchy of the feasts of the gradual. The use of uncial capitals is a formal allusion to
the earlier (Merovingian) style of book hand practiced before the arrival of Carolingian
minuscule. While the different graduals display different levels of decorative
elaboration, the relative hierarchy of the content is maintained consistently throughout
each book.
2. Provenance
The evidence for the date and place of origin of Pa903 is circumstantial, in that
there are no references to a contemporary pope or bishop in the manuscript, nor any other
notes that specifically identifies the owners or scriptorium of the codex. 8 Gabriel Tissot,
7 Jacques Chailley, L'école musicale de Saint Martial de Limoges (Paris: Les Livres essentials,
1960):86.
8 A seeming exception is the front guard paper, made from a manuscript charter of St. Martial of
Limoges (Privilegium D’Arnaco) in 1023 (Appendix A3-1). But guard papers were typically made from
available and otherwise useless parchment, bound into the manuscript to protect the first folia at any time it
47

however, argued convincingly that the gradual was produced for the monastery of St.
Yrieix, based on the prominent presentation of the Mass Proper (with tropes and prosas)
for the feast of its patron, Saint Aredius. 9 An especially prominent Mass for the patron
saint of the monastery is an essential element in the hierarchy of Masses and the usage of
the house. Were it not for his identity as patron saint, it would be difficult to justify such
an elaborate Mass for Aredius anywhere in Aquitaine, especially since this Aredius Mass
in Pa903 is more elaborate than that of St. Martial, for example, the leading saint of the
Limousin region where St. Yrieix is located. Conversely, the presentation of the St.
Martial Mass in Pa903 lacks sufficient elaboration for attribution to the usage of the
Abbey of St. Martial. Thus Tissot‟s conclusion regarding St. Yrieix as the original owner
also indicated the error made by the Royal Library when the book was acquired in
ascribing the manuscript to the abbey of St. Martial of Limoges. This ascription was
evidently based entirely on its association with the St. Martial library. The details of the
St. Yrieix Masses will be discussed in more detail in Chapter V.
The lack of specific contemporary references or colophon identification also
hampers the determination of the date of the manuscript and of the scriptorium where it
was prepared. Liturgically, the gradual reflects the Romano-Frankish calendars of the
eighth- and ninth-century sources of the Antiphonale Missarum Sextuplex (AMS). 10
Pa903 contains Propers for all of the AMS Masses (excluding the lacuna) with the
exception of three: Circumcision, Birth of St. Mary, and Octave of St. Agnes. It also
was needed. This could happen when the manuscript needed to be rebound or when new material was
added; as a consequence, these papers cannot be used in dating the manuscript.
9 Dom. Gabriel Tissot, “Notes historiques et liturgiques,” PM13 (1992):10. The reprint edition
(1992) is the standard PM13 reference in this work, cited without further reference to the date. Where
references can be found only in the original issue (1925), this date is explicitly included in the citation.
10 Antiphonale Missarum Sextuplex, René-Jean Hesbert, ed. (First printing Rome : Herder, 1935 ;
reprint edition, Fribourg en Brisgau: Herder, 1967), hereafter abbreviated AMS. This source will be taken
as the conventional reference for identifying the Gregorian repertory and liturgical calendar.
48

includes the early eleventh-century feasts of the international Roman calendar for
Barnabas and the Transfiguration of the Lord. Based on these feasts, Tissot concluded
that the most probable date for the manuscript was the first third of the eleventh century,
i.e., before 1031. 11
Secondarily, the partially erased rubric for the feast of St. Martial in Pa903 could
be interpreted to reflect the contemporary controversy regarding this Proper. While St.
Martial had been traditionally honored in Francia as a confessor with a conventional
Gregorian Proper, in the late 1020s there was an initiative at St. Martial of Limoges (but
not favorably acted on until the end of the eleventh century) to venerate St. Martial as an
apostle, for which a new Proper for St. Martial, apostle, would be required. 12 But Pa903
transmits only the Proper for St. Martial, confessor; the partial erasure of the rubric for
this Mass may reflect some indecision regarding the Mass at the time Pa903 was being
copied.
No new findings have been published on the identity of the scriptorium where the
manuscript was copied; it remains unknown. Neither has there been a challenge to the
conclusion that St. Yrieix was the intended original owner of this manuscript. Tissot‟s
conclusions on the date of Pa903 have largely been accepted as the consensus opinion in
the literature, most often expressed as the first half of the eleventh century. 13 More recent
comments on the date, however, mention the second half of the eleventh century. 14 The
49
11 Tissot, “Notes historiques et liturgiques,” PM13:10.
12 James Grier,. Musical World of a Medieval Monk Adémar de Chabannes in Eleventh Century
Aquitaine. (Cambridge: Cambridge University Press, 2006):25-34. A new Proper and Office were
composed by Adémar de Chabannes, completed ca 1028.
13 See, for example, Chailley, L’école. :87, David Hiley, Western Plainchant A Handbook
(Oxford: Clarendon Press, 1993): 597.
14 Dates suggested more recently have tended toward a period after 1050. See William P. Mahrt,
“Word Painting and Formulaic Chant,” in Cum angelis canere, Robert A. Skeris, ed. (St. Paul, MN:
Catholic Church Music Associates, 1990) : 113-144, referring to Pa903 as from the second half of the
eleventh century; and similarly Michel Huglo, “ Aux origins des tropes d’interpolation: le trope meloforme
d’introit,” Revue de Musicologie 64 (1978): 5-54. Further discussion of the date is reserved for Chapter V.

early-eleventh century date would be prior to the ceremonial translations of the Aredius
relics reported ca. 1060 and in 1181, as discussed in Chapter II. 15 The translations would
have occasioned full solemnities for St. Aredius, specifically appropriate for a carefully
prepared Aredius Mass Proper as found in the St. Yrieix Gradual and discussed in detail
in Chapter V.
C. ELEMENTS OF USAGE IN PA903 AND RELATED SOURCES
Examining the usage of St. Yrieix is essential for understanding the historical
implications of Pa903. Liturgical usage reflected the choices of liturgy for the Mass (and
Office) throughout the liturgical year. Temporal and sanctoral feasts of the international
Gregorian liturgy dominate the manuscript. 16 But the manuscript also includes additional
Masses that are not part of the Gregorian calendar. If the core liturgy was “Gregorian”
based on the Romano-Frankish sacramentaries of the ninth century, then the additional
regional and local feasts of the late tenth and eleventh centuries were chosen as “neo-
Gregorian” feasts with chants selected or composed in the genres of the Gregorian
formulary. In some cases the chants of the neo-Gregorian feasts are Gregorian,
conventionally to be taken from a Common of Saints, but there are other feasts
containing “neo-Gregorian” chants written in Gregorian style, but composed separately
from the Gregorian corpus.
This practice was very common in the Middle Ages and allowed variability within
an otherwise standardized canonical practice. 17 Typical regional feasts were those for (1)
15 Abbé Arbellot, Vie de S. Yrieix ses miracles et son culte. (Limoges: Imprimerie Ve, H.
Ducourtieux, 1900): 83-86.
16 For the purposes of modern scholarship this repertory is authoritatively represented in the
AMS.
17 This tradition is represented in the four Gallican sacramentaries that have survived
(but without music) from the seventh century. See J. M. Neale and G. H. Forbes, The Ancient
Liturgies of the Gallican Church, New First Collected, with an Introductory Dissertation, Notes, and
Various Readings together with Parallel passages from the Roman, Ambrosian, and Mozarabic Rites (New
50

the patron saint and other senior patrons who held the allegiance of the establishment, (2)
major regional saints of long tradition and on whom the community relied for support in
the spiritual and secular worlds, and (3) other saints and celebrations of local preference
and newer Roman feasts not yet officially added to the calendar.
In the analysis of Pa903 the selection of feasts in the gradual and the particular
prominence given to certain of the feasts (Gregorian as well as neo-Gregorian) are
additional distinctive features that permit determination of liturgical usage. These
include increased ornamentation of the written text, such as larger and/or decorated
initials for the introit of the feast and ornamented capitals for each successive chant of the
proper (see Figure 3-1). Other ways to display prominence include tropes, prosulas,
prosas, or antiphons proper to the saint as rhetorical additions to the Mass. Further
importance was indicated by including more than one alternative Mass for the feast, a
vigil service on the night before the feast day, or one or more octave and post octave
feasts in the succeeding weeks after the feast day. A third mode of emphasis was to
include feasts for the (sainted) associates of the major figure. For example, a sainted
associate of St. Martin of Tours (senior patron of St. Yrieix) was Brictius, Martin‟s
successor as bishop of Tours, who appears in Pa903 along with Martin. The inclusion of
feasts related to associates and contemporaries created a virtual community of saints
around the central subject of veneration. 18
The next Section of this Chapter initiates the investigation of the usage of St.
Yrieix by reviewing the basic degree of textual match between the five Aquitanian
gradual manuscripts as an orientation to the paths of potential influence among them
York: AMS Press, Inc. 1970; First printed 1855, London). More recently, see Els Rose, Missale
Gothicum e codice Vaticano Reginensi latino 317 editum. In Corpus Christianorum Series Latina vol. 159
D (Turnhout, Belgium: Brepols Publishers, 2005).
18 Examples of these particular practices are illustrated in Appendix A3-4 for the Sacramentaries
of the cathedral of St. Martin of Tours and for the Abbey of Marmoutier.
51

(Section 1). Section 2 describes the liturgical calendar in Pa903 and the hierarchy of
feasts; Section 3 compares the feasts in Pa903 to those of the contemporary
sacramentaries of the region, especially Tours and Limoges. The latter sacramentaries
are relevant to the usage of St. Yrieix in the absence of an eleventh-century (pre-Cluny)
gradual from Limoges or from the patronal church of St. Martin of Tours. 19 Finally,
Section 4 compares the sanctoral of Pa903 to those of the other Aquitanian graduals to
examine the choices of St. Yrieix that distinguish it from its neighbors.
The feasts of the sanctoral will be classified into three groups for comparison: (1)
feasts listed in the first generation of Gregorian sources, i.e., in AMS, and appearing in
the international Romano-Frankish calendars of the eighth and ninth centuries, (2) feasts
of the Roman calendar newly introduced in the late tenth and eleventh centuries, e.g., for
the apostles, evangelists, and feasts of the Lord added to Roman sacramentaries in this
period, and (3) feasts of regional and local preference, including those listed in Gallican
sacramentaries but not in the Gregorian. The usage of St. Yrieix will emerge from the
specific selection of these feasts and their hierarchical prominence in response to cultural
influences of the region.
1. Paleographic Comparison with Other Aquitanian Graduals
Pa903, as well as the other four Aquitanian graduals, was included in the general
variance analysis of Gregorian manuscripts conducted by the Monks of Solesmes and
published in the Graduel Romain. 20 This analysis (among other things) described the
19 The monastic establishment of St. Martin of Tours was replaced in the tenth century by
a powerful chapter of Canons under royal and papal protection, independent of the Bishop of
Tours, described by Joseph Maurey, “Music and Ceremony at St. Martin of Tours, 1205-1500,” in 2
Vols., Ph. D. diss., The University of Chicago, 2005 1:49-59. An eleventh-century missal is available
from St. Martin of Tours (Pa9434) used herein for comparison to Pa903.
20 Graduel romain, edition critique: IV Le texte neumatique, Moines de Solesmes, eds.
(Solesmes: Abbaye Saint-Pierre de Solesmes, 1957) 4 : 19.
52

patterns of association between 263 chant manuscripts by comparing samples of the
musical notation of the Gregorian chants of these sources to identify the manuscripts
most likely to have been associated in copying. 21 In relation to Pa903, the analysis
demonstrated close agreement between the graduals from the regions of Aquitaine and
Benevento. The specific Aquitanian subgroup of Pa903, Pa776 (Gaillac/Albi), and
Harley4951 (Toulouse) was most closely associated with approximately 94 percent
agreement between the samples. 22
The Aquitanian graduals also include Pa780 (Narbonne) and Pa1132 (St. Martial),
that show considerably less agreement (approximately eighty percent) compared to the
Aquitanian subgroup above. 23 The disagreement with Pa1132 (St. Martial) in the
Aquitanian subgroup is equivalent to that of the Cluny manuscripts; but this is expected,
since Pa1132 was produced as a Cluny book after the takeover of St. Martial by Cluny in
1063. 24 The Gradual of Narbonne (Pa780) is the manuscript in least agreement with the
other Aquitanian graduals, with more variants than those of Benevento and Cluny, and
most closely associated with the Spanish manuscripts. This level of disagreement for the
21 The Solesmes analysis focuses on the occurrence of random scribal error. The analysis uses a
given number of designated neume sample comparisons in the manuscripts. These sample points are chosen
at locations with the greatest probability that any error found is random rather than introduced by stylistic
differences. Manuscripts most closely associated with each other will manifest the least number of
mismatches (variants) at these sample points, representing only inadvertent scribal errors in the copying
process. Thus the sampling points are not randomly chosen, but selected at the corresponding least
significant points in each manuscript.
22 The analysis also shows equivalent agreement between Pa903 and Spanish (Toledo), and
Beneventan (Benevento, Biblioteca Capitolare 19-20) manuscripts of the same period. See the Graduel
Romain 4:221.
23 Tissot (PM13:46-49) independently discussed the relative probability of the various filial
combinations of Pa903, Pa776, and Harl.4951, as well as the possibility of a fourth exemplar (now lost)
which might have been common to all three. There was no definitive conclusion to be reached among
these alternatives, except to note the remarkable similarity in usage between these three surviving
manuscripts.
24 James Grier, Musical World of a Medieval Monk : 317.
53

Narbonne gradual suggests that its exemplars were systematically different from those
used in the copying of Pa903, Pa776, and Harley4951.
The musical association of these manuscripts is one of several factors in the
investigation of Pa903. These results show that the surviving Aquitanian graduals were
a diverse group with St. Yrieix, Gaillac, and Toulouse in much closer agreement with
each other than with St. Martial and Narbonne. The sanctoral of Pa903 contains the core
of the feasts distinctive to St. Yrieix. These feasts will be further discussed in the next
section, addressing the liturgical usage reflected in these books.
2. St. Yrieix Sanctoral
(a.) Masses of the Sanctoral
The temporal and sanctoral are interleaved in calendric order in the gradual of St.
Yrieix as shown in the list of the Pa903 rubrics given in PM13. 25 The feasts of the
sanctoral in Pa903 may be further subdivided according to (1) Gregorian feasts (included
in the AMS sources), (2) newer feasts added in the tenth and eleventh centuries that were
subsequently incorporated into the international liturgical calendar, and (3) feasts of local
and regional interest selected by St. Yrieix, including some feasts found in sacramentaries
of the Gallican tradition. 26 Of the 110 sanctoral feasts, there are 65 which are included
in the Roman calendar and listed in the AMS sources (more than half of the sanctoral).
Nineteen feasts of the sanctoral are listed in Gallican sacramentaries; but half of these
were adopted into the Romano-Frankish calendar and provided with Gregorian chants in
25 Table analytique du temporal et du sanctoral, PM1: 48-50.
26 J. M. Neale and G. H. Forbes, The Ancient Liturgies of the Gallican Church, New First
Collected, with an Introductory Dissertation, Notes, and Various Readings together with Parallel passages
from the Roman, Ambrosian, and Mozarabic Rites (New York: AMS Press, Inc. 1970. First printed 1855,
London; reprinted by Forgotten Books, www.forgottenbooks.org.):v-vii. The principal Gallican sources
are the Missale Gothicum, Bobbio Missal, Lectionaries of Luxeuil, and the Liturgia Romania vetus (in
editions by Thomasius and Mabillon), each reflecting errors in the seventeenth-century choice of names for
these sources.
54

Pa903. Finally, there are sixteen AMS feasts (plus an unknown number of regional or
local feasts) that are missing; these feasts would have been assigned to folia of the major
lacuna in Pa903 between 28 August to 18 October (see Appendix A3-2 for details).
The predominant feature of this gradual (and a common trait of the European
graduals of this period) is its underlying compliance with the Gregorian calendar. In
addition there are a significant number of “neo-Gregorian” feasts in Pa903 entered into
the calendar for regional and local saints of specific importance to St. Yrieix. The Mass
for a neo-Gregorian feast could be provided either with standard Gregorian chants, e.g.,
taken from the Common of Saints; but also, one or more neo-Gregorian chants could be
composed and assigned specifically for the feast. The Gregorian chants of Pa903 are not
further discussed, but the neo-Gregorian chants are analyzed in Chapter V. In several
prominent cases, a neo-Gregorian feast was assigned a complete set of neo-Gregorian
chants. These criteria guide the categorization of feasts in the following Sections. The
elements of prominence and hierarchy in the sanctoral of St. Yrieix are further discussed
below.
(b.) Sanctoral Hierarchy
The 65 Gregorian feasts in the sanctoral of Pa903 comprise martyrs, apostles, St.
Mary, evangelists, popes, bishops, and abbots. Setting aside the great Masses of the
Lord for the major seasons of the Church, the most prominent Gregorian feasts in the
sanctoral of Pa903 are the Purification of the Virgin, St. Stephen, and John the
Evangelist. Approximately one third of the Gregorian Masses appear with formulary
incipits from a conventional Gregorian Common of Saints. 27
27 The Common of Saints, however, was not included in Pa903 as a distinctive section of the
gradual. Instead, these chants are written into the appropriate Masses as needed.
55

Of the twenty new feasts of the Roman calendar in the sanctoral, only the feasts of
the Trinity, the Apostles Peter and Paul, and All Saints have prominence equivalent to the
largest Gregorian feasts. The Masses for the Translation of St. Benedict, St. Martin, and
the Vigil of Peter and Paul are major feasts of somewhat lesser prominence provided with
Gregorian chants.
Table 3-2 lists twenty-five neo-Gregorian feasts: six of these feasts are also listed
in traditional Gallican sacramentaries but not adopted in the Gregorian; the others are
regional feasts of Aquitaine and the Limousin including those only transmitted in Pa903.
The Masses for St. Aredius and the Finding of the Cross, respectively, have the most
prominence in this group of twenty-five. These are followed by the Masses for the Chair
of Peter and the Conversion of Paul, the Vigil of St. Martin, and St. Saturninus (two
Masses), all of which are listed in the Gallican sacramentaries, with the exception of the
Vigil of St. Martin. Not included in this list are the neo-Gregorian feasts celebrated in the
tenth and eleventh centuries that would later be added to the Roman calendar (see Table
3-4 for details).
The prominent Masses for Martin in Pa903 are appropriate for the usage of St.
Yrieix, since St. Yrieix was a dependency of St. Martin of Tours from the seventh
century. 28 The feast of Saturninus (the patron saint of the Toulouse Cathedral) is
celebrated with two Masses: a smaller conventional Gregorian Mass comprising
Gregorian chants of the Common of Saints, and a larger additional neo-Gregorian Mass,
fully written out with neo-Gregorian chants. The latter Mass is a treatment similar to that
for St. Aredius.
28 The details of the St. Yrieix dependency were addressed in Chapter II, section B.2.
56

Table 3-2 Neo-Gregorian Regional and Local Feasts
Pa903 Sanctoral Item AMS
Regional
GALL Local SS Comment
Conversion of Paul
X
Chair of Peter
X
Mass in Rome 9th century
Finding the Cross
X(1) X
AMS Compiegne only
Victor
X Perhaps of Milan
Chains of Peter
X
Gregorian incipits
Medard
X Noyon 6th century*
Cyrus and Julita
X
Germanus of Paris
X X Paris 7th century*
Avitus
X Vienne 6th century*
Amand
X Missionary 5th Century
Leo PP
X
[Martial]
X 1st Bishop Limoges
Maccabees
X Tours
Finding of Stephen
X
Aredius
X Patron St. Yrieix 6th century
Caprasius
X w/Primus&Felicianus
Front
X Perigueux 5th century
Calixtus
X 3rd century
Quentin
X Amiens 3rd century
Martin Vigil
X
Brictius
X Tours
Felicity
X 2 nd Century Milan
Saturninus I&II
X X Greg&Neo-Greg Masses
Elegius
X Proper of France
Valerie
X Assoc. of Martial
* Proper of France
57

Of the twenty-five feasts in Table 3-2, approximately half are feasts for bishops,
especially the missionary bishops of Merovingian Gaul. They and some of the other
martyrs form a virtual community of Limousin saints: abbot and patron Aredius was
roughly contemporaneous with bishops Avitus (Vienne), Medard (Noyon), Front
(Perigueux), and Germanus (of Paris), while Bishop Brictius (of Tours) was a
contemporary of Martin, and Valerie (of Limoges) was a contemporary of Martial. The
feast of Maccabees was a favorite of Hilary of Poitiers, teacher of Martin, and is given
prominence in Pa903 with a neo-Gregorian Alleluia. Caprasius, Bishop of Agen (in
Aquitaine), was associated with the Gregorian saints Primus and Felicianus.
In addition to the bishops, the remaining group of neo-Gregorian feasts relate
primarily to second- and third-century popes and martyrs of apparently similar
accomplishments to their contemporaries in the Gregorian sacramentary. Some of these
saints belong to the “proper of France,” as defined by Tissot. 29 Since no other liturgical
book survives from St. Yrieix, there is no additional documentation to shed more light on
these choices. The next section continues the survey of the St. Yrieix usage in relation to
the contemporaneous sacramentaries of Tours and the Limousin, while Section 4
addresses concordances with the other Aquitanian graduals.
3. Related Sacramentaries and Missals
It remains to be considered to what extent the sanctoral Masses of Pa903 resemble
a monastic or secular church usage and to what extent the major religious centers of
Tours and Limoges may have influenced the liturgical choices made at St. Yrieix. While
there are graduals from the major centers of Toulouse and Narbonne, from Gaillac and
the monastery of St. Martial of Limoges, there is no gradual surviving from the eleventh-
29 Tissot, “Notes Historiques et Liturgiques,” PM13 (1992): 23.
58

century Collegiate Church of St. Martin of Tours, where the monastery of St. Yrieix was
held as a dependency. Thus it is useful to compare the choice of feasts in the sanctoral
of Pa903 to the corresponding elements in contemporary missal and sacramentary
sources from Tours and Limoges as shown in detail in Appendix A3-4. This Appendix
compares the sanctoral feasts of Pa903 with the following eleventh- or twelfth- century
Aquitanian sources described by Dom Leroquais: 30
Pa9434 (Missal 11th century), Collegiate St. Martin of Tours
Bibl. Mun. Tours196 (sacramentary 11th century), Marmoutier (monastery Tours)
Pa821 (sacramentary, early 12th century), Limousin Abbey
Pa822 (sacramentary, 12th century), St. Martial of Limoges
For further reference, Appendix A3-4 also includes concordances of Pa903 feasts
with the above sacramentaries plus the sanctoral feasts from the Gregorian Sacramentary
(GREG), Gelasian Sacramentary (GEL), the Gallican Sacramentaries (GALL), and the
Gregorian graduals of AMS. 31
The results of this comparison confirm that the feasts from the Gregorian
sacramentary dominate Pa903 and the AMS sources; several Gelasian feasts also appear
in AMS as older contributors to the Gregorian sacramentary, but roughly half of the
Gallican feasts that appear in Pa903 are not included in AMS. Full details are provided in
Appendix A3-4.
30 Dom Victor Leroquais, Les sacramentaires et les missels manscrits des bibliothèques
publiques de France, in 4 Vols. (Macon: Protat Frères a Macon, 1924) 3:148-151 (Pa9434); 3:145-147
(B.M. Tours MS 196); 3:203-204 (Pa822, 12
59
th century); 3:154-158 (Pa821, 11 th century).
31 Gelasian sacramentary, ca.750: Rome: Codex Vaticanus Reginensis latinus 316 (GEL);
Gregorian sacramentary (Hadrianum), Padua: Biblioteca Capitulare, codex D.47 (GREG). The history and
various forms of these sacramentaries are discussed in detail by Cyrille Vogel, Medieval Liturgy: An
Introduction to the Sources, revised and translated by William Story, et.al. (Portland OR: Pastoral Press,
1981): 64-105.

Table 3-3 addresses only the neo-Gregorian feasts in Pa903 that are not included
in the Gregorian or Gelasian sacramentaries. From the diocese of Tours, the Table
shows that the feasts of Barnabas and the Trinity only appear in the sacramentary of
Marmoutier and Pa903. From the diocese of Limoges, the feasts for Amand, Brictius,
and Elegius are found in Pa903 and only in Pa821, the sacramentary from an abbey of the
Limousin. 32 The other feasts appear in some combination of the four sources. The single
most prominent sacramentary source of concordances with Pa903 is the diocese of
Limoges, accounting for fourteen of the seventeen feasts. A total of seven feasts
(Amand, Aredius, Brictius, Elegius, Transfiguration, Martial, and Valerie) appear only in
the Limousin sacramentaries.
Other prominent feasts relating to the question of cathedral vs. monastic usage are
those associated with the leading saints of the Church. In the sanctoral of Pa903, Martin
and Benedict are each represented by two Masses (vigil and day), while Martial is
represented by only one Gregorian Mass with tropes. The Mass for the day of St. Martin
is Gregorian in AMS and Pa903, but the vigil Mass is neo-Gregorian. St. Benedict was
added to the Roman calendar in the tenth century after the AMS graduals were copied;
the Mass for St. Benedict in Pa903 is neo-Gregorian. 33
Saturninus, founding bishop of the Cathedral of Toulouse, is another major
regional saint given greater prominence in Pa903 than Martial of Limoges. This
treatment reinforces the codicological similarities of the graduals of Pa903 and
Harley4951 (Toulouse) mentioned above in the Solesmes variance analysis. The Masses
for Saturninus in Pa903, however, privilege the regional neo-Gregorian Mass for the saint
32 Leroquais is able only to locate this sacramentary (Pa821) to an abbey of the Limousin.
33 Luisa Nardini, “Chapter 4,” in Neo-Gregorian Chant in Beneventan Manuscripts: The Proper
of the Mass, forthcoming publication. This Mass appears in Aquitanian graduals as received from
Beneventan sources.
60

that is also found in Harley4951, Pa776 and Pa780. More on these details is provided in
Chapter V.
Table 3-3 Pa903 Neo-Gregorian Feasts in Sanctorals of Tours & the Limousin
Pa903 Item AMS GALL
All Saints,Vigil
Amand
Aredius
Barnabas
Bartholomew
Brictius
Chair of St. Peter
Conversion Paul
Elegius
Finding of Stephen
Finding the Cross
James, Apostle
St. Martial
Transfiguration
Day
Trinity
Valerie
Pa9434 Missal Bib.Mun. Pa821 Pa822
St.Martin of
Tours Tours196 Limoges S.Martial
Collegiate
church Marmoutier Abbey Limoges
X X
X
X
X
X
X
X X X
X
X
X X X X X
X X X X
X
X
X X X X X
X X X X X
X X X X
X X
61
X
X X
X X
The only associate of Saint Martin represented in Pa903 and these sacramentaries
is St. Brictius, successor to St. Martin. The Maccabees are also associated with St.
Martin of Tours, however, through Hilary, his teacher. Germanus of Paris may be
associated with Martin through the collegiate church of St. Martin of Tours as a

traditional royal dependency of the King. 34 St. Valerie is the only associate of Martial in
Pa903 and these sacramentaries. But other prominent associates of the saints that are
mentioned in the other comparison sacramentaries do not appear in Pa903, such as Hilary
(teacher of Martin), Scholastica (sister of Benedict), Alpinius and Austreclinius (fellow
travelers with Martial).
In conclusion, based on comparison with these regional sacramentaries and the
eleventh-century missal of Tours, the Gradual of St. Yrieix clearly favors Martin over
Martial (the latter is treated as a prominent regional saint), provides special honors to
Saturninus, and appropriately venerates Benedict with two Masses and tropes (Chapter
IV). The Pa903 gradual also favors several Limousin saints in the sanctoral over those
of the region of Tours. In addition to Valerie, the sanctoral of Pa903 includes bishops
Amand, Brictius, Medard, Eligius, and most of all Aredius, all closely associated with the
Limousin region not only in their biographies, but also as indicated in the sacramentary
of the Limousin abbey. These findings agree with Tissot‟s conclusion that Pa903 reflects
monastic usage.
4. Aquitanian Graduals.
The sacramentaries from Tours and the Limousin have provided comparative
information on monastic vs. church usage. By its concordances with the Limousin
monastic sacramentary (Pa821), the sanctoral of Pa903 shows distinctive choices in its
neo-Gregorian feasts that favor Limousin monastic usage. It remains to compare the
sanctoral choices of Pa903 to those reflected in the other Aquitanian graduals to complete
the picture of the usage of St. Yrieix in relation to Aquitanian practice.
34 In this period the Kings of France maintained St. Martin of Tours as a priviledged royal
dependency. See Joseph Maurey, “Music and Ceremony at St. Martin of Tours,” Ph. D. diss., The
University of Chicago, 2005: 4-5.
62

Appendix A3-4 compares the sanctorals of the five Aquitanian graduals,
including Pa903, making note of the feasts in each that appear in the Gregorian AMS
sources. Each of the graduals maintains essentially the same liturgical calendar. The
minor differences among these graduals include the particular list of regional saints
associated with each establishment and the individualized order of feasts after Pentecost
as indicated in this Appendix. Given the relative uniformity of the Gregorian feasts in
these graduals, the neo-Gregorian feasts are the distinguishing feature in differentiating
the usages of these establishments.
Table 3-4 lists each of the Pa903 neo-Gregorian feasts and concordances with the
Aquitanian graduals in the order of decreasing number of concordant sources, beginning
with feasts appearing in all five graduals (including Pa903) and ending with those that
appear only in Pa903. In addition to the twenty-five neo-Gregorian feasts of Table 3-2,
eight more neo-Gregorian feasts were added from the newer Masses of the tenth and
eleventh centuries. The calendar date of each feast follows the analysis of Sr. Anthony
Marie Herzo on the alleluia cycles of the Aquitanian graduals. 35
Harl.4951 is shown to contain the fewest neo-Gregorian feasts in common with
Pa903, while Pa1132 has the most, evidently aided by its much greater overall
accumulation of Limousin regional feasts. 36 Narbonne and Gaillac have equivalent
numbers of concordant neo-Gregorian feasts as well as equal numbers of feasts listed in
the Gallican sacramentaries.
35 Sr. Anthony Marie Herzo, Five Aquitanian Graduals: Their Mass Propers and Alleluia
Cycles. Ph.D. Dissertation. University of Southern California, 1966. :215 (Harley), :221 (Pa780), :223
(Pa903), :233 (Pa776), and :242 (Pa1132). Note the Ascension is tied to Pentecost; the date column is
blank. An analytical summary of Aquitanian sanctoral concordances is also provided by John A. Emerson,
Albi, Bibliothèque Municipale Rochegude, Manuscript 44: A Complete Ninth-Century Gradual and
Antiphoner from Southern France. Lila Collamore, ed. (Ottawa: The Institute of Mediaeval Music, 2002)
:xli-xliii. The latter concordances are listed with respect to the sanctoral of Albi44 (ninth-century).
36 Notwithstanding the number of neo-Gregorian feasts, more of these feasts are assigned
Gregorian chant incipits in Pa1132 than in any of the other Aquitanian graduals.
63

Table 3-4 Pa903 Neo-Gregorian Feast Concordances in Aquitanian Graduals
FEAST
DATE Pa903 Pa1132 Harl4951 Pa780 Pa776
Martial
No. of
Yrieix Toulouse Narbonne Gaillac Grads.
Brictius
Nov.13 227 94 291v 105 121 5
Calixtus, PP
Oct.14 221 93 288 104v 117v 5
Medard
Jun.8 189 78v 264v 88v 95v 5
Conversion Paul Jan.25 44 23 149v 20v 25v 5
Saturninus, Mr
Nov.29 229 95 292v293v 106 122 5
Finding the Cross May. 3 173 70 230v 73v 81 5
Benedict, Transl. Jul.11 206 84v 274v 95 104 5
Felicity
Nov.23 229 95 292 106 121v 124 5
Leo, PP
Jun.28 200 82 269v 91v 100 5
Chair of Peter
Feb.22 53 26 154 24 29 5
Bartholomew
Aug.24 218 89v 281 100 110 5
Benedict Abb.
Mar.21 56 27v 156v 25 30 5
All Saints, Vigil Oct.31 221 94 288v 104v 118 5
All Saints, Day Nov.1 222 94v 290 104v 118 5
Cyriacus&Julitus Jun.16 192 79
89 97 4
Martial
Jun.30 208 84 273 94
4
Peter in Chains
Aug.1 210 86 176 96v
4
Barnabas
Jun.11 194 79
88v
3
James
Jul.25 209 85 275v
3
Stephen, Finding Aug.3 211
277
106 3
Quentin*
Oct.31 221 94
104v
3
Caprasius, Mr
Oct.20 221 93v
104v
3
Aredius, Abb.
Aug.25 219 90
2
Elegius, Epi
Dec.1 231 95v
2
Front
Oct.25 221 93v
2
Martin, Vigil
Nov.10 224
119v 2
Amand
Apr.27 199
81 2
Avitus Senior
Jun.17 194
1
Germanus of Paris Jun.-- 194
1
John before Gate May.6 177
1
Maccabees
Aug.1 210
1
Valerie, Virg
Dec.10 232
1
Victor
May.14 177
1
*Mass has all GREG incipits
Total neo-Greg feasts Pa903
No. Common to
33
Pa903 Total
24 18 20 18
64

5. Summary
Liturgical usage as reflected in the gradual of a religious establishment
ultimately derives from its sacramentary. No sacramentary has survived from St. Yrieix,
but there are intimations of the sacramentary practice of St. Yrieix in its gradual. This
chapter shows that more than half of the feasts in the Sanctoral reflect the Gregorian
calendar and repertory of the ninth and tenth centuries. The AMS sources themselves
derive from an earlier generation of sacramentaries influential in Francia, including the
Gallican sacramentaries and the Gelasian and Gregorian sacramentaries of Rome, all
dated from the seventh and eighth centuries.
Approximately one-third of the Sanctoral feasts are neo-Gregorian, divided
between: (1) feasts added to the Roman calendar (chiefly for certain apostles and feasts of
the Lord) in the late tenth and early eleventh centuries (post-dating the AMS sources), (2)
feasts listed in Gallican books, excluded from the Roman calendar and formulated with
neo-Gregorian chants, and (3) feasts for preferred regional and local saints and
celebrations. It is the particular selections of feasts in these categories that furnish
distinguishing elements of the St. Yrieix usage.
The six feasts of the Gallican sacramentaries in Pa903 that are not in AMS,
include the Conversion of Paul, Chair of Peter, Peter in Chains, Finding of the Cross,
Saturninus, and Germanus of Paris. Of these, Germanus appears only in Pa903; the rest
of these Masses are also included in the other Aquitanian graduals (Appendix A3-4). The
six neo-Gregorian feasts that occur only in Pa903 comprise a combination of regional
saints and special feasts, including those for bishops Avitus, and Germanus of Paris, plus
the martyrs Valerie, John before the Gate, Maccabees, and Victor. These feasts are
primarily formulated with Gregorian chants. Finally, the Aredius feast appears in Pa903
65

as a neo-Gregorian Mass but is also found in Gregorian incipits in Pa1132 (details of the
Aredius feast in Pa903 are given in Chapter V).
With the exception of several prominent feasts, these feasts are mostly cued with
Gregorian chant incipits and sometimes with a written out neo-Gregorian alleluia only.
Aside from the compendium of regional neo-Gregorian feasts in Pa1132, Narbonne
(Pa780) shows 20 concordances with the 33 neo-Gregorian feasts in Pa903, while Gaillac
(Pa776) and Toulouse (Harl.4951) have 18 concordances each.
The preponderance of evidence in this review of the sanctoral feasts is consistent
with monastic usage, in accord with Limousin monastic sacramentaries. A look at a St.
Yrieix Office antiphoner or breviary would be particularly useful to make a more
definitive determination of usage, but none survives from St. Yrieix.
D. USAGE OF ELEVENTH-CENTURY ST. YRIEIX
This survey of the Aquitanian sacramentaries and graduals has been undertaken to
describe the character of the usage reflected in the St. Yrieix gradual with respect to these
contemporaneous liturgical books. The approach was to locate Pa903 with respect to the
Gregorian, Gelasian, and Gallican sacramentaries which underlie the AMS sources, and
to compare the Sanctoral of Pa903 with the missal of St. Martin of Tours, the
sacramentary of Marmoutier, and the sacramentaries of the Limousin Abbey and St.
Martial of Limoges (Appendix 3-3). This step shows that the sanctoral of St. Yrieix was
strongly favorable to St. Martin over St. Martial, befitting a dependency of St. Martin of
Tours, but many of the feasts of the sanctoral agree with monastic usage of the Limousin.
This pattern perhaps reflects the persistence of a monastic tradition at St. Yrieix, even as
the chapter of canons ultimately assumed control of the establishment. Gallican feasts
66

were also chosen for St. Yrieix which do not appear in the Gregorian sources and AMS,
suggesting a Gallican aspect to the lingering traditions of St. Yrieix.
The next step compared the St. Yrieix gradual against the other Aquitanian
graduals, concentrating on the neo-Gregorian feasts as indicative of the traditions specific
to St. Yrieix (Appendix 3-4). The list of thirty-three neo-Gregorian feasts in the St.
Yrieix gradual (Table 3-4 ) includes six feasts that appear in the Gallican sacramentaries
that were omitted from the Gregorian sanctoral. The remaining neo-Gregorian feasts
include a distribution of local bishops (much more than abbots), i.e., a group of local
confessor and martyred saints from the missionary period in Gaul. A group of feasts is
included for saints associated with Milan, including Victor, Gervasius and Protasius, all
associated with Ambrosian liturgy. Victor may have been included because of a relic or
brandeum from Milan associated with Aredius‟s extensive distribution of brandea in the
sixth century in this region. 37
This survey suggests a usage that is clearly oriented toward St. Martin and the
monastic usage of Limoges. The reference to antiphon Monasterium istud mentioned by
Tissot (see Chapter IV) is appropriate for monastic usage; however the canons living in a
former monastery were generally referred to as inhabiting a “monastery,” 38 a practice
that mitigates this monastic argument. Since the Canons at St. Yrieix lived under a rule
specific for the chapter, the “ecumenical” selection of monastic and episcopal features in
Pa903 is not unexpected. 39
37 This activity is extensively reported by Gregory of Tours, but he does not mention St. Victor in
this regard .
38 See, for example, the list of parishes in the St. Yrieix castellany that lists St. Yrieix as
“Moutier Saint-Yrieix” in Chapter II, section C.4. Alfred Leroux, “Chronologie de St. Yrieix,”
BSAHL 40 (1892): 561-581.
39 J. C. Dickinson, The Origins of the Austin Canons and Their Introduction into England
(London: S.P.C.K., 1950):21-26. The collegial movement in eleventh-century Aquitaine pre-dates the
dominance of the Augustinian rule of the next century.
67

A. OVERVIEW
IV. Repertories of Antiphons, Tropes, Prosulas, and Prosas
This study of Pa903 began with a brief review of the manuscript, its historical
context, and a survey of its liturgical calendar to describe the usage of St. Yrieix. This
Chapter addresses the repertories of antiphons, tropes, prosulas, and prosas in Pa903,
which participate in the trend begun in the tenth century to embellish and expand the
Mass with new genres of chant. 40 These embellishing chants were not only copied in the
Masses of the gradual, but also collected in sections that follow the gradual. They
comprise repertories of internationally disseminated chants as well as chants belonging to
geographically localized repertories associated with Aquitaine and St. Yrieix.
These repertories of regional and local chants have historical interest in
themselves. Beyond their musical import, however, these repertories also project the
values and stance of St. Yrieix to the people and to the lay and ecclesiastic hierarchy of
the regional community. The chants of the gradual, most importantly, supported the
authorized tradition of the Romano-Frankish rite that was embraced by European society
after the eighth and ninth centuries. The embellishing chants, especially through the local
and regional repertories, reinforced the liturgy with a voice attuned to the specific local
needs and concerns of the community at the time. For the people of the congregation,
these repertories helped to bring the protection and mercy of God to the community
40 Alejandro Planchart, ed., “Introduction,” Embellishing the Liturgy Tropes and Polyphony
(Burlington, VT: Ashgate Publishing Company, 2009):.xii.
68

through the intercession of Aredius, Martin, and the clergy of St. Yrieix. For these
clergy, in the midst of growth and transition from monastery to a chapter of canons, the
chants of the gradual conveyed to themselves and to their community assurance of the
continued presence and support of Aredius to the legitimate heirs of the ancient
monastery.
The first step in the process of identifying these regional repertories in Pa903 was
to distinguish the group of internationally distributed chants in each embellishing genre
from the Aquitanian regional repertories, using available databases and literature
appropriate to each genre. 41 The widely distributed pieces were identified and removed
from further analysis in order to concentrate on the regional and local repertories in
Pa903. The second step was to compare the remaining repertory of each genre in Pa903
to that found in the other Aquitanian graduals in order to distinguish the regional
repertories from the part that appears only in Pa903. Separate lists of chants in each
genre were then developed for the regional and local repertories, respectively.
The succeeding sections of this chapter survey the antiphons(Section B), the
tropes of the Proper and the Ordinary of the Mass (Section C), and the prosas and
prosulas of the manuscript (Section D). Section E lists the prominent Masses in the St.
Yrieix hierarchy (temporal and sanctoral), based on the inclusion of embellishing chants
in the Mass formularies. In the course of these reviews, structural anomalies in Pa903
were found in which tropes, prosulas, and prosas for certain prominent Masses were
written for Gregorian Mass chants, rather than the neo-Gregorian chants for these feasts
written in the gradual. The implications of these anomalies will be addressed in the
41 For the antiphons, this includes Cantus Planus, Corpus Antiphonalium Officii, and
concordances with the AMS sources; for the tropes, references are Corpus Troporum and Beneventanum
Troporum Corpus; for the prosulas and prosas the Analecta Hymnica, Repertorium Hymnologicum, and
other specialized surveys (see the Bibliography for detailed references).
69

appropriate sections of this chapter. Conclusions on the findings of this chapter and their
implications for the date of Pa903 are given in section F.
B. ANTIPHONS
The antiphons in Pa903 were used in the religious processions and major
celebrations of the monastery and chapter to embellish the Mass with additional praise,
exhortation, and prayer. Antiphons were used before the service in processions from the
entrance of the church to the altar stations proper to the services. They were also used in
public processions between churches or between locations on the grounds for special
occasions during the liturgical year. The antiphons included with the Masses of the
gradual amount to 108 pieces. 42 They appear in extended series for the Great Litany
service, Palm Sunday, and the major services of Advent, Lent, Holy Week, Easter,
Pentecost and in the post-Pentecost period.
Pa903 also contains another large group of 98 antiphons found in a discrete
section following the gradual. These antiphons were published by Clyde Brockett, with
an analytical discussion of the history of the pieces, including concordances to Pa776 and
other sources. 43 Antiphon series are included in this group for healing and other special
needs as well as ritual and votive services.
In this chapter the antiphons in Pa903 are considered as a single repertory. They
are subdivided into the following groups: Gregorian pieces found in the sources of AMS,
antiphons in the international repertory (largely taken from the Office), regional
antiphons of Aquitaine and the Limousin, and a group of antiphons found only in Pa903.
42 Table Alphabetique, PM13 (1992): 61-62.
43 Clyde Brockett, “Unpublished Antiphons and Antiphon Series Found in the Gradual of St.
Yrieix,” Musica Disciplina 26 (1972): 5-35.
70

The principal goal of this Section is to identify and list the repertories of regional
and local antiphons in Pa903, i.e., the antiphons that do not have concordances with
widely distributed international antiphons. The first step in this process identifies
concordances between the antiphons of Pa903 and those of the international antiphons of
Corpus Antiphonalium Officii (CAO), 44 the Cantus-Planus (C-P) database, 45 and AMS.
Antiphons found in the AMS sources can be considered part of the Gregorian corpus of
Mass chants. Antiphon texts for the Office and Mass are listed in CAO with source
information that permits identification of individual pieces as part of the international
repertory of antiphons. 46 The antiphons of Pa903 that do not have concordances to the
widely distributed antiphons are further divided into the regional sub-group, i.e.,
antiphons with concordances to the Aquitanian graduals, and the St. Yrieix subgroup
transmitted only in Pa903, i.e., without concordances in the Aquitanian graduals.
1. Antiphons of Pa903
The entire collection of antiphons in Pa903 is listed in detail in Appendix A4-1.1,
including the antiphons written out in the gradual and those in the section following the
gradual. The antiphon concordances with the other Aquitanian graduals, AMS, and CAO
44 René-Jean Hesbert, “Invitatoria et antiphonae editio critica,” Vol 3, Corpus antiphonalium
officii in 6 Vols (Rome: Casa Editrice Herder, 1968.) Hesbert collects 5517 antiphons selected from twelve
early antiphoners of the Office to define a reference group of the standard repertory of Office Antiphons.
(Abbreviated CAO).
45 Database of Office chants found at the Cantus-Planus website :www.uniregensburg.edu/Cantus-
Planus (Abbreviated C-P). The antiphon collection includes the CAO index number for those antiphons
listed in the database.
46 The Cantus-Planus (C-P) database includes the CAO list as well as a much greater number of
Office chants that has been accumulated from more recent scholarship on representative antiphoners and
Office chant collections. Regarding Pa903, only the antiphons published in PM13 are included in the C-P
database. Not included in C-P is the additional group of antiphons in Pa903 following the gradual (in ff.
133v-147v included here) and antiphons from the other Aquitanian graduals.
71

are also included in this Appendix. 47 The Appendix shows Pa776 with the overwhelming
majority of antiphon concordances with Pa903 (approximately eighty-percent).
Harley4951 and Pa780 each had less than half as many antiphon concordances as Pa776,
while the AMS graduals were a fourth of the Pa776 concordances. This paucity of AMS
concordances reflects the proliferation of antiphon composition in the tenth and eleventh
centuries after the AMS graduals were copied. In addition the dominance of the Pa776
concordances reinforces the suggestion that one of these graduals was an exemplar to the
other for the antiphon repertory. The regional component of the collection is further
discussed in the next Section, while the Gregorian component is briefly addressed below.
The group of Gregorian antiphons in Pa903 is separately listed in Appendix A4-
1.2, including concordances with other Aquitanian manuscripts. Although there are only
four of the Pa903 antiphons that are concordant only with AMS, twelve antiphons are
concordant with the four Aquitanian graduals and AMS. The antiphons of Appendix 4-
1.2 are not further discussed, as this group represents the standard Gregorian repertory of
antiphons, transmitted internationally. The remaining regional antiphons of Pa903 are
further discussed below.
2. Repertory of Regional and St. Yrieix Antiphons
(a.) Regional Antiphons.
The repertory of antiphons that reflect regional usage displays the characteristics
of the new music of Aquitanian origin of this time. Table 4-1 lists in alphabetical order
107 regional antiphons in Pa903 (roughly half of the total) and the feasts to which they
are assigned.
47 No collection of antiphons is found in Pa1132. It appears that the antiphons used at St. Martial
of Limoges in this period were relegated to a collection separate from the gradual, similar to the treatment
of tropes in the famous St. Martial tropers. The tropes in Pa903 are discussed in the next section.
72

Table 4-1 Pa903 Regional Antiphons
Pa903 Antiphon Incipit
PM13
p/f. Feast
Adiuro vos filie hierusal
/143 BV Mary
Adoramus te Christe
141/ Passion of the Lord
Adoremus crucis signaculum 139/ Lord’s Supper
Adorna thalamum
46/ Purification of Virgin
Alleluia alleluia hodie omnes /182 Saturday pre- Pentecost
Angeli archangeli..nobis 143v All Saints
Angelus domini descendit 147/ Easter
Ante diem festum pasche 134/ Lord’s Supper
Appropinquante ihesu
120/ Palm Sunday
Arbor decora fulgida
143/ Passion of the Lord
Ave rex noster
118/ Palm Sunday
Benedicat dominus cord 134/ Lord’s Supper
Benedicat vos summa maiestas /145 Post Pentecost
Benedictus Deus patrum 136/ Lord’s Supper
Cena facta sciens dominus 133/ Lord’s Supper
Ceperunt omnes turbe 118/ Palm Sunday
Christe pater misericordiarum 69/ Lent
Christus resurgens
147/ Easter
Congregauit nos Christus 132/ Maundy Thursday
Congregauit nos in unum 132/ Maundy Thursday
Crux alma fulget
142/ Passion of the Lord
Crux fidelis inter omnes arbor 143/ Passion of the Lord
Cum audisset populos 117/ Palm Sunday
Cum rex glorie
148/ Easter
Cum sederit filius
70/ Lent
Cum venerimus ante conspectum 70/ Lent
Custodi domine gregem istum /145 Post Pentecost
Custodi nos domine…celeste /145 Post Pentecost
Deus amator bonorum…dextera /146 Safe journey
Deus caritas est
131/ Maundy Thursday
Diligamus nos
131/ Maundy Thursday
Domine si iratus
64/ Start of Fasting
Dominus omnipotens…benedictio /147 Cleric Ordination
Domnie tu michi lauas 130/ Maundy Thursday
Domum istam protege 135/ Lord’s Supper
Ducti sunt Petrus et Paulus …dignatus /142 Peter
Dum fabricator mundi 140/ Passion of the Lord
73

Contiued Pa903 Antiphon Incipit
PM13
p/f.
Feast
Ecce karissimi dies 72/
Lent
Ecce Maria uenit 47/
Purification of Virgin
Ecce nunc tempus 71/
Lent
Ego sapientia … coram eo /145v
Post Pentecost
Ego sum alfa et O
147/ Easter
Emitte spiritum sanctum 21/ Advent
Exite sancti orate…circumdedit /137v FR. IV
Factum est prelium…nocte
/142v Michael
In die quando uenerit
71/ Lent
In die resurrectionis 146/ Easter
In diebus illis mulier
130/ Maundy Thursday
In hoc cognoscent omnes 131/ Maundy Thursday
Introeuntem te domine 120/ Palm Sunday
Karitas est summum
132/ Maundy Thursday
Lapidem quem reprobauerunt 149/ Easter
Letare uirgo Maria
18/ Advent
Lignum uite crucem
141/ Passion of Lord
Lumen ad reuelationem 47/ Purification Virgin
Mandatum nouum do uobis 130/ Maundy Thursday
Maneant in nobis
131/ Maundy Thursday
Maria ergo unxit
132/ Maundy Thursday
Memor humane conditionis 69/ Lent
Memor sit Dominus…odorem /141 Ordination Bishop
Mulier que erat
132/ Maundy Thursday
Multa turba iudcorum 120/ Palm Sunday
Nos autem gloriari
142/ Passion of Lord
O beata infantia
18/ Advent
O crux admirabile signum 141/ Passion of Lord
O crux benedicta que sola fuisti 141/ Passion of Lord
O crux benedicta quia in te 142/ Passion of Lord
O crux splendidior
140/ Passion of Lord
O Maria iesse
17/ Advent
O quam casta
17/ Advent
Occurrunt turbe
118/ Palm Sunday
Pax huic domui…regredientibus /145 Post Pentecost
Per signum crucis
142/ Passion of Lord
Per signum sancte ac uenerande 142/ Passion of Lord
Post quam ergo lauit
133/ Lord’s Supper
Post quam resurrexit
149/ Easter
74

Contiued Pa903 Antiphon Incipit PM13 p/f. Feast
Post quam surrexit dominus 130/ Maundy Thursday
Prima autem die 120/ Palm Sunday
Pueri acbreorum tollentes 118*/ Palm Sunday
Pueri ebrorum uestimta 118*/ Palm Sunday
Redemptor mundi conserva /146 King
Responsum accepit simeon 47/ Purification Virgin
Sanctifica nos domine 142/ Passion of Lord
Sanctus Deus…sanctus fortis… /137v FR. IV
Si clauso celo … ad possidendum /139 Rain
Si ego dominus
130/ Maundy Thursday
Si fecissimus…populo tuo /135v Major Litany
Sicut pastor…Israhel /144v Post Pentecost
Sicut ros hermon…benedictio /147 Ordination Cleric
Signum salutis pone…plaga nocens /144v Post Pentecost
Sit dominus Deus…Deus tuus /146 King
Spiritus sanctus hodie*
/141v Pentecost
Stetit angelus 146/ Easter
Super omnia ligna
144/ Passion of Lord
Surgens dominus Ihesus 149/ Easter
Surgit Ihesus a cena
133/ Lord’s Supper
Tu es domine…michi hereditatem /146v Ordination Cleric
Tuam crucem adoramus 142/ Passion of Lord
Ubi est caritas et dilectio 131/ Maundy Thursday
Ubi fratres in unum
131/ Maundy Thursday
Ubi sunt misericordiae…servorum /139v Serenity
Veniente domino ihesu 119/ Palm Sunday
Venit Mariae magdelenae 146/ Easter
Venite et accendite
47/ Purification Virgin
Venite populi ad sacrum 154/ Easter
Vespere sabbati
146/ Easter
Vos uocatis me
133/ Lord’s Supper
The Pa903 antiphons that are also found only in Pa776 account for 54 antiphons
or roughly half of the regional group, while twenty regional antiphons are found in all of
the Aquitanian graduals that collect antiphons (Pa776, Pa780, and Harley4951). Full
details of these groups of concordances are provided in Appendix A4-1.1.
75

The regional antiphons of Table 4-1 were assigned primarily to feasts of the
temporal, especially Holy Week and Easter, as well as specific services in Advent, Lent
and Pentecost. The antiphons from the sanctoral include assignments to the Feasts of the
Purification of the Virgin, St. Peter, St. Michael, 48 as well as specific occasions such as
the ordination of a cleric, for serenity, for those undertaking a journey, and two neo-
Gregorian antiphons for the King, but providing no new information on the manuscript. 49
(b.) St. Yrieix Antiphons.
In addition to the Aquitanian antiphons listed above, the detailed list in Appendix
A4-1.1 includes antiphons in Pa903 without concordances in AMS, CAO, or in any of the
Aquitanian graduals. Table 4-2a lists thirteen antiphons, assigned to the Healing Mass at
St. Yrieix, as well as to Holy Week, Easter, Compline, and the Post Pentecost period.
These are antiphons only found in Pa903 and hence potentially unique to St. Yrieix.
Table 4-2b lists eight more antiphons, all listed in CAO as versions with texts unique to
Pa903. Two of these have no listing in C-P, but are listed in CAO as unica. In these
antiphons the scribe or cantors who produced Pa903 altered the text of an otherwise
established antiphon to their preference. Planchart has noted that this form of scribal
alteration applied to otherwise established antiphons is an increasingly frequent practice
in the eleventh-century transmission of chant. 50 A review of musical concordance with
the CAO sources would further clarify the uniqueness of these antiphons to St. Yrieix.
48 The feast for St. Michael is not in Pa903, since it would be located in the principal lacuna of the
manuscript.
49 Reference to specific events or persons (lacking here) may help to date the manuscript.
50 Alejandro Planchart,. “The Transmission of Medieval Chant,” in Music in Medieval and Early
Modern Europe, Iain Fenlon, ed. (Cambridge: Cambridge University Press, 1981):347-363.
76

Table 4-2a St. Yrieix Antiphon Repertory in Pa903
Pa903 No Aquitanian Concordance No listing in CAO
Pa903 Antiphon Incipit PM13 p/f. Feast
Cor contritum et humilitatum /147 Healing
Custodi me Domine…protege me /147 Healing
Dominus Ihesus locuutus est /147 Healing
Intrantes in templum in personis Domin /145 Post Pent
Manete autem
131/ MaunThurs
Miserere michi Domine…ossa mea /147 Healing
Mittat tibi Dominus…tueatur /147 Healing
Monasterium istud…exaudi omnipotens /145 Post Pent
O Rex gloriose…benedicte /146v Compline
Sana Domine…referat actionem /147 Healing
Ve nobis quia peccauimus 139/ Lord Supp.
Vigilemus omnes … regna /146 Compline
Visita Domine habitationem /146v Compline
Table 4-2b St. Yrieix Antiphon Repertory Unicum in CAO
No Aquitanian Concordance
Pa903 Antiphon Incipit PM13 p/f. CAO Comment Feast
Conuertimini omnes
65/ 1923 Unicum version Cap.Iun
Dixit autem ihesus
132/ 2167 Unicum version MaunThurs
Intret oratio mea…inter mortuos /147v 3387 Not listed C-P Healing
Misit denique aquam
133/ 3782 Unicum version Lord Supp.
O admirabile precium 140/ 3987 Unicum version Lord Pass.
O crux… sanguis eius effusus 141/ 4013 Not listed C-P Lord Pass.
Tunc precinxit se
132/ 5249 Unicum version MaunThurs
Vinea mea electa
139/ 5427 Unicum version Lord Supp.
3. Summary
This Section surveyed the two-hundred-sixteen antiphons in Pa903, listed with
full concordance details in Appendix A4-1. The regional repertory of antiphons in Pa903
is roughly twice as numerous as the Gregorian antiphons assigned to essentially the same
77

feasts. This shows the trend to expansion and embellishment of the liturgy by the addition
of antiphons, which is further manifested in the genres treated in the next Sections.
The predominance of antiphons in Pa903 that are concordant with Pa776
demonstrates the mutual influence of Pa903 and Pa776 in choice of antiphons. In
addition, half of the regional antiphons concord with Pa776 only, further reinforcing the
close similarity of Pa903 and Pa776. It is interesting to view Pa903 as exemplar for
Pa776 (or vice versa), but it is difficult to establish filiation of manuscripts based on
concordances alone. Tissot also included Harley4951 as a third closely related gradual to
Pa776 and Pa903 (although he did not cite the evidence of the antiphons); however, he
concluded there was no clear choice of exemplar between the three. 51 We will return to
this finding in Chapter VI.
This survey has produced a list of twenty-one antiphons of which Pa903 is
apparently the only surviving source. These unique antiphons can be considered as part
of a specific repertory of St. Yrieix, potentially contributing to the goal of identifying
distinctive traits of an Aquitanian style, such as carried out by Binford-Walsh and
Roederer in their analysis of other Aquitanian repertories. 52 The St. Yrieix repertory can
be further analyzed using the approach developed by Cullin and Huglo, 53 Stäblein, 54 and
others to investigate Gallican stylistic traits, derived from the documentary evidence of
known Gallican sacramentaries.
51 Tissot, “Notes historiques,” PM13: 45-47.
52 Hilde Marga Binford-Walsh, “The Melodic Grammar of Aquitanian Tropes,” Ph.D. diss.,
Stanford University, 1992; and Charlotte D Roederer, “Can We Identify an Aquitanian Chant Style?”
Journal of the American Musicological Society 27 No. 1 (Spring, 1974): 75-99.
53 Olivier Cullin, and Michel Huglo, “Die Gallicanischer Gesang,” in Die Musik in Geschichte
und Gegenwart, Zweite neubearbeitete Ausgabe (Basel and London: Bärenreiter Kassel, 1995) 3:col.
1008a-1009a.
54 Bruno Stäblein, “Gallikanische Liturgie,” Die Musik in Geschichte und Gegenwart: Allgemeine
Enzyclopädie der Musik (Kassel: Bärenreiter Verlag, 1955) 4:col. 1299-1325.
78

These eleventh-century antiphons, composed regionally and at St. Yrieix,
participate directly in the contemporary trends of musical development in this very active
period of new liturgical music composition. The following section surveys the trope
repertory in Pa903, one of the most pervasive musical activities of this period. The
tropes of Pa903 are of particular interest because of the proximity and potential influence
on St. Yrieix of St. Martial of Limoges, one of the leading centers of composition of this
genre.
C. TROPES
Tropes are chants composed to embellish the Mass as interpolations of new music
and new text into the Mass chant. 55 The trope lines of music and text were copied in sets
marked with a rubric for the feast and cues to the troped chant. The Aquitanian tropers
were contained in separate collections or, as in Pa903, in a separate section of the
gradual. 56
Pa903 was one of the Aquitanian sources included in the major surveys of tropes
and proses in Chevalier‟s Repertorium Hymnologicum 57 and Blume and Dreve‟s Analecta
Hymnica. 58 Chailley includes the Pa903 troper as participating in the St. Martial troping
tradition. 59 The number of tropes found in Pa903 is relatively small compared to the
tropers assembled at St. Martial. While Chailley considers that the Pa903 troper (ff.
55 Paul Evans, The Early Trope Repertory of Saint Martial de Limoges. (Princeton, NJ: Princeton
University Press, 1970):6-8.
56 See Chailley, in L’Ecole, and in Etudes gregoriennes; also Evans, Trope Repertory, et. al..
57 Ulysse Chevalier, Repertorium hymnologicum des chants, hymnes, proses, sequences, tropes en
usage dans l’église latine, in 6 volumes (Brussels, Société des Bollandistes, 1920) 6:9.
58 Clemens Blume and Guido Dreves, Analecta Hymnica medii aevi tropi graduales : Tropen des
Missale (Leipzig : O. R. Reisland, 1906) 49: 98-99.
59 Jacques Chailley, “Les anciens tropaires et séquentiaires,” Études gregoriennes 2 (1957):172-
73. Concordances of the Pa903 tropes with major trope collection in Pa1118 may be found in Alicia Mee
Doyle, “The Repertory of Tropes in Paris, Bibliotheque Nationale fonds latin 1118: A Comparative Study
of Tenth-century Aquitanian Concordances and Transmission,” Ph.D. diss., University of California, Santa
Barbara, 2000.
79

147v-179) is written in the same hand as the rest of the gradual (see Table 2-1 above), the
tropes of the ordinary contain folia written in other hands. 60 In Chailley‟s judgment, the
troper of Pa903 confirms an essentially monastic usage for the monastery of St. Yrieix. 61
1. Proper Tropes
Although some of the tropes of various feasts and Masses in Pa903 have been
noted in various inventories and general discussions, a comprehensive inventory of the
proper tropes in Pa903 has not been published. Appendix A4-2 lists the entire group of
tropes in Pa903 in calendric order. The Masses (temporal and sanctoral) for which
tropes were provided are listed in Table 4-3, including the number of trope sets and the
genres for which they were composed. The overall plan of troping for the Mass in this
gradual typically includes multiple introit tropes for the major feasts of the year. The
Masses for Aredius, the Assumption, and St. Andrew also include a trope for the Gloria
patri sung after the introit. Single tropes were also provided for the offertories and
communions of the major feasts as shown and listed for the Commons of Confessors and
Virgins, respectively. The feasts of the Nativity of the Virgin and of St. Michael, listed in
the Table, are missing since they would have been located in the lacuna of Pa903.
Table 4-3 shows that there are discrepancies between the list of tropes and the
feasts in Pa903. The tropes marked by a single asterisk in Table 4-3 are collected in
Table 4-4 to identify the feasts that are provided with trope sets which do not match the
chants of the proper Mass to which they are assigned.
60 Chailley, L'école musicale : 87.
61 Chailley, ibid. : 86-88.
80

Table 4-3 Troped Masses in Pa903
Mass Trope Folia Tropes
Christmas Day Main Mass 147v-148 3 IN, OF, CO
St. Stephen 148v-149 3 IN, OF OFV1, OFV2, CO
St. John Evangelist 149-149v 3 IN, OF, CO
Holy Innocents 150 3 IN, OF, CO
Epiphany day 150-150v 3 IN, OF, CO
Sts. Fabian and Sebastian 151 3 IN, OF, CO
Purification of the Virgin 151v-152 3 IN, OF, CO
St. Benedict 152-153 3 IN*,Ante Prosa, OF*, CO*
Feria II Post Easter 153v IN, OF
Feria III Post Easter 153v IN
Feria IIII Post Easter 154 IN
Octave of Easter 154 IN
Finding of the Cross 154 IN*, IN Gloria patri
Ascension 154v-155 3 IN, OF, OFV, CO
Pentecost day 155v-156 3 IN, INPs, OF, CO
St. John the Baptist day 156-157 2 IN, INPs, ALV, INGL, OF, CO
St. Peter in Chains 157-157v 3 IN, INPs, 2 OF
St. Martial 157v-158v 3 IN, INPs, OF, CO
St. Laurence 158v IN, INPs
Assumption of the Virgin 158v-159 2 IN, INPs, INGL
St. Aredius 159-159v 3 IN*, INPs*, INGL
Blessed Virgin Mary 159v IN, feast in Lacuna
St. Michael, Archangel 159v IN, feast in Lacuna
All Saints day 160 2 IN, INPs, INGL
St. Martin day 160-161 3 IN*, OF, CO
St. Andrew day 161 IN, INPs, INGL, OF, CO
Apostles day 161v IN* ambiguous ident.
One Martyr 161v IN**
Multiple Martyrs 161v-162 2 IN**, OF**, CO**
Confessors 162 IN**
Virgins 162-162v 2 IN**
Dedication of the Church 162v-163 3 IN, INPs, OF, CO
*The listed trope cues to a chant not provided in the formulary of the feast.
** Trope is for a feast that is not listed in the St. Yrieix gradual.
There are a number of Mass formularies including St. Stephen, St. Benedict, the
Finding of the Cross, St. Aredius, and St. Martin in Pa903 (all listed in Table 4-4) with
tropes composed for a different Mass formulary. The lines of the tropes cue to chants
81

that are not used in the Pa903 formulary for these Masses. The chants for these tropes
are Gregorian, found in AMS, but each of the chants in the Mass formularies for these
feasts in Pa903 is a neo-Gregorian chant. The neo-Gregorian Mass chants of these
Propers are addressed in Chapter V.
There are various possible reasons for these discrepancies in the trope
assignments. First, the tropes for the Gregorian chants in Pa903 may work effectively
with the neo-Gregorian chants of the assigned Masses, so that no alteration to the trope
was necessary. However, this is not likely for disparate sets of tropes and chants, since
details of modal and textual phrasing must match. Second, this may be an inadvertent
error: the tropes may have been copied from an exemplar that did not match the specific
chants of these five Masses, or the formularies for these Masses were changed in the
gradual after the troper section was written (by the same scribal hand). But given the
prominence of these saints in the usage of St. Yrieix, these seem to be implausible
explanations for the discrepancies. The fact remains that the tropes of these Masses do
not match the feasts to which they are assigned. More of this kind of error will be
discussed in the next section.
A second group of tropes with discrepancies in trope assignments (marked by a
double asterisk in Table 4-3) is given in Table 4-5 that lists sets of tropes prepared for
feasts not found in Pa903. With the exception of the feasts of the Nativity of St. Mary
and of St. Michael (both in lacuna), these omitted feasts refer to a group of Common
Masses that is not present as such in Pa903. The tropes are assigned to feasts for one or
several martyrs, confessors, and virgins, respectively.
82

Table 4-4 Pa903 Tropes for Chants Not Used for the Assigned Saint
CH*=listed chant is not used for the feast
listed
Incipit
ff. Comment
In iubilo vocis Benedicto
152 IN* Benedict Os iusti
Psallite docti logo quod iure 152 IN* Benedict Os iusti Alia1
A domino ampletum sacro
152 IN* Benedict Os iusti Alia2
Ab increpatione et ira
153 OF*Benedict
Laus honor uirtus deo nostro 153 CO*Benedict
Glorientur cuncti fideles Christi 154 IN* Finding the Cross Nos autem
Christicole laudum modulos 159 IN* Aredius Os iusti
Carmina iam reboent lirico 159 INPs* Aredi Noli emulari
Emicat ecce dies ueneranda 159 IN* Aredius Os iusti Alia1
Inclita dauitica preconia carminis 159v IN* Aredius Os iusti Alia2
Martinis meritis uirtutum 160 IN* Martin day Statuit
Letabunda per orbem nunc emicat 160v IN* Martin day Statuit Alia1
Eva gaudete Martino quia pium est 160v IN* Martin day Statuit Alia2
The most complete set of these tropes is for multiple martyrs with tropes for the
introit, offertory, and communion; however, the troped chants specified for multiple
martyrs are found in the feast of the martyrs Fabian and Sebastian. Similarly, the tropes
for virgins correspond to Lucy; the tropes for a single martyr correspond to Saturninus
(Gregorian Mass); and the tropes for confessors are written for Os iusti, an introit used
for Felix, Amand, Translation of Benedict, Eusebius, and Elegius in Pa903. Thus it is
plausible that these tropes in Pa903 were written for a group of common Masses that was
eliminated from the current manuscript. This would be consistent with the tropes of
Table 4-5 (tropes for feasts not in the gradual), where the tropes were prepared for a
formulary of Common Masses that is now removed.
83

Table 4-5 Pa903 Tropes for Feasts Not Listed in the Gradual
CH**=Feast not listed in gradual
Incipit
ff. Comment
Splendore sollempni rutilat dies 159v IN** NL St. Mary (Lacuna)
Principis aetherei Michaelis festa 159v IN** Michael Archangel (Lacuna)
Psallite tam quod Saturninus 161v IN** One Martyr (Saturninus)
Celica sanctorum quod clamat turba 161v IN** Mutliple Martyrs
Suscipe sanctorum festiuas rex 161v IN** Mutiple Martyrs Alia1
Vera est in caelis sanctorum 162 OF** Multiple Martyrs
Summa dei proles humano
162 CO**Multiple Martyrs
In sancti huius laude celsa 162 IN** Confessors
Ad est nunc caelebranda
162 IN** Virgins
Ecce iam omnes Christicole valeria 162v IN** Virgins Alia1
Table 4-4 (prominent Masses with chants that no longer fit the assigned tropes)
suggests that the original formularies of these prominent Masses employed Gregorian
chants of the Common for which the tropes were prepared. The reason that the
manuscript was assembled without appropriate tropes for these prominent Masses,
however, is still unknown.
2. Ordinary Tropes
Pa903 contains a “Kyriale” section (folia 163r-179v) with troped Kyrie chants
(Table 4-6), listed by the incipit of the first trope. David Bjork has made an analytical
transcription of the essential melodic examples of the Aquitanian Kyrie repertory, with
concordances to 22 Aquitanian tropers and graduals containing Kyrie chants, including
Pa903. 62
62 David A. Bjork, The Aquitaine Kyrie Repertory of the Tenth and Eleventh Centuries, Richard
Crocker, ed. (Aldershot, UK: Ashgate Publishing Limited, 2003): 1-27.
84

Table 4-6(a) Pa903 Kyrie Tropes
Incipit
f. Mel.No. Comment
Kyrie eleison
76v 165 Holy Saturday
Te Christe deus supplices 163 55
Clemens rector aeterne 163v 102
O theos agie domine 164 68
Rex magne domine 164v 124
Theoricom practicamque
Dominator Deus
165 185
mitissime 165v 155
Deus solus et immensus 165v
Trope to Kyrie
Kyrrie eleison
165v
Kyrrie Deus sempiterne 166 142
Kyrrie rex seclorum
Christe redemptor
166 162
miserere 166v 160a-b
Kirrie Eleison
166v 55 Tropes follow
Kirrie Eleison
167 198
Kirrie Eleison
167 42a
Kirrie Eleison
167 64
Kirrie Eleison
167v 47
Kirrie Eleison
167v 217
Cunctipotens genitor 167v 18
Kirrie eleison rex pie 167v 18 In margin of MS
Pater summe
169v 23
(b.) Kyrie in Other Aquitanian Graduals
Kyrrieleison
213v 155 Harley 4951
Kirieleison
67 47 Pa776
Kirrieleison
63 103 Pa780
Kyrie eleison
107v 16 Pa1132
Kyrrieleison
108 55* Pa1132
Kyrrieleison
108 102* Pa1132
Kyrrieleison
108 68* Pa1132
Kyrrieleison
108v 47* Pa1132
Kyrrieleison
108v 198* Pa1132
Kyrrieleison
108v 185* Pa1132
Kyrrieleison
109 124* Pa1132
Kyrrieleison
145v 58 Pa1132
* Kyrie melody concordant with Pa903 Kyrie
85

Bjork‟s analysis identified the basis melodies of the Aquitanian Kyries among the
216 Kyrie melodies catalogued by Margareta Melnicki. 63 Table 4-6a lists the troped
Kyries of Pa903 and provides occasional identification of the Mass. The Table also lists
one explicit Kyrie trope set (Deus solus et immensus) identified by Bjork with entirely
new music and text. 64 Table 4-6(b) lists the troped Kyries in Pa903 as having
concordance in Harley4951, Pa780, and Pa1132. Each of the Kyries in Pa1132 uses a
melody with melodic index concordant to one of the Kyries in Pa903. Bjork argues that
the consistent use of a group of melodies in the Aquitanian sources creates a repertory of
Kyries with recognizable regional identity.
Embellishments to the Gloria in excelsis deo in Pa903 (ff. 169v-176) are
summarized in Table 4-7(a). These chants, traditionally following the Gloria in
Aquitanian sources, are rubricated as Laudes. They are extensive, highly syllabic chants
with notated appearance, essentially equivalent to the genre of the Sequence in the next
century. The Table lists seventeen Laudes in Pa903; those identifiable are for St.
Stephen, St. John the Evangelist, and for Easter.
Table 4-7(b) lists eight Sanctus tropes (ff. 177v-179), written principally as
textual and musical interpolations. The manuscript entries for these tropes are written
into the lines of the Sanctus in the manuscript. The Osanna entry in the Table is
rubricated as a prosula following the Sanctus chant. The Sanctus trope is not prominent
in the other Aquitanian graduals. Table 4-7(c) lists five Agnus Dei tropes (ff. 179-179v),
ordered by textual incipit. This is a small group of tropes that is not rubricated for a
specific Mass.
63 Margareta Melnicki, Das einstimmige Kyrie des lateinischen Mittelalters (Regensburg: Gustav
Bosse, 1955). This work reviews the medieval repertory of Kyries from many sources throughout Europe.
64 Bjork, Aquitanian Kyries : 18-19.
86

Table 4-7 Pa903 Gloria, Sanctus, Agnus Embellishments
(a) Laudes following Gloria in Excelsis
Incipit
f. Comment
Summe sacerdos emitte 168
Omnipotens altissime verbum 168
Sacerdos dei excelsis uomante 169 St. Stephen
O gloria sanctorum laus 169v John Evangelist
Qui in diges nullius laude 170 Alia John
Christe salus mundi bone 170v Easter day
Laus tibi domine celia 171 Easter day
Laudat in excelsis celum 172 Easter day
O laudabilis rex domine 172v Easter day
Laus tibi summe deus 173 Easter day
Carmine digne premamus deo 173v Easter day
Quem cuncta laudant ut bona 174v Easter day
Quem ciues celesti
174v Easter day
Omnipotens rex sabaoth 175v Easter day
Qui Deus et rector mundi 176 Easter day
Qua iugi voce affantes 176 Easter day
Gloria in excelsis…
(b) Sanctus embellishments
176v
Sanctus Deus pater ingenitus 177
Gloriosa dies adest
177 Resurection
Sanctus idem deus conditor 177
Sanctus dominus Deus 177v Alia
Sanctus pater lumen aeternum 178 Alia
Sanctus admirabilis splendor 178 Alia
Sanctus ante saecula Deus 178 Alia
Sanctus dominus Deus 178v Alia
Sanctus..Osanna dulcis est 178v Sanctus prosula
Sanctus pater in genitus 178v
Sanctus clemens uerbi sator 178v
Sanctus sanctus sanctus 179 Alia
( c) Agnus Dei embellishments
Hic est uocis magnus Dei 179
Lux indeficiens pia
179
Omnipotens aeterna Dei 179v
Qui gratis moderatis cuncta 179v
Celorum composa auctor 179v
87

D. PROSULAS AND PROSAS
The terms prosula and prosa are often synonymous in eleventh-century sources,
but in modern literature they are used to refer to two different genres: prosulas are the re-
texting of pre-existing melismas, especially those of the alleluia and offertory; the
elaborate final melismas typical of the alleluia and of the offertory verses were a natural
source of music for the prosula. 65 On the other hand, the prosa (and the sequence)
generally refer to the chant sung after the alleluia of the Mass; it is a piece with new text
(often poetic in paired verses in this period) and new music.
In Pa903 the prosa and prosula chants were especially prominent in the most
solemn seasons and occasions of the liturgical year: Advent, Christmas, Epiphany, Holy
Week, Easter, and Pentecost. Accordingly, the inclusion of prosas or prosulas in
sanctoral feasts lent additional weight to these Masses, emphazing occasions of particular
importance in the usage. Similar to the antiphons, a significant number of prosulas
appear in the main body of the gradual of Pa903, fully written out in text and music for
the alleluia and the offertory. The alleluia prosulas are rubricated as such in the gradual
of Pa903 (with five exceptions); all are classified as prosulas (prosules) in PM13. 66
A group of prosas is given in the final section of Pa903 following the gradual, in
which each text includes paired poetic verses. The treatment of the music is similar to
that of the prosula, but in the case of the prosa the music is not from a pre-existing
65 This is a restricted use of these terms, closest to Evans, Early Trope Repertory :8 n.14.
However, Planchart, Embellishing, :xi-xxi, applied the categories named by Huglo, “ Aux origins des
tropes d’interpolation: le trope meloforme d’introit,” Revue de Musicologie 64 (1978): 5-54 to derive
general definitions for the embellishing pieces applicable to tropes, prosa/prosulas, and sequences.
Planchart also discussed the irresolvably inconsistent terminology of the sources before the twelfth century.
66 PM13:61.
88

melisma. Appendix A4-3 lists both groups of prosas and of prosulas 67 and their
concordances with those of Pa776, Pa1132, and Wolfenbűtel 79 (Wo79). 68
Table 4-8 lists the alleluia prosulas and prosas of Pa903, including concordances
with Pa776, Pa1132, and Wo79 with Hankeln‟s prosula number and melody number for
the basis melisma in Wo79 (see Appendix A4-3 for more details). The alleluia prosulas
are listed in Table 4-8a; all but five in this Table are concordant with Pa776, while
roughly half are also concordant with Wo79. These prosulas were exclusively written out
in the main body of the gradual, as published in PM13. None of these prosulas are
concordant with Pa1132.
Table 4-8b lists the thirty- seven alleluia prosas of Pa903, all copied in the section
following the gradual. The striking feature of this Table is that none of the prosas are
concordant with Pa776 or Wo79; fourteen are concordant with Pa1132. This is a
significant division of concordances: prosulas for Pa776, prosas for Pa1132. The scribal
hand for these pieces appears to be the same as that of the main body of the gradual, 69
suggesting deliberate, exclusive choices in assembling these pieces for Pa903 at the time
of origin (discussion of various alternative explanations is reserved for Section F).
67 Appendix A4-3 includes the rubrics for each prosula/prosa in the manuscript and the Mass to
which each is assigned. Appendix A4-2 lists the Alleluia and Offertory prosulas, respectively, while
Appendix A-3.3 lists the prosas of the manuscript, each assigned to and incorporating an alleluia of the
Mass.
68 Eva Odelman, Les Prosules de la messe 2 Les prosules limousines de Wolfenbűtel (Stockholm:
Almquist & Wiksell International, 1996): 9. Concordances with Wo79 are also listed in Appendices A3-2
and -3, respectively. The source Wo79 is specifically a collection of prosulas from sources across Europe,
including the Limousin; the lack of prosulas in the graduals Pa780 and Harley4951 suggests that these
establishments might have used prosulas from separate collections.
69 Chailley, see Chapter III, section B.1.
89

Table 4-8 Pa903 Prosulas and Prosas
(a.) Alleluia Prosulas in Pa903 (in Alphabetic Order)
Pa903 ALPr Incipit
Pa776 Pa1132 Wo79*
Pg/f. Feast
ff. ff. Pr.No./ f.
Aue dei dilecte 197/ AL3Pr1 John the Baptist
Contemus eia 193/ Pr1 Marcus & Marcelianus
Dicite chori cuncti 173/ Pr1 Finding the Cross 81
84,2/19r
Erat iohannes 197/ Pr2 John the Baptist
83,2/19r
Et sicut liliorum 198/ Pr2 John the Baptist 99
82,2/18v
Fulgebunt semper 193/ Pr2 Marcus & Marcelianus 97v
69,2/15v
Hemmanuel reple 183/ Pr Pentecost Day
92
Hic uir dux polorum 174/ AL4Pr Finding the Cross 81v
Hodie assumpta 216/ Pr1 Assumption Day 108v
76,2/17v
Hodie pia mater 250/ Pr Sun. 16/17 post Pentecost
Laudetur omnis tibi 173/ Pr2 Finding the Cross 81
Laudum deus tuorum 48/ Pr1 Illum. Purification Virgin 27
Letus aether 153/ Pr1 Easter Day
71v
11,2/1v
Mirabilis atque laud 176/ Pr2 Nereus & Achileus 82v
66,2/15v
Multis loquutionibus 19/ Pr1 ChristmasDay
14
Natus est nobis 19/ Pr2 ChristmasDay
14
Nomen eius iohannes 197/ Pr John the Bapt
99
O precellentissima 216/ Pr2 Assumption Day 108
76,1/17v
Oramus te o beate 198/ Pr1 John the Bapt
99
Pascha nostrum rex 153/ Pr2 Easter Day
71v
Post paterni uerbi 48/ Pr2 Illum. Purification Virgin 27
51,4/17v
Psallat unus spiritus 176/ Pr1 Nereus & Achilleus 82v
66,1/15v
*WO79 in CT 6:156-8
90

(b.) Alleluia Prosas in Pa903
Pa776 Pa1132 Wo79
Pr,No./
Pa903 Incipit Pg/f. Feast
ff. ff. f.
Ad te summe celsa /189v Pentecost
120
Adest enim festa /187 Pr1 Easter Alia
Adest pia aesaluti /187 Pr2 Easter Alia
Adest precelsa annua /183 Pr3 Christmas
Alle caeleste nec non /195 Pr Mary Nativity
123
Alle vox promat /193v Pr Aredius
Altissime deus qui /185 Pr Innocents
Astra hodie /194 Pr Aredius Alia
Aurea uirga prime /193 Pr Assumption Day
140v
Celebranda Alleluia /182 Pr1 Christmas
115v
Celica resonant /181 Pr Galli cantu Adv
Celsa aplorum /184 Pr Stephen proto martyr
Christe regnantica /198 Pr Nicholas
Christi hodierna /181v Pr Advent
Clara gaudia festa /186v Pr Easter Verspers
Clara tibi nos Christ /192v Pr Laurence
Conexaudentes exulte /198v Pr Pro
Epyphaniam domino /185v Pr Epiphany
116
Gaude aeterna /190 Pr John Baptist
Haec est dies uener /197 Pr Martin
Has caelebres rex /195v Pr Michael
125v
Jubilemus omnes /180v Pr1 4th Sun. of Advent
Laude iocunda melos /191 Pr Peter&Paul
Laudi flua cantica /188v Pr Pentecost Day
Mirabilis deus in /200 Common Martyr/ Confessor Alia
Nato canunt omn /183 Pr2 Christmas Alia
114v
O alma truntus deus /199v Common Martyr/confessor
Organicis canamus /184v Pr John the Evangelist
Precamur nostras /180 Pr1 1st Sun. of Advent
113v
Prepuleida dies /197v Pr Andrew
Prome casta concio /187v Pr3 Easter Alia
135
Qui regis sceptra /180v Pr1 3rd Sun. of Advent
114
Regna niem sempiter /180 Pr1 2nd Sun. of Advent
114
Rex alme deus salu /196 Pr All Saints
Rex omnipotens die /187v Pr Ascension
118v
Salus aeterna in /180 Pr2 1st Sun. of Advent
113v
Valde lumen quod /191v Pr Martial, Apostle
121v
91

Table 4-8b includes the two alleluia prosas for St. Aredius as a further elaboration
of the St. Aredius Proper. The Table also lists a prosa for St. Martial as apostle, written
in a different hand from that of the main body, presumably added after Pa903 had been
acquired by St. Martial. 70 After naming St. Martial as an apostle of Jesus at the end of
the eleventh century, 71 this usage became characteristic of St. Martial of Limoges. No
other reference to St. Martial as Apostle appears in Pa903.
Roman Hankeln analyzed in detail the Aquitanian offertory prosulas found in
twenty-four Aquitanian manuscripts, including the five Aquitanian graduals (Table 4-
9). 72 His study included a catalogue of the Aquitanian offertory prosula repertory,
concordances with the Aquitanian manuscripts (including Pa903, and Wo79), and a
critical edition of the offertory prosula repertory. Each of the 29 offertory prosulas
analyzed by Hankeln is listed by incipit in Table 4-9, including its prosula number and
melody number (as in Table 4-8), identifying the basis melisma for the prosula. The
Table shows that all but five of the offertory prosulas of Pa903 are also transmitted in
Pa776. 73 The exceptions include three concordances with Pa1338 only 74 and a single
concordance with both Pa1084 (St. Martial) and Pa1338. In addition there are two
prosulas listed in Pa903 for the communion, listed by Hankeln as offertory prosulas:
Concrepare opimo and Hierusalem civitatis.
70 This is Chailley‟s conclusion; see Table 3-1.
71 The case for Martial’s apostolicity was favorably resolved after the Cluny takeover of St.
Martial in 1063.
72 Roman Hankeln, Die Offertoriumsprosuln der aquitanischen Handschriften
Voruntersuchungen zur Edition des acquitanischen Offertoriumscorpus und seiner Erweiterungen, in 3
Vols. ( Tutzing: Verlegt bei Hans Schneider, 1999) 2: 114-122.
73 Pa776 also transmits a significantly larger number of prosulas than Pa903.
74 Pa1338, a unique eleventh century proser probably from the Limousin, discussed in more detail
in Hankeln, ibid. 1:34, and Hiley, Plainchant Handbook : 593.
92

Table 4-9 Offertory Prosulas of Pa903 (Alphabetic Order)
Hankeln Pa776 Comment
Pa903 Incipit Pg/f. Feast
Pr No. f.
Ad orentem conscend 184/ Pr Pentecost
P39,1 93v
Angelico adorando 115/ Pr1 Fr 5 Lent
P33,1 53v
Audivi uocem 60/ Pr in Septuages. P19,1 - Pa1084&1338
Concrepare opimo 13/ Pr Advent
P07,1 11 CO in Pa903
Cor nostrum reple 63/ Pr Quinquages. P21,1 63
Da nobis potentis 7/ Pr Advent
P05,1 8
De celo plebem 4/ Pr Advent
P02,1 7
De corde puro 67/ Pr Start of Fasting P22,2 - *
Dextera dei cum 20/ Pr Christmas
P10,1 15
Die nos xriste 16/ Pr GalliCantu
P09,1 13
Et non egrediebar 84/ Pr Sat. of Lent P24,1 40
Et peccata populi 90/ Pr Fr 5 Lent
P26,1 - *
Florebit felix 25/ Pr John the Evangelist P11,2 17
Gloria tua rex 61/ Pr Sexagesima
P20,1 32
Hierusalem ciuitatis 116/ Pr2 Fr 5 Lent
P34,1 53v CO in Pa903
In conspectu meo 38/ Pr Marcellus
P16,1 23
In hierusalem 102/ Pr 4th Sun.Lent P29,1 48
In iusticia longe sit 100/ Pr Sat. Lent
P28,1 46v
In plebem electam 12/ Pr Sat. of Advent P06,1 10v
Inuocaui te altissime 3/ Pr 1st Sun. Adv. P01,1 -
Labia nostra laudant 36/ Pr1 2nd Sun. Epiphany P14,2 22
Lucis auctor 6/ Pr Luc7, virgin P03,1 7
O deus omnipotens 37/ Pr2 2nd Sun2 Epiph. P15,1 24
Preparauit hec 14/ Pr Vigil Christmas P08,2 11v
Semper ihesu rex pie 94/ Pr 3rd Sun. of Lent P27,2 - *
Veritas istam 33/ Pr 1st Sun. Epiphany P13,1 21
Videte et palpate 156/ Pr Fr2 after Easter P36,1 73
Virginales resonem 6/ Pr Lucy, Alia
P04,1 5
* Concordance with Pa1338 (Hankeln).
The last group of twenty-six pieces for review is the group of prosulas and prosas
found only in Pa903 (listed in Table 4-10). These pieces were taken from the lists in
Table 4-8 and 4-9, as the chants that do not have any concordance in the Aquitanian
graduals and Wo79. Three of these pieces are alleluia prosulas, while one is an offertory
93

prosula for the first Sunday of Advent. The rest are alleluia prosas from the final section
of Pa903. These pieces are assigned to the major seasons of the church and to Aredius,
Martin, John the Baptist, and other apostles. This is a repertory of pieces most
specifically associated with St. Yrieix, principally composed in the contemporary poetic
couplet style of the period.
Table 4-10 Prosas/Prosulas Found Only in Pa903
Pa903 AL Prosula Incipit Pg/f. Feast
Adest pia aesaluti fera paschalis…potent /187 ALPr2 Easter Alia
Adest precelsa annuata…voce clara /183 ALPr3 Christmas Alia
Alle vox promat Christo…Agye rex /193v ALPr Aredius
Altissime deus qui…ipsis in gloria /185 ALPr Innocents
Astra hodie…laus deo sit gloria alleluia /194 ALPr Aredius
Aue dei dilecte
197/ *AL3Pr1 John the Baptist Day
Celica resonant clare camenas… /181 ALPr Galli cantu Adv
Celsa aplorum continens…infinita secula /184 ALPr Stephen
Christe regnantica uocum…susfragia /198 ALPr Nicholas
Christi hodierna pangimini…in eterna /181v ALPr Advent
Clara gaudia festa paschalia…decantans /186v ALPr Easter Verspers
Clara tibi nos Christe…Regi Christo /192v ALPr Laurence
Conexaudentes exultemus..Christus post /198v ALPr Agentibus
Contemus eia Domino 193/ *ALPr1 Marcus&Marcellian
Gaude aeterna Alleluia…Amen uox sonet /190 ALPr John Baptist
Haec est dies uenerandus…electe dei /197 ALPr Martin
Hodie pia mater regis 250/ *ALPr Sun16 or 17 post pent
Jubilemus omnes deo…peccatorum /180v ALPr1Sun4 Adv
Laude iocunda melos turma…omnia ame /191 ALPr Peter and Paul
Laudi flua cantica… debita soluat nostra /188v ALPr Pentecost Day
Mirabilis deus in sanctis… /200 ALPr Mr/ConfesAlia
O alma truntus deus…gaudere per fidi /199v ALPr Mr/ConfesAlia
Organicis canamus inobulis…celesti /184v ALPr John Evangelist
Prepuleida dies extat…cuius nos gubern /197v ALPr Andrew
Rex alme deus salus…cuncti voce /196 ALPr All Saints
Inuocaui te altissime 3/ OFPr Sun 1Advent
* Alleluia prosula in Pa903.
94

E. PROMINENT EMBELLISHED MASSES
The embellishing antiphons, tropes, and prosulas discussed above were composed
for the prominent feasts and Masses in the usage of St. Yrieix. These Masses were taken
from the temporal and sanctoral in the Gregorian tradition, from the neo-Gregorian
Masses for regional saints, and from traditional feasts included in Gallican
sacramentaries. 75 Table 4-11 lists twenty-four prominent feasts of the Sanctoral of St.
Yrieix (listed in descending order of prominence), containing a combination of additional
antiphons, tropes, and prosulas and in some cases additional Masses (such as alternative
Masses, Vigils, Days, or Octaves). Fourteen of the prominent feasts at St. Yrieix were
Gregorian, containing Gregorian chants in all genres of the formulary. These include the
Marian feasts, Stephen, Laurence, and so on. 76 The remaining ten prominent feasts are
neo-Gregorian, for regional saints and for All Saints, St. Benedict, and others that were
not recognized in the AMS graduals, but were subsequently added to the international
Church calendar. Each merited special celebration at St. Yrieix and consequently a
prominent Mass in Pa903.
The most elaborate Masses are the large Masses of the Virgin Mary (Purification
and Assumption). The Table includes the secondary patrons of St. Yrieix (in descending
order of prominence): St. Martin, patron of St. Martin of Tours (patronal church of St.
Yrieix), St. Benedict, patron of the Benedictine monastic order, and Saint Saturninus,
patron of the Cathedral of Toulouse. The least prominent Mass is the Chains of Peter, a
troped Mass with Gregorian chants. The Proper of Michael is also listed in the Table,
since it contained tropes and prosulas, but this Proper is missing from the gradual because
of the major lacuna of the manuscript.
75 J. M. Neale and G. H. Forbes. The Ancient Liturgies of the Gallican Church, see Chapter III.
76 This does not preclude an additional neo-Gregorian Alleluia or other Mass chant genre in some
of these feasts. The neo-Gregorian Mass chants of the gradual are reviewed in Chapter V.
95

Table 4-11 List of Major Sanctoral Feasts in Pa903 by Proper Hierarchy
Non-
Neo-Greg
Feast
Tropes Prosulas Multi- Non-AMS Greg. AMS Chants
Masses Gallican Feast
BVM Purif,Assump X X, X X
X
Ascension
X X X
Laurence
X X X
X
Conversion of Paul
X X X
X
Martin
X X X
Stephen
X
X
X
All Saints
X X X
X
Benedict
X
X
X X
Finding the Cross X X
X X
X
Aredius
X X
X
X
John Evangelist X X X
X
Innocents
X X
X X
Marcellus
X
X
Chair of Peter
X X X
X*
Lucy
X
X
Saturninus
X X X
X(Mass2)
Fabian&Sebastian X
X
Nereus& Achilleus
X
X
Andrew
X X X
X
Mark&Marcellian
X
X
John Baptist X X X
Martial
X X
X
Chains of Peter X
X
Michael
X X
* The Communion is the only AMS chant in this Mass
These major feasts of Pa903 are clearly sources of neo-Gregorian chant,
particularly the feasts of the Finding of the Cross, Chair of Peter, Aredius, and
Saturninus. The chants of these feasts are neo-Gregorian, while the feasts of Aredius and
Finding of the Cross are accompanied by a combination of proper tropes and prosulas. 77
The Table also shows the prominence at St. Yrieix of four feasts included in Gallican
C above).
77 Certain of the tropes do not fit with the neo-Gregorian chants of the assigned Mass (see Section
96

sacramentaries that were not included in the Gregorian calendar. This group of neo-
Gregorian Masses is itself an embellishment of the St. Yrieix repertory with newly
composed music and texts. A closer look at the neo-Gregorian Mass chants is reserved
for the next Chapter.
F. CONCLUSIONS
Tropes, prosas, and prosulas proliferated in the eleventh-century graduals as a
new form of expansion and elaboration of the Mass. 78 In this survey of Pa903 it is
apparent that the St. Yrieix establishment participated fully in the trends of expanding the
liturgy of the Mass in the eleventh century. At St. Yrieix many antiphons and prosulas
were written for the Mass formularies of the gradual, but also, many antiphons and prosas
and all the tropes in Pa903 were included in the sections following the gradual.
This chapter illustrates the manner of compilation of Pa903, in selecting from
various sources and including local chants specific for their usage. Among the prosulas
and prosas the pattern of concordances in Pa903 with Pa776 and Pa1132 indicates a
systematic method of selection that results in concordances with Pa776 for the prosulas
alone, and concordances with Pa1132 for only the prosas. The most straightforward
approach to rationalizing these choices, based on the date of Pa903 in the first half of the
eleventh century, is to hypothesize that the prosulas of Pa903 were used as an exemplar
for Pa776 (or both were copied from the same exemplar), and similarly for the prosas of
Pa903 as exemplar for Pa1132 (or both employed the same exemplar). This mode of
selection would produce the appropriate concordances with Pa903 in each genre, but it
implies a double coincidence in the selective use of exemplars in producing both Pa776
and Pa1132.
78 William T. Flynn, “Chapter 3 Liturgy and Scripture Study,” in Medieval Music as Medieval
Exegesis (Lanham, MD: Scarecrow Press, 1999) : 107-138 .
97

An alternative to this approach is to hypothesize that all three graduals were
available for reference at one time when Pa903 was copied. Since the prosulas and
prosas of Pa903 were written in the same hand as the main body of the manuscript, the
scribe of Pa903 could select prosulas from Pa776 and prosas from Pa1132. This
argument, however, requires that the date of Pa903 be shifted to the latter half of the
eleventh century after both Pa776 and Pa1132 were copied. The concordances
themselves can be made to support either alternative.
This review of embellishing chants in Pa903 shows that a major portion of the
antiphon and prosula repertories are shared with Pa776; yet there is no definitive
evidence to establish either manuscript as the exemplar for the other; and a hypothetical
third exemplar, now lost, cannot be ruled out. However, if none of the current dates of
origin are altered, these results argue that Pa903 is a likely exemplar not only for the
prosulas (but not the prosas) of Pa776 but also for a portion of the antiphons of Pa776.
The next chapter continues the detailed review of the contents of Pa903,
concentrating on the neo-Gregorian Mass chants. These chants were potentially the most
responsive to cultural influence in the manuscript. In addition, further evidence in
Chapter V favors Pa903 as the exemplar of Pa776, derived from the transmission of neo-
Gregorian Mass chants from Benevento to St. Yrieix.
98

A. OVERVIEW
V. Neo-Gregorian Chants of the St. Yrieix Sanctoral
This Chapter addresses the neo-Gregorian chants of Pa903. Following the
definition developed by Luisa Nardini, “neo-Gregorian” is a term in this work referring
to Mass chants composed in the period following the general transmission of the
Romano-Frankish, “Gregorian,” repertory. 1 These chants appear in all the chant genres
of the Mass, either locally composed or (as the concordances amply demonstrate)
received from outside sources. The neo-Gregorian chants characteristically reflect the
formal and stylistic traits of the Gregorian Mass genres. They were primarily included in
the formularies of alternative Propers and feasts of regional and local cults, as well as
Gregorian feasts and the newer feasts that were ultimately added to the Romano-Frankish
calendar. As new chants, however, the neo-Gregorian repertory also reveals elements of
traditional regional musical style and the cultural influences of the community beyond
that of the international chant repertory.
In Pa903 these chants are not confined to a single section of the gradual, but are
interspersed in the sanctoral as well as in the temporal and ritual Masses in smaller
numbers. The repertory is approximately dated to the tenth and eleventh centuries,
exhibiting the influence of the region of Aquitaine and St. Yrieix with particular chants
received from sources in other regions. The chants found in Masses with exclusively
1Luisa Nardini, Neo-Gregorian Chant in Beneventan Manuscripts: The Proper of the Mass,
forthcoming publication. This is an encyclopedic analysis of the neo-Gregorian repertory in Beneventaqn
manuscripts. The term “neo-Gregorian” is being used with increasing generality to refer to the second
generation of Mass chants following the Gregorian dissemination.
99

neo-Gregorian formularies are singled out for emphasis as a source of regional musical
influence.
Section B describes the overall repertory of the neo-Gregorian chants in Pa903
and addresses the appearance of neo-Gregorian chants exchanged with the Beneventan
region. 2 The next two sections review three complete neo-Gregorian Masses: the Proper
for St. Aredius from the sanctoral (section C), and the Mass for the second Sunday of
Lent from the temporal, as well as the Mass for the dead from the ritual Masses (section
D). Salient musical features of the neo-Gregorian chants in Pa903 are described and
illustrated in Section E, including characteristics and examples of Gallican influence. To
complete the chapter (section F), regional and local neo-Gregorian repertories and their
concordances with the other Aquitanian graduals are assembled and reviewed in the
cultural context of St. Yrieix in the mid-eleventh century.
B. NEO-GREGORIAN CHANTS IN PA903
1. Method of Identification
Figure 5-1 outlines the method of identifying the repertories of regional and local
chants in Pa903. The feasts of the gradual were divided into Gregorian and neo-
Gregorian groups. The large group of Gregorian chants found in Gregorian feasts and the
smaller group of Gregorian chants found in neo-Gregorian feasts were eliminated from
further consideration as part of the international repertory. Based on the concordances of
the remaining neo-Gregorian chants with the four other Aquitanian graduals, the neo-
Gregorian chants were divided into two subgroups: (1) regional neo-Gregorian chants of
Pa903, i.e., those transmitted in two to five of the Aquitanian graduals (including Pa903),
2 Chapter III.C.1 reviewed the close association of Beneventan manuscripts with those of
Aquitaine, based on sampled musical comparisons from the Gregorian repertory. The neo-Gregorian
chants of these regions show further examples of the transmission of groups of chants both from Benevento
to Aquitaine and vice versa.
100

and (2) local neo-Gregorian chants found only in Pa903. These two subgroups together
form the repertory of neo-Gregorian Mass chants adopted in the usage of St. Yrieix.
Figure 5-1 Methodology for Developing the St. Yrieix Chant Repertory
2. Neo-Gregorian Chants of the Gradual
The method above was used to identify the neo-Gregorian Mass chants of Pa903.
These chants are listed in full in Appendix A5-1, including chants of the temporal,
sanctoral, and ritual categories of the gradual. Based on this list of neo-Gregorian chants,
Table 5-1 shows the distribution of neo-Gregorian chants in each chant genre for each of
the major categories. The Table shows that there are a total of 314 neo-Gregorian chants
101

in all Mass chant genres in Pa903, with two-thirds of this total in the alleluia genre
alone. 3 Introits and communions are the next most numerous neo-Gregorian genres at 22
chants each with the remaining genres respectively more than half of the introit total in
each genre.
Table 5-1 Distribution of Neo-Gregorian Chants in Pa903
Classification\
Genre
IN
GR
AL
TR
OF
CO
Totals
Sanctoral
Temporal Ritual Greg. Neo-Greg.
Feast Feast Totals
3 7 2 10 22
2 3 1 6 12
78 5 93 52 228
8 0 5 4 17
2 3 0 8 13
7 5 0 10 22
100 23 101 90 314
This neo-Gregorian repertory comprises a substantial number of chants in the
gradual, reflecting the continuing enthusiasm for using or composing new chant music in
the liturgy of St. Yrieix. The lists of the individual chants in each category of Pa903 are
also supplied in Appendix A5-1. Their contribution to the music of St. Yrieix is further
discussed in the following sections of this chapter. The Masses of Pa903 that contain
neo-Gregorian chants are summarized in Table 5-2: temporal and ritual Masses are listed
in Table 5-2a, sanctoral Masses in Table 5-2b.
3 The dissertation of Sr. Anthony Marie Herzo lists the alleluias in each of the Aquitanian
graduals, from which the Pa903 neo-Gregorian repertory of alleluias was identified and included in
Appendix A5-1. See Herzo, “Five Aquitanian Graduals: Their Mass Propers and Alleluia Cycles,” Ph.D.
diss. University of Southern California, 1966 : 78-160. Concordances of the Pa903 alleluias with AMS and
the other Aquitanian graduals were also derived from this source.
102

Table 5-2a Temporal and Ritual Masses with Neo-Gregorian Chants
Temporal Masses
2Sun Lent Sun1 Advent
4Sun. Lent Sun1 p Christmas
Ascension Day Sun1 p Pent
Ascension vigil Sun13 p Pent
Christmas vigil Sun14 p. Pent
FR 5 p Easter Sun16 p Pent
FR2 below Oct Pent Sun2 Advent
FR2 p Easter Sun2 p Easter
FR2 p Pent Sun2 p Epiphany
FR3 below Oct Pent Sun3 p Epiphany
FR3 p Easter Sun3 p Easter
FR3 p Pent Sun3 p Pent
FR4 p Easter Sun4 p Easter
FR4 p Pent Sun4 p Pent
FR5 below Oct Pent Sun5 p Easter
FR5 p Easter Sun5 p Pent
FR5 p Pent Sun6 p Pent
FR6 p Easter
FR2 Holy Week
FR2 p'Pent
FR2,1Sun.p'Lent
FR3 1st WK. Lent
FR3 p'4SunLent
FR5 Lord's Supper
Pentecost
Quadragesima
Lenten evenerit
Sat. 12lessons Adv.
Sat. Quad Temp
Sat. in Alba
Sat. p' Pentecost
Sat. QT Pentecost
Start of Fasting
Sun below Oct Ascens
Sun in Alba
Sun Pentecost
103
Ritual Masses
For Priests
For the Dead I
For the Dead II
For the Dead III
Nuptials
Ordination Bishop
Ded. Of Church
Undertaking journey

Table 5-2b Sanctoral Masses with Neo-Gregorian Chants
Neo-Gregorian Feasts Gregorian Feasts
All Saints
4 Crowns
Pancras
All Saints Vigil
7 Brothers Paul
Amand
Abdon & Sennen Peter
Aredius
Agapitus
Peter & Paul Oct
Aviti Senior
Agatha
Philip & James
Barnabas
Agnes
Praxedius
Bartholomew
Agnes Oct Primus&Felician
Benedict Abb.
Alexander & soc. Prisca
Benedict Translation
Andrew
Pudentiana
Brictius
Annunciation BVM Purification BVM
Calixti
Apollinarius Simon & Jude
Caprasi
Assumption Stephen
Chains of Peter
Basilidis et soc. Stephen PP
Chair of Peter
Cecilia
Sylvester
Conversion of Paul
Cesarius
Theodore
Cyrus & Julite
Chrysogonus Tiburtius
Elegius
Clement
Timothy&Symphorian
Felicity
Cosmo&Damian Transfiguration
Finding Stephen
Epiphany
Trinity
Finding the Cross
Felix
Virgin
Front
Gervasius&Protasius
Germanus Parisius
Hippolytus
James
Innocents
John before the Gate
John & Paul
Leo
John Baptist
Maccabees
John Evangelist
Martial
Laurence
Martin vigil
Laurence Oct
Medard
Luke evangelist
Quentin*
Litany major
Saturn I&II
Mark
Valerie
Lucy
Victor
Marcellian&Peter
Marcellus
Martin
Menna
*Feast with all GREG incipits
104

The sanctoral clearly contains the greatest number of Masses with neo-Gregorian
chants: specifically, chants for thirty-three neo-Gregorian feasts as well as chants in fifty-
six Gregorian sanctoral Masses (Table 5-2b). The neo-Gregorian chants in the temporal
are principally located in the Masses of Lent, Holy Week, and Pentecost, as well as
Advent and the feasts of the Ascension. The neo-Gregorian chants of the ritual Masses
are found in Masses for the dead, for nuptials, and other special occasions. Table 5-3
summarizes the number Masses containing neo-Gregorian chants assigned to each of the
major categories of the gradual. Of the 240 Masses of Pa903, 150 Masses include at least
one neo-Gregorian Mass chant, i.e., approximately sixty-two percent of the total.
Table 5-3 Number of Masses in Pa903 with Neo-Gregorian Chants
Number Masses
Neo-
Pa903 Masses Gregorian Gregorian Total
Temporal 52 1
53
Sanctoral 56 33
89
Ritual
5 3
8
Total
113 37
150 (~62% of the total)
Total Masses in the Gradual
240
Of particular interest are the Masses in Pa903 that exclusively contain neo-
Gregorian chants in each of the Mass chant genres (Table 5-4). Overall, there are seven
Masses with neo-Gregorian chants in all genres, plus three additional Masses with only
one Gregorian chant in each Mass. The temporal includes the neo-Gregorian Mass for
the second Sunday of Lent; 4 the ritual Masses include a Mass for the Dead; and the
4 This Mass is further discussed in Section D below.
105

sanctoral includes five complete neo-Gregorian Masses, all assigned to neo-Gregorian
feasts.
Table 5-4 Complete Neo-Gregorian Masses in Pa903
Complete Masses
Temporal
2nd Sun. Lent
Sanctoral
Aredius
Benedict, Abbot
Martin, Vigil
Saturninus II
Finding the Cross
Ritual
Mass for Dead I
One Genre
Total Gregorian
1 Temporal
5 Sanctoral
Chair of Peter
Conversion Paul
1 Ritual
Mass for Dead II
Total Complete Masses 7 Total One Greg genre 3
5 The Martinmass is represented by a complex variety of formularies that were developed and
modified over time throughout Europe, as documented in Alejandro Planchart, “The Geography of
106
Total
0
The neo-Gregorian feasts of the Chair of Peter and the Conversion of Paul are
prominent traditional Gallican feasts for which only the communion is not a neo-
Gregorian chant. Excepting Aredius and Benedict, all of these sanctoral Masses are for
saints and celebrations that also appear in the traditional Gallican sacramentaries but were
excluded from the Gregorian calendar and the AMS sources. These include the Finding
of the Cross, Martin Vigil, and Saturninus. The Proper for the Martin Vigil is a Mass
added to the celebration of St. Martin of Tours, already celebrated in the AMS sources
with a day-Mass only. 5 The relationship of these Masses to other geographic regions will
be discussed in Section B.3 below.
2
1

(a.) Chants of the Temporal and Ritual Masses
The neo-Gregorian Mass chants of the temporal and the ritual Masses are listed in
detail in Table A5-1.5 of Appendix A5-1. These chants show the practice of St. Yrieix to
reserve neo-Gregorian chants for certain temporal Masses (Table 5-2a). The temporal
contains a total of 100 neo-Gregorian chants (including 78 alleluias), assigned to 53
Masses. This group also includes all the chants of the entire neo-Gregorian Mass for the
second Sunday of Lent including introit, gradual, two tracts, offertory, and communion.
The ritual Masses that contain neo-Gregorian chants include Masses for nuptials,
priests, ordination of a bishop, and undertaking a journey (Table A5-1.6). There are 23
neo-Gregorian chants for these Masses in all genres but the tract. Approximately half of
the chants in this category are assigned to the Mass for the Dead. This Mass was being
assembled in various forms as indicated in the European graduals of this period. The
Masses for the dead in Pa903 are provided in Gregorian genres in various alternative
formularies. 6 The neo-Gregorian Lenten Mass and the Masses for the dead will be
further analyzed in Section D.
(b.) Chants of the Sanctoral Masses
The larger number of neo-Gregorian chants found in Gregorian feasts of the
sanctoral are listed in Table A5-1.7; the neo-Gregorian chants in neo-Gregorian feasts are
listed in Table A5-1.8. These detailed Tables define a total repertory of 191 neo-
Gregorian chants in these two groups of Masses, roughly equally divided between
Gregorian and neo-Gregorian feasts, including a total of 145 alleluias. The chants
comprise complete formularies for neo-Gregorian Masses as well as single neo-Gregorian
Martinmass,” in Western Plainchant in the First Millennium Studies in the Medieval Liturgy and its Music,
Sean Gallagher, et. al., eds. (Aldershot, UK: Ashgate, 2003):119-156.
6 Nardini, Neo-Gregorian Chant in Beneventan Manuscripts, Forthcoming. There is an analogous
treatment of the Mass for the Dead in the Beneventan manuscripts. The concordances of the Aquitanian
graduals reflect equivalent treatment as discussed in Section F of this chapter.
107

chants (typically an alleluia) for individual Masses. Eleven of these chants use the same
texts as AMS chants but are written for a different chant genre. 7 There are regional and
super-regional chants with many concordances to the Aquitanian graduals as well as
chants found only in Pa903.
These repertories of neo-Gregorian chants, prepared in the traditions and
preferences of St. Yrieix, added elements of particular significance to the liturgical
practices of the establishment. To refine the focus on these repertories, Table 5-5 shows
eleven major feasts, singled out on the basis that none belongs to the international
Gregorian tradition, each has a formulary of neo-Gregorian chants (with the exception of
the Chains of Peter), and each is embellished in Pa903 with tropes, prosulas, prosas,
and/or multiple Masses. These Masses show that St. Yrieix prominently employed neo-
Gregorian chants to honor: (1) the patrons of St. Yrieix (Aredius, Martin, and Benedict),
(2) Propers of the Gallican tradition otherwise absent from the Roman calendar
(Conversion of Paul, Finding of the Cross, and Chair of Peter), (3) the leading regional
patron St. Saturninus (but not Martial), 8 and (4) All Saints, one of the newer feasts added
to the church calendar. They represent a cross section of contemporary liturgical chant
composition in the wake of the Gregorian transmission with each appearing in four or
five of the surviving Aquitanian graduals. 9
7 Chants in different genres that share the same text may carry the same melodies or different
ones. In the absence of musical notation in AMS, it is sufficient to note the similarity of texts, but the issue
of similar music cannot be explicitly resolved.
8 St. Martial of Limoges is represented in Pa903 with a Gregorian Proper using chants commonly
assigned to confessors.
9 Appendix A5-4 lists the Mass formularies of these feasts and the concordances with the other
Aquitanian graduals from which these details have been derived.
108

Table 5-5 Pa903 Prominent Neo-Gregorian Feasts
Feast
Tropes Prosas Multi-
Neo-
Greg Neo-Greg
Prosulas Masses Gallican Feast
All Saints
X X X
X
Aredius
X X
X
Benedict
X
X
X
Conversion of Paul
Finding of the
X X X
Cross X X
X X
Martial
X X
X
Martin
X X X X X(Vigil)
Chains of Peter X
X
Chair of Peter
X X X
Saturninus
X X X
* The Communion is the only Gregorian chant in this Mass
10 Luisa Nardini. Neo-Gregorian Chant in Beneventan Manuscripts, forthcoming.
109
Neo-Greg
Chants
X
All
All(abb)
X*
All
-
All(Vigil)
GregIncipits
X*
All(Mass2)
In the remaining sections of this chapter, analysis of the neo-Gregorian repertory
will address the elements of textual and musical style that expresses the traditions of St.
Yrieix, as found in particular examples of the neo-Gregorian Masses from the sanctoral
and temporal. In addition, the concordances of the neo-Gregorian chants of Pa903 with
those of the other Aquitanian graduals will be analyzed to distinguish the chants of
regional distribution from the chants found only in Pa903, the latter group potentially
representative of a local repertory. However, the availability of only five Aquitanian
graduals as sources of Aquitanian Mass chants in this period suggests caution in
exclusive attribution of chants, even though they may be unique to one of the extant
graduals. The next section addresses the super-regional exchange of these chants with a
review of the concordances of the neo-Gregorian repertory of Pa903 with the regional
Beneventan repertory of neo-Gregorian chants. 10

3. Neo-Gregorian Chant Exchange
A new avenue of inquiry regarding the regional exchange of neo-Gregorian
chants is opened by comparison of the St. Yrieix neo-Gregorian sanctoral repertory
(Table A5-1.1) to that of Southern Italy, detailed in Luisa Nardini‟s survey of neo-
Gregorian chants in Beneventan manuscripts. 11 The concordances between Pa903 and
Beneventan sources are listed in Table 5-6, showing nineteen neo-Gregorian chants taken
primarily from the sanctoral. 12 These include chants from six of the fully neo-Gregorian
formularies (or lacking only the communion) in Pa903. This latter group of Masses
includes a complete concordant formulary of incipits for the St. Benedict Proper as well
as chants for the Finding of the Cross, Conversion of Paul, and Chair of Peter.
Nardini and Planchart have argued that the Vir dei Benedictus Mass for St.
Benedict was composed at Montecassino, 13 as shown by the Cassinese sources noted in
the Table. While the complete chant incipits for St. Benedict in Pa903 concord with
those in Beneventan sources, the melodies for these chants in Pa903 are different from
Beneventan sources. 14 In Pa903 there is a second neo-Gregorian tract in the Benedict
Mass that has no concordance with the Beneventan sources. But the exchange involving
the Benedict Mass also involves Pa776 as part of the Aquitanian dissemination. 15
11 Nardini, ibid.
12 The details of the Pa903/Beneventan concordances are given in Appendix A5-2. Table A5-2.2
shows that a total of 47 Masses in Pa903 with neo-Gregorian chants also include neo-Gregorian chants in
the Beneventan sources as listed by Nardini.
13 Nardini, Chapter 2, Neo-Gregorian Chants in Beneventan Manuscripts,forthcoming.
Alejandro Planchart, Beneventanum Troporum Corpus, I :72 also makes a similar observation regarding the
introit Vir dei Benedictus of this neo-Gregorian Mass.
14 Nardini, ibid.
15 Nardini, Neo-Gregorian Chant in Beneventan Manuscripts, forthcoming . This analysis
includes discussion of each of the chants in the Benedict Mass as found in Southern Italy and in Aquitaine
(Pa903 and Pa776).
110

Table 5-6 Pa903 Neo-Gregorian Concordances with Beneventan Sources
Beneventan Sources
Mass
Pa903 Incipit PM13 p. Genre Bal6 BEN MC217 Vat699
(19-40) MC318
Annunciation Ave Maria gratia 57 TR X X X
Benedict Hodie dilectus 57 CO X X X
Benedict Repletus sancto 56 GR X X X
Benedict Vir dei Benedict 56 IN X X X
Benedict In tempesta noctis 57 OF
X X
Benedict In columbe specie 56 TR
X X
Chair of Peter Exaltent eum in 53 GR
29
Chair of Peter Tu es Petrus 53 TR
X
Conversion Paul Letemur omnes 44 IN
X
Finding of Cross Per lignum servi 175 CO
X
Finding of Cross Veniens vir splendi 174 OF X X
Innocents Effuderunt 26 TR
X 217
Journey
Benedictus domin 238 IN X X 318
Martin Vigil Martinus igitur 225 OF
X
Mass for Dead Ego sum resurrect 237 CO X 34 X
Mass for Dead Lux eterna 236 CO
39,40
Mass for dead Si enim credimus 236 IN
X 318
Purification Diffusa est gratia 49 TR
X 318
Purification Nunc dimittis 50 TR
*A Christo de celo vocatus es 44
*Beati mundo co
233
*O beatum virum Martinum 224
*Tu es Petrus
53
* Beneventan incipit matches Pa903 in different Genre or Mass.
111

Nardini has pointed out that the feast of St. Benedict in Pa776 is provided with
two Masses: one contains the Mass in Pa903 (Beneventan texts, Aquitanian melodies),
the other contains the Beneventan Mass, text and melodies. 16 She suggests a dual
distribution of this Mass from Benevento in which the first distribution may have
involved only the texts. The result is the version of the Mass in Pa903 with Beneventan
texts and Aquitanian music. A second distribution including both texts and music, say in
the later eleventh century, was copied at Gaillac and included as the second Mass in
Pa776, in addition to the earlier version with Aquitanian music (e.g., from Pa903 as a
possible exemplar). 17
This scenario relating to the Benedict Mass provides a distinctive instance in
which Pa903 could have served as exemplar for Pa776 for this Mass, and it furnishes
further plausibility to the suggestions in Chapter IV regarding Pa903 as exemplar for the
antiphons and prosulas of Pa776. Concordances of the neo-Gregorian chants in Pa903
with Pa776 are addressed in section F of this chapter.
Other instances of significant concordances with the Beneventan repertory
include the Mass for the Finding of the Cross, including the offertory Veniens uir and
communion Per lignum servi found in Pa903. This Mass has been shown to be of
Aquitanian origin. 18 The pattern of concordances among the Beneventan and Aquitanian
formularies of this Mass is summarized in Appendix A5-2. Of interest is the communion
Per lignum servi, found only in Pa903, which is concordant only with Vat699, a twelfth-
16 Nardini, Neo-Gregorian Chant in Beneventan Manuscripts, forthcoming. The concordances of
this Mass with the Aquitanian graduals, summarized in Appendix A5-1, show that the Beneventan Mass
texts are provided only in Pa903 and Pa776; the other graduals provide different formularies for this Mass.
17 The neumation of the Aquitanian music in Pa776 closely matches that of Pa903. Further
comments on the pattern of concordances between Pa903 and Pa776 are reserved for Chapter VI.
18 Luisa Nardini, “In the Quest of Gallican Remnants in Gregorian Manuscripts: Archaisms in the
Masses for the Holy Cross in Aquitanian Chant Books,” In Music and Censorship, Patricia Hall, ed.
(Oxford: Oxford University Press, forthcoming).
112

century missal from Veroli. 19 The concordances with the communion Nos autem
gloriari, are with Harley4951 and Pa780, rather than Pa903.
In addition there are three concordances with Pa903 and Beneventan sources for
the Mass for the dead (Table 5-6 above). The concordant chants are found in each of the
three formularies for this Mass in Pa903. Of these, the communion Lux aeterna in Pa903
has the greatest number of concordances among the Aquitanian graduals and Beneventan
sources, while the introit Si enim credimus and the communion Ego sum resurrectio are
concordant only with Pa780 and Pa1132 and the Beneventan sources shown in the
Table. 20
In summary, this brief survey suggests that the Benedict Proper was distributed to
Aquitaine as a stable, texted Mass formulary and to St. Yrieix by the early eleventh
century. Definite texts and music for this Mass were received in Aquitaine by the latter
half of the eleventh century. In contrast, both the Aquitanian and Beneventan sources
show the more common pattern of constructing multiple neo-Gregorian formularies for
the Mass for the Dead and the Finding of the Cross. Here the concordances with
Beneventan sources are found for particular single chants. More detail on the Aquitanian
Masses and their mutual concordances is provided in Section F of this chapter.
The next Section analyzes the Aredius Proper: a neo-Gregorian feast unique to
Pa903, a prominent Mass in the usage of St. Yrieix, and an example of particular interest
in the analysis of cultural influences reflected in Pa903 in this period of expansion.
19 “Rome: Bibl. Vat. Barberini 699,” Les sources, Vol. II Graduel romain, edition critique in
5 vols., Joseph Gajard, ed. (Solesmes: Abbaye Saint-Pierre de Solesmes, 1957) 2: 124. Table 5-6 shows
there are two other feasts in Pa903 for which Vat699 is the only concording Beneventan source .
20 The Aquitanian concordances for the Mass for the Dead are provided in section F of this
chapter.
113

C. NEO-GREGORIAN FEAST OF ST. AREDIUS
1. Foremass
The feast of Aredius, patron saint of St. Yrieix, is provided with neo-Gregorian
chants, embellished with tropes and prosas. Figure 5-2a shows the introit of the Aredius
Mass, describing a vision of Aredius joining the heavenly choirs and rejoicing with God
in paradise.
This introit is a typical example of the characteristic use of specific neumes in
Pa903 to mark the semi-tones of the mode of the piece. 21 The neumation throughout
Pa903 is centered on a dry point midline between the lines of text; each note occupies a
heighted horizontal level above or below the line. This notational style is an example of
accurate diastematy, introduced into Limogian manuscripts by Adémar de Chabannes (ca
1025) as music scribe at St. Martial of Limoges. 22 Adémar also introduced the use of the
custos to keep track of the pitch from one line of music notation to the next (in the
absence of the clef, which was not used in Aquitanian notation). In the case of Pa903, the
notation is accurately diastematic, employs the custos, and designates the semitones of
the mode using a convention of four neumes: the pes with semicircular virga, indicated in
the Figure as (1), the quilisma (2 and 3), and porectus praepunctis (4). This convention
as applied in Pa903 was worked out in detail by Cheryl Frasch; 23 it is briefly described in
Appendix A5-3.
In Figure 5-2a the center line is faintly visible in the chant folio and is marked by
the horizontal arrow for the upper two lines of this example. The marker at the end of a
21 This scribal practice was recognized and outlined by Ferretti in “Étude sur la notation
acquitaine d’après le Graduel de Saint-Yrieix.” Paleographie Musicale 13, 1925 :139. The method was
later analyzed and applied in detail by Cheryl Frasch, “Notation as a Guide to Modality in the Offertories
of Paris, B.N. lat. 903,” 2 vols, Ph. D. Dissertation, The Ohio State University, 1986.
22 James Grier, Musical World of a Medieval Monk Adémar de Chabannes in Eleventh Century
Aquitaine (Cambridge: Cambridge University Press, 2006):38-39.
23 Frasch, “Notation in Pa903,” Ph.D. diss. 1:37-56.
114

line (the custos, marked 5) indicates the pitch of the first note on the following line: this
ensures pitch consistency from line to line. Based on these conventions of neumation, the
center line of this example is on G, the marked semitones are E-F (1) and b-c (2,3, and
4). 24 With this semi-tone identification, the mode is deuterus, authentic (Mode 3) with E
finalis; the beginning and ending notes are on E in this example. 25
INTROIT p.219
Sancte pater Aredi angelicis socia te cum Christo choris prefrueris gloria paradisi
caelesti cum rege seculorum exultans semper in aeternum.
Figure 5 -2a The St. Aredius Introit
The gradual for St. Aredius, text and music, is shown in Figure 5-2b. The marked
areas indicate the location of the semi-tones (1 and 2, quilisma); these plus the
conventional melodic phrases of this piece permits a consistent transcription of this
24 The upper part of the neume in each case marks the upper note of the semitone (see Appendix
A5-2 for more examples).
25 These results are in agreement with the entry for this chant in the Bryden and Hughes Index,
abbreviated BH 2: 119.
115

chant. 26 Because of inconsistencies with the conventions of modal theory, this chant does
not carry a mode notation in the BH Index. 27 The gradual for St. Aredius, text and music,
is shown in Figure 5-2b. The marked areas indicate the location of the semi-tones (1 and
2, quilisma); these plus the conventional melodic phrases of this piece permits a
consistent transcription of this chant. 28 Because of inconsistencies with the conventions
of modal theory, this chant does not carry a mode notation in the BH Index. 29
GRADUAL p.219
Beatam Aredii animam ad caelos Christus evexit digne ad mirabiliter glorificandam.
V. Famulos respice Christe tuos confessoris Aredii meritis et sanctifica cunctos.
Figure 5-2b The St. Aredius Gradual
26 Note: the porectus marked (3) in the Figure is bleed-through from the overleaf page.
27 BH 1: 59.
28 Note: the porectus marked (3) in the Figure is bleed-through from the overleaf page.
29 BH 1: 59.
116

This gradual follows Gregorian conventions with the respond developed in
neumatic style and the verse provided with two melismas on RES-pi-ce and MER- i-tis.
The latter, circled (4) in Figure 5-2b, illustrates incorporation of Gregorian conventions
into the neo-Gregorian chants of Pa903: an extended series on the same interval (often a
leap) in a melismatic extension of a text syllable. There are five repetitions on the
downward third (apparently G-E) in this example. We will address more examples of
this trait in the next Section.
ALLELUIA p.219
Alleluia. V1. Speciosum fecit rex angelorum Aredium et in caelestibus regnis sublimavit
eum cuius meritis nos adiuvare dignetur.
Figure 5-2c The St. Aredius Alleluia
117

The final Proper chant of the foremass is the alleluia, shown in Figure 5-2c. 30 The
neo-Gregorian Alleluia verse celebrates Aredius‟s sanctity and invokes the help of God
by his merits.
The semitones are indicated in the Figure (1, 2 each is a pes with virga cornue, the
latter is illustrated in Appendix 5-2); 31 together they define a protus authentic mode
beginning and ending on D. The custos is missing from the third line of the chant, but the
consistency of the semi-tones in lines three (without custos) and four permit a consistent
continuation in D mode. Item (3) in figure 5-2c is a version of the pes-stratus that is a
recognized characteristic of Gallican influence. 32
The pes-stratus is reported in various forms by Ferretti in PM13, 33 Hiley and
Szendrei, 34 and many others. The form of pes stratus found most often in Pa903,
however, is the same form as that described by Rupert Fischer in his essay on Aquitanian
notation in Pa776. 35 More examples will be discussed in the next Section.
30 The alleluia melody is No. 51 in Schlager’s alleluia index, listed as transmitted in this version
only in Pa903. Karl-Heinz Schlager, Thematischer Katalog der ältesten Alleluia-Melodien aus
Hanscriften des 10. und 11. Jahrhunderts, ausgwenommen das ambrosianische, alt römische und altspanische
Repertoire (Munich: Verlegt bei Walter Ricke, 1965):93.
31 This neume is shown in Appendix A5-2, representing the approach to a semitone by an
ascending major second or third, e.g., DE or CE. The upper part of the neume locates the upper note of the
interval (but the lower note of a semi-tone).
32 Michel Huglo with Jane Bellingham and Marcel Zijlstra. “Gallican Chant.” in New Grove
Dictionary of Music and Musicians in 26 vols., Stanely Sadie and John Tyrell, eds. (London:Macmillan,
2001) 23:463.
33 Paolo Ferretti, “Étude sur la notation acquitaine d’après le Graduel de Saint-Yrieix.”
Paléographie Musicale 13 (1925): 25-211.
34 David Hiley and Janka Szendrei, “Plainchant Principal Characteristics” in New Grove
Dictionary of Music and Musicians, Stanely Sadie and John Tyrell, eds. (London:Macmillan, 2001)
16:432. Frasch, concentrating on pitch determination in Pa903, does not treat the pes-stratus.
35 Rupert Fischer,” Notazione.” in Il Codice Paris Bibliothèque Nationale de France lat. 776,
Sec XI, Graduale di Gaillac, Nino Albarosa, Heinrich Rumphorst, Alberto Turco. eds.( Padova: La Linea
Editrice, 2001) : xxv-xxxi. Pa776 and Pa903 have been shown to be nearly identical in many details as
noted in Chapter IV.
118

There are two prosas for the Aredius feast in Pa903. 36 The texted part (the prose)
of the first of these two is given in Table 5-7 as an example following the alleluia verse.
It is written in pairs of irregular lines of approximately equal number of syllables per line.
A separate single line begins and ends the prosa. Each line closes with a word ending in
(-a), following a well-established convention for this genre.
The poetic treatment of the prose begins with a rhetorical phrase interrupting the
alleluia and beginning the text as shown in the Table, invoking beautiful songs, a troop of
thirty lyres, and festive noise. Florid metaphors end the text evoking Aredius in luminous
splendor bringing the message of the Lord, arising from the watery void to establish an
altar, and releasing the oppressed from bondage. The prose ends with musical imagery in
threefold adoration of God.
The text and music for this example (Figure 5-2d) are in typical syllabic style with
punctum notation throughout. The puncta alone (without the semitone marker neumes)
do not provide information on specific pitches as provided in the neumation of the other
chants. Further reference to the mode of the alleluia or other external information
regarding conventional cadential formulas is required for transcribing the pitch of the
prosa.
The alleluia incorporated in this prosa (beginning with the opening phrase) is
written in the manuscript (Figure 5-2d) in text and music following the opening line; but
this alleluia melody does not match that of the Aredius Mass, Speciosum fecit.
36 Alle-vox promat and Astra hodie are found in Pa903 for Aredius; neither appears in
concordances with the Aquitanian graduals or the Limousin prosulas of Wo79 in Odelman, Les Prosules de
la messe 2 Corpus Troporum (1996). (See Appendix A4-3 of Chapter IV).
119

Table 5-7 Prosa for Aredius
PROSA : De Sancto Aredio f. 193v
1 Alle—vox promat Christo carmina perpulchra—luja.
2a. Clara camoena sona turma lyra boans alternatimque jubila.
2b. Cui chorea sat lucida mira atque dulcia clangat pneumata.
3a. Nos tua, Christe, gratia
3b. Anguis vincere machina
4a. Ac temnere tela, sola tua optantes frui gloria,
4b. Quo tecum socia plaudat poli caterva voce consona.
5a. Titan, astra, luna, cuncta cosmi quoque creata te adorant per saecla
5b. Ac profunda maris nata aquatica nonnulla et abyssi opaca.
6a. Etiam jam tua plebs celebrat haec festa sancti Aredii, in qua odas attollit mente
excelsa.
6b. Qui lucerna super candelabrum accensa cuncta illustrat circumquaque emicans sua
doctrina.
7a. Ceu sol lustrat cuncta orbis spatia, ita sua verba nonnulla corda, ut spernant probra
omnia, tendant ad habitacla illa superna.
7b. Gemina praestans dona, clausa ocella propria tacta manu reddens aperta
solvensque nexorum vincla, cuncta praebens pacata Christi gratia.
8a. Ad alta, sancte, eleva nunc nostra corda, perpetua regna ut scandat haec plebecula;
precata tua maneant praeclara canticaque nunc nostra ferto ad alta.
8b. Quo jubilando lyrica modulamina ovans gaurizans cum agmina purpureata cantitans
perpulcherrima neumata voce clara sanctum ter Deum adoras.
9. Hagie rex Sabaoth, tibi sit doxa per saecla.
120

Figure 5-2d The Aredius Prosa Alleluia vox promat Christo
121

The alleluia melody in the prosa appears Schlager‟s catalogue (no. 63) with the
verse, Os iusti, 37 a text used in various chant genres for the Common of Saints, but not
found as an alleluia verse in the Gregorian corpus. This prosa for the Aredius Proper is
thus compatible with another alleluia, not that for the Aredius Proper in the gradual, but
instead for an Alleluia found in a total of four Aquitanian graduals, including Pa903. The
disagreement between the prosa alleluia and the Aredius alleluia is similar to the
disagreement found in the Aredius tropes (again for the introit Os iusti). This type of
disagreement will be further discussed in a later section of this Chapter.
2. Eucharist
(a.) Offertory
The music and text of the Offertory chant (Figure 5-3) consist of the Offertory
antiphon with two non-Psalmic verses. This offertory has been cited as an example of
Gallican influenced chant in Pa903, 38 because it includes (a) repetitive melodic patterns
(four such patterns are marked (1-4)), (b) repeated use of the pes-stratus in this example
(5 and 6), and (c) non-Psalmic verses. 39
The use of metaphorical language is a further trait of Gallican influence, because
it contrasts with the conservative, biblically influenced conventions of Gregorian texts.
Often, the use of florid language is the most clearly identifiable trait that distinguishes the
Gallican-influenced chant from Gregorian style.
37 Schlager, Alleluia Katalog :51, listed as a D mode on (c) with alleluia concordance in Pa776,
Pa780, and Harl.4951.
38 Hankeln, Offertoriums, 1:60.
39The study of Gallican influence in the church music of this period has a long history, including
the early survey of Amédée Gastoué, Le chant gallican (Grenoble, 1939), and the series of contributions by
Bruno Stäblein, e.g., “Gallikanische Liturgie,” in Die Musik in Geschichte und Gegenwart: Allgemeine
enzyclopädie der musik Kassel: Bärenreiter Verlag, 1955 iv: col. 1299-1325, and Michel Huglo, et. al.,
“Gallican Chant,” in New Grove Dictionary of Music and Musicians, Stanley Sadie and John Tyrell, eds.
(London:Macmillan, 2001) 23: 458-472 .
122

OFFERTORY p.220
Immaculatas hostiarum preces pro delictis nostris (Ch)riste tibi offerimus et ut eas
suscipere clementer digneris petimus qui beatum Aredium tibi elegisti templum et aram
hostiam atque littatorem dignissimum.
V1. O inclite atque sublimis Aredi inter agmina regis c(ae)lestis Christum fac nobis
placabilem qui te elegit sibi.
V2. Pulcher virtutibus et sanctitate nemorosus deo dilectus Aredius protegat nos sub
umbraculia pi(ae)tatis Christi qui ante secula eum sibi prescivit templum et aram.
Ostiam.
Figure 5-3 The Aredius Offertory
This trait of florid language is qualitatively different from the poetic rhetoric and
structure of the prosas, which participate in the widespread European trend to compose
123

embellishing chants in poetic forms. The “thick foliage of sanctity,” and the “arbors of
piety” in the second verse of the Aredius Offertory (Pulcher virtutibus) are examples of
the Gallican metaphorical impulse. These patterns of metaphorical language in an
Offertory have been generally accepted as indicators of Gallican influence. 40 Compared
to the prosa of Table 5-2, this offertory rhetoric is considerably less elaborate than the
extended euphoria of the prosa.
COMMUNION p.220
Virtutum pennis ad astra sublevatus est vir deo plenus ideo gaudeamus in eius tripudii
laudibus.
V. Victoriarum uiui eris sumpsit insignia atque tropheum sui certaminis ferrit gloriosum
Ideo.
Figure 5-4 The Aredius Communion
40 See for example, Olivier Cullin and Michel Huglo, “Die Gallicanischer Gesang,” in Die
Musik in Geschichte und Gegenwart, Zweite neubearbeitete Ausgabe. Sachteil.3 (Basel and London:
Bärenreiter Kassel, 1995) 3: cols. 1008a-1008b.
124

(b.) Communion
The Communion (Figure 5-4) of this Mass completes the praise and celebration
for Aredius, again with flowery metaphors of ascension beyond the stars. This neo-
Gregorian chant includes an antiphon with verse. Two neumes for the semitones are
marked in the Figure; the presence of the custos on each line maintains pitch consistency.
3. Alternative Prosa and Tropes
(a.) Prosa
The text of the alternate (or second) prosa for St. Aredius is given in Table 5-8;
music and text are shown in Figure 5-5. The poetic structure of the prosa consists of
regular pairs of lines of approximately equal numbers of syllables per pair, again with
each line ending in (-a). This prosa references the Aredius vita and the tales of Aredius
written by Gregory of Tours, with Aredius growing up under Nicetius with great
distinction of sanctity and great mastery of theology and the quadrivium. 41 Aredius
recruits followers, meets enemies and knows victories, visits with Merovingian King
Theodebert as a friend and heals the heart of the King. In the context of St. Yrieix coming
under the influence of change in the eleventh century, the text projects Aredius as an
active, influential leader able to maintain good relations with the principes and protect the
establishment of St. Yrieix in an aggressive feudal world.
Proceeding to the music in Figure 5-5, there are three quilismas provided to
identify semitones in the manuscript. Although they alone are not sufficient to define
unambiguously the pitch and mode of the prosa, the pitches can be assigned in
conjunction with the alleluia according to modal theory. The alleluia incipit for this prosa
(after the first phrase) again cues an alleluia different from that of the Aredius alleluia.
41 Gregory of Tours, The History of the Franks, trans. Lewis Thorpe (Harmonsworth,
UK: Penguin Books Ltd., 1974): 589.
125

Table 5-8 Alternate Prosa for St. Aredius
1. Astra hodie Aredius polica (polita)
2a. Subit ovans virtute vectus valida.
2b. Christus ad ima descendit quondam humana.
3a. Quoniam sanctis clarescit Gloria
3b. Et Christi multa fulgescit gratia,
4a. Ista sit vobis celebranda rite caltudia
4b. Reboentique pneumata clara potestate digna.
5a. Ipsa pueritia Aredii grata rudimenta
5b. Exsistunt redimita honestate sat bene praecl(ar)a.
6a. Praecordia literata student dum officia,
6b. Qua lectio dat salubris, via itur directa.
7a. Qua tendit ac per coelica haec facta collegia poli super sidera,
7b. Inventus floribus grata titulorum aureis plurescit laureata.
8a. Tum vestigia offerunt se tota quadrivia jam juveni tradita.
8b. Luce praevia qua eque sequens cauta pedes trica sumit tirocinia.
9a. Talibus sacra induit tum arma fortis athleta,
9b. Spreturus dura hostium spicula, ausa frangenda.
10a. Qui regia receptus aula Theodeberti amicitia
10b. Fruens ejus per palatia fit praeclarus fide semper una.
11a. Quatienda ad prava corda placidum numen in columbae idea
11b. Serena regis reddit corda intimans Aredium sorte electa.
12a. Qui pastor ovibus prudenter monastica intexuit per exercitia Nicetii jam nota
dogmata.
12b. Aeterna gaudia deposcimus nos una, O Aredi, impetra nobis, sancte confessor
Christi; saecula
13. Per cuncta honor, laus, Deo sit gloria.
126

Figure 5-5 The Aredius Prosa Astra hodie
127

(b.) Aredius Tropes
There are three sets of tropes for the Introit (Table 5-9) Christocolae laudum,
Emicat ecce dies, and Inclita dauitica, respectively. The set Christocolae ends with
Carmina iam reboent (marked Ad Prosula) in the rubric. The texts of Christocolae are
loosely written in dactylic hexameter, replete with images of musical rejoicing and
visions of Aredius in heaven. This set refers also to the writers of psalmody and to
music brought forth by the plectrum.
The set Emicat invokes majestic visions of Aredius as witness and prophet,
exerting the power of righteousness. In its closing phrase the company of St. Yrieix is
found in reverent song, introducing and joining in the Gloria patri. The third set Inclita
davidica invokes Old Testament references to David and Aredius, justified by his service
to God, rejoicing on arriving in heaven with the band of angels. 42
While these tropes are for the Introit Os iusti, not found in the Aredius Proper of
Pa903 (see Chapter IV), they introduce the Aredius introit, portraying Aredius as a
vigorous patron of St. Yrieix.
4. Summary
The neo-Gregorian chants of the Aredius Mass reflect visions of Aredius
deservedly rejoicing in his arrival in paradise. His power is invoked for the spiritual
welfare of the people; the embellishing chants of the prosas project these visions in
euphoric metaphors of reward, power, and joy. The texts of the tropes self-consciously
call attention to the presence and importance of music, singing, and musical instruments,
following the conventions of the Limousin. 43
42 The full text and music of the Aredius tropes are provided in Appendix A5-2.
43 Gunilla Iversen, “A Thematic Study on Tropes from Different Traditions,” in Pax et Spientia
Studies in the Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson, Corpus
Troporum Acta Universitatis Stlckholmiensis, Studia Latina Stockholmiensia Vol. XXVIIII (Stockhom:
128

Table 5-9 Introit Trope Sets for St. Aredius
Trope Set I (f. 159r)
(1) (Ch)risticol(a)e laudum modulos nunc pangite (ch)risto
Quem sacer Aredius meruit splendore cor usto
Cernere conscendens hodie super astra polorum.
Alleluia, alleluia, nos quoque psalmographi carmen modulemus ouantes.
(f. 159r) Ad P(rosu)l(a)
(2) Carmina iam reboent lirico prius edita plectro.
P(salm) Noli emulari iniquitatem in malignantibus
< et lingua eius loquetur indicium>
Trope set II (f. 159r)
AL(ia) (1) Dreves No. 205
XLIX:98
(1) Emicat ecce dies ueneranda patris aredii
Impleuit qui iussa dei testante propheta.
.
(2) Moribus et uita toto pollebat in orbe
< Et lingua eius loquetur indicium>
(3) Aredius iuste dictus quia semper inhaesit
Trope for Gloria patri
(1) Cernua depromat modulamina nostro caterua
In pratris ac nati praeconia flaminde atque
< Gloria patri et filio spritui sancto>
(Table 5-8 continued) Trope Set III
f. 159v. It(em) AL(ia) Dreves No. 206 XLIX:98
(1) Inclita dauitica preconia preconia carminis omnes
In patris aredii iubilemus laude fatentes
(2) C(ae)tibus angelicis coniunctus in (ae)thera regnat
(3) Munera diuino careat ac forte per aeon
Almqvist And Wiksell, 1986) :39. Iversen quotes L. Elving, “Etude lexicographique sur les sequences
limousines, Acta Universitatis Stlckholmiensis, Studia Latina Stockholmiensia VII, Stockholm, 1962.
129

Also included in the Mass are offertory chants that reflect the Gallican tradition,
using texts in the traditional florid style of Gallican rhetoric. These chants establish
Aredius as a saint who was made powerful by his holiness and devotion to the Lord. This
is a fitting stance and allegory for St. Yrieix in its transition from a monastery to a
chapter of canons, reflecting its newly returned and growing wealth, programs of
expansion, and favor with Aredius and the powerful Lords of Limoges.
This study of the Aredius Mass has identified and contextualized some of the
leading characteristics of the neo-Gregorian elements in Pa903. Given the nearly five-
hundred years of monastic tradition at St. Yrieix, it is fitting that the liturgy of this Mass
publically reflect the continuing support of saint Aredius and the continued loyalty to him
celebrated at St. Yrieix in its transition exclusively to a chapter of canons. The next
Section describes the neo-Gregorian Masses from the temporal and the ritual sections of
Pa903.
D. MASSES FOR THE SECOND SUNDAY OF LENT AND FOR THE DEAD
Two Masses for special days appear in Pa903 with neo-Gregorian chants in all
genres of the formularies: the Mass for the second Sunday of Lent, which appears in
AMS sources with Gregorian chants, and the neo-Gregorian Mass for the Dead. The
formularies for these two Masses are given in Table 5-9, accompanied by the
concordances with the Aquitanian graduals for these chants. Additional neo-Gregorian
chants from two other Masses for the Dead are also included in the Table.
130

Table 5-10 Neo-Gregorian Masses for the Second Sunday of Lent and the Dead
Pa903 Pa776 Harl.4951 Pa780 Pa1132
Genre
(a)
Incipit
PM13 p. ff ff ff ff
Mass Sun.2 in Lent
IN Domine dilexi
85 40* 50 37v +
GR Proba me domine
85 40v 50v 37v +
TR1 Dixit dominus mulieri 85 40v(alia1) + 38 -
TR 2 Confitemini domin
86 40v(alia2) - + 37v
OF Lauabo inter innocente 86 41 51 + +
CO Pes enim meus stetit 86 41v 51 + +
(b) Mass for the Dead I
IN Requiem aeternam
235 136v none 119v 106v
GR Requiem aeternam
235 136**
119v 106v
OF Domine Ihesu Christe 235 136v**
119v -
CO Lux aeterna luceat eis 236 136v**
120 106v
(c) for the Dead II
IN Si enim credimus
236
120**
GR Si enim credimus
236
OF Erue domine
236
(d) for the DeadIII
IN Sicut portavimus imaginem 237
CO1 Absolue domine
237
CO2 Ego sum resurrectio 237
106v**
CO3 Partem beatem resurrectionis 238
* Pa776 rubric is Dominica vacat
** Same chant as in Pa903 but in a different Mass for the Dead
131

1. Pa903 Second Sunday of Lent
In the AMS sources, the second liturgical Sunday Mass in Lent is marked as
Sunday II (in two sources), Sunday III (two sources), and Sunday (without number, two
sources), each of which carries the same formulary. These different numbering systems
reflect the fact that in the period of preparing the AMS graduals, the first week of Lent
was a liturgical Sunday Mass, but the second week of Lent did not have a liturgical
Sunday Mass, i.e., it is marked as Dominica vacat. Thus the second Sunday Mass of
Lent (variously numbered as described above) in the AMS graduals is for the Sunday of
the third week of Lent. 44
The formulary for the second Sunday of Lent in Pa903 with the Domine dilexi
formulary comprises exclusively neo-Gregorian chants (Table 5-9a). This formulary is
also found complete in Pa776, appearing with the rubric Dominica vacat; 45 the Pa903
formulary also appears in Harley4951 for the second Sunday of Lent, but with a different
tract. In Pa780, with a rubric for the second Sunday of Lent, the introit, gradual, and
Tract 1, match Pa903, but different pieces are used in the other genres. Pa1132, also with
a second Sunday of Lent rubric, uses only the neo-Gregorian tract in agreement with
Pa903; the other chants are differently chosen, presumably influenced by the Cluny usage
of this source. 46
For the Lenten Sunday Masses in weeks three and four, etc., the Aquitanian
graduals show Gregorian formularies in agreement with AMS after the second Sunday.
The appearance of the Domine dilexi Mass instead of a Dominica vacat for the second
44 See item 53 in AMS:68-69. The chants listed in each formulary agree for all sources in AMS;
but none agree with the Aquitanian graduals for this Mass (Table 5-9a).
45 Pa776 offers a total of four tracts for this Mass, of which two match those of Pa903.
46 The non-concordant chant genres of this Mass in Pa1132 are found in AMS, but they are all
assigned to ferial days in Lent.
132

week of Lent suggests a new regional tradition for this Mass in Aquitaine. 47 The various
selections of chants for this Mass reinforce the otherwise established association of
Pa903, Pa776, and Harley4951, and show diminishing numbers of concordances for
Pa780 and Pa1132. The various choices of neo-Gregorian Mass chants in these graduals
suggest the graduals were made in a period before a particular stable formulary for the
second Sunday of Lent could be adopted. 48 It is difficult to infer how widely accepted
this process was in Aquitaine because of the small number of eleventh-century graduals
that is available; but this process was widespread in this period, as reflected in the
geographically diverse locations of these five Aquitanian graduals.
The Domine dilexi Mass in text and music illustrates some of the characteristics
of the neo-Gregorian style: emphatic use of melodic leaps, extended range, repeating
figures, and rare examples of text painting. While none of these characteristics is entirely
foreign to Gregorian style, their application in the neo-Gregorian chants is often a matter
of degree. Figure 5-6 shows the music and text of the introit and gradual of this Mass.
The ascending figure (marked 1) refers to “a place of glorious habitations” (locum
habitationis glorie) with an ascending response to the text from E to d (item 1). 49 In item
(2), marked within the gradual, the ascending figure is typical of Gregorian practice of
centonization for this chant genre. These characteristics work together in these chants to
47 An example of another tradition for this Mass is analyzed by Nardini, “Chapter 4,” Beneventan
Neo-Gregorian Chant, forthcoming. Here the second Sunday of Lent is also represented by a neo-
Gregorian formulary with wholly different chants from the Aquitanian graduals.
48 In his exhaustive analysis of the Martinmass, Planchart has taken eleventh- and twelfth- century
Aquitanian sources as specific examples to draw attention to this type of variability in the formularies as
evidence of the introduction of a new Mass tradition. Alejandro Planchart, “The Geography of
Martinmass,” in Western Plainchant in the First Millennium Studies in the Medieval Liturgy and its Music,
Sean Gallagher, et. al., eds. (Aldershot, UK: Ashgate, 2003):119-156.
49 The pitches of the notation agree with the BH Index, 1:130 identification of a mode 8 chant,
beginning on D.
133

produce melodies with numerous prominent leaps over a wider range than that of the
standard Gregorian practice.
Figure 5-6 Pa903 Second Sunday in Lent
134

2. Mass for the Dead
The neo-Gregorian chant concordances among the Aquitanian graduals for the
Mass for the Dead are given in Tables 5-9 (b-c). Harley4951, however, does not transmit
a Mass for the Dead. These Tables compare only the chants found in Pa903, thus the
various additional chants for these Masses found in the other graduals are omitted. The
pattern of concordances between the graduals shows that the formulary of the first Mass
for the Dead in Pa903 is essentially repeated in Pa780 and Pa1132, while Pa776 includes
the chants of this formulary but not all in the same Mass. It appears that the various
similar groups of chants for these Masses were assembled independently into different
formularies from a generally available collection of chants.
The neo-Gregorian characteristics illustrated above also appear in the neo-
Gregorian chants for the Dead, excerpted in Figure 5-7. Figure 5-7a compares the
beginning of the introit and gradual, each with the same text and basic melody but the
gradual version is more ornamented than the introit, following the common Gregorian
convention. Figure 5-7b shows the more melismatic style of the following gradual verse.
The enclosed area of Figure 5-7b, however, shows a sophisticated use of descending and
ascending leaps of a third on the melisma shown.
This discussion has drawn attention to the characteristics of the neo-
Gregorian chants that are different in degree from the Gregorian style. Notwithstanding
these differences, the overall contour of these chants and the treatment of modal melodic
issues is essentially Gregorian. The musicians who assembled these chants were
evidently using the basic Gregorian approach to Mass chants, but included characteristic
stylistic elements they particularly valued. The next Section analyzes the appearance of
these characteristics in other neo-Gregorian compositions in Pa903, including the neo-
Gregorian feasts and chants from the Gallican-derived tradition.
135

Figure 5-7 Neo-Gregorian Chants from the Mass for the Dead in Pa903
136

E. NEO-GREGORIAN MASS CHANTS AND GALLICAN INFLUENCE
1. Neo-Gregorian Chant Characteristics
The excerpt from the neo-Gregorian the third alleluia of Ascension Day (Figure 5-
8) shows a form of “word painting.” 50 The chant for Ascendo ad patrem ascends and
remains in the high register with God as the ascending phrase on Ascendo carries upward
through ad patrem.
PM13 p. 189 Ascendo ad patrem meum et patrem nostrum deum…
Figure 5-8 Alleluia Ascension Day
50 William P. Mahrt, “Word Painting and Formulaic Chant,” in Cum angelis canere: Essays on
Sacred Music and Pastoral Liturgy in Honor of Richard J. Schuler, 1920-1990, Robert A. Skeris, ed. (St.
Paul, MN: Catholic Church Music Associates, 1990 [1992.]) : 113-144. Mahrt comments on the tendency
to avoid the term of “word painting” in Gregorian studies, based on Apel’s sanction against it in Gregorian
Chant (see bibliography;) but Mahrt reiterates the validity of using this description in obvious examples,
such as this.
137

After the initial ascent in excerpt (1) the custos carries the pitch to the first punctum in
excerpt (2). The quilisma located to the right of this extract shows that Pa-TREM
includes a descending leap of a fifth (e to A), followed by a leap up of a fourth from a
step below (G to c). The melisma on deum at the end of excerpt 2 continues in the high
register as the notes from the next line below (not shown) protrude into this text line. In
addition to the text painting this excerpt illustrate the use of successive leaps and an
extended melodic range in these Aquitanian neo-Gregorian pieces that is different from
the preference for repeating patterns of neighboring tones in Roman and Italian chants. 51
2. Gallican Influence
(a.) Neo-Gregorian Chants
The offertories for St. Aredius (Section C above) and St. Saturninus (Holocausta
medullata, PM13 p. 230) have each been considered to exhibit Gallican influence
because of the language of their second Offertory verses, respectively, and the overall
musical elements discussed above. 52 Table 5-11 summarizes these characteristics of
Gallican influence as developed in the literature of the twentieth century. In addition to
the factors already discussed, they include the use of the pes stratus neume in Aquitanian
sources 53 and the placement of melismas on the anti-penultimate syllable, differently
from the more widespread Gregorian practice of placing melismas on the penultimate
syllable. Figure 5-9 shows an example of the use of the pes stratus in the second verse of
51 Thomas Forrest Kelley, The Beneventan Chant (Cambridge: Cambridge University Press,
1989): 96-97.
52 Ruth Steiner, “Holocausta medullata: An Offertory for St. Saturninus,” Chapter XIV in
Studies in Gregorian Chant (Aldershot, UK: Ashgate Variorum, 1999) :263-273; and Hankeln,
Offertorium 1:60.
53 The pes stratus represents three notes, rising a major second or minor third with a repetition of
the upper note (see Huglo, et. al., “Gallican Chant,” in the New Grove Dictionary (2001) 9:463).
138

the Saturninus offertory : …victima effici merulit... where the pes stratus appears in the
melisma on uicti-MA as marked at the top of the Figure.
Table 5-11 Characteristics of Gallican Chant*
Liturgical Assignment
1. Secondary Masses
2. Masses for regional saints
3. Specific antiphons in Holy week,
Christmas, Pentecost, Rogation Days
TEXT (Source 4*)
1. Florid or dramatic phrases, centonate, paraphrase bible
2. Non-psalmic verses in OF
3. Use of rhetorical repeats, develop a theme in prayers
4. Text opening phrase: In diebus illis, Diebus illis*
5. Use of Dominus Jesus in chants
6. Address prayers to the Son and Holy Spirit
* Gregorian opening: In illo tempore
Musical Features
1. Melisma on the ante-penultimate (or penultimate) syllable (4)
2. Use of Pes stratus, esp. at a milisma or internal cadence
3. "Gallican" cadence: (2)
CDD, CEE, or DEE, FGG, Gaa, with pes stratus
4. At second intonation after intermediate cadence: ut, me, sol (5)
** Based on analysis of Stetit (Stabat) angelus
*Sources
1. Charlotte D. Roederer, “Can We Identify an Aquitainian Chant Style?,” Journal of the
American
Musicological Society 27 no.1 (1974): 75-99.
2. David Hiley, Western Plainchant A Handbook, (Oxford: Clarendon Press, 1993):553.
3. Kenneth Levy, “Gallican Chant,” in New Oxford History of Music 2 The Early Middle Ages
to 1300, Richard Crocker and David Hiley, eds. (Oxford: Oxford University Press, 1990).
4. Michel Huglo, „‟Music of the Gallican Rite,’’ New Grove Dictionary of Music and Musicians,
Stanley Sadie, ed. (London: Macmillan Publishers, 1980) 7: 113-125
5. Michel Huglo, with Jane Bellingham and Marcel Zijlstra, “Gallican chant,” New Grove
Dictionary
of Music and Musicians, Stanley Sadie and John Tyrell, eds. (London: Macmillan Publishers,
2001) 9: 458-472.
139

A further example at the bottom of the Figure is taken from the second verse of
the Aredius Offertory (introduced above in Figure 5-3a) in which the melisma on PRE-
sci-uit includes a sequence of repeated phrases at the close of the verse with a pes stratus
marked in each one.
Figure 5-9 Examples of the Use of the Pes Stratus in Pa903
(b.) Traditional Gallican Chants
Among the Gallican influenced chants of Pa903 there are also various chant
genres that, although found in the Gregorian feasts, have been identified as derived from
the traditional Gallican chant repertory (Table 5-12). These are chants that reflect
Gallican practices and are identified principally through correlations with Mediterranean
and Spanish (Toledo) sources written in non-diastematic neumes. 54
54 Huglo,et. al., “Gallican Chant,” New Grove Dictionary (2001) 9:460-62. These are
necessarily circumstantial ascriptions in that that no chant book of Gallican chant texts survives from
eighth-century Gaul (i.e., before the development of musical notation in Francia).
The Spanish sources of Toledo, et. al., were shown in the variance analysis of Figure 3-3 to be closely
associated with the Aquitanian graduals.
140

Table 5-12 Traditional Gallican Chants and Aquitanian Concordances
Pa903 Incipit
PM13
p/f Mass
Pa776 Harl.4951 Pa780 Comment
Crux fidelis 143/ Good Friday 65 88v -
AN
Wortman*
Cum rex gloria 148/ Easter
68v 101v - AN Huglo
Ave rex noster 118/ Palm Sunday 55 74 - AN Huglo
Cena facta est scie 133/ Lord's Supper 62 85 58v AN Huglo
Collegerunt V.unus 117/ Palm Sunday - 64 - AN AMS Huglo
O crux benedicta 141/ Good Friday 65
AN Huglo
Pax eterna /145 DedicationChurch - - - AN Huglo
Popule meus 139/ Lord's Supper - - - AN AMS Huglo
Venite populi 154/ Easter
72
AN (30 Greg)
Vos vocatis me 133/ Maundy Thurs 60v 82 58 AN Huglo
HY
Pange lingua..certa 143/ Good Friday
Wortman
Elegerunt apostoli 211*/ Stephen
AN Huglo
Cum audisset 117/ Palm Sunday 54v 63v 53 AN Huglo
Introeunte te 120/ Palm Sunday 55v
AN Huglo
McKinnon
Ludate dominum 83/ Holy Saturday 39v..
TR AMS
McKinnon
Qui habitat 73/ 1st Sun. Lent 35v
TR AMS
Kyrie..domine deus /137 Preces
85 237v 77v
Miserere..supplican /140v Preces
85 237v -
Miserere pater just /140 Preces
84 234 -
Rogamus te rex /141 Preces
87 240 -
* I. Wortman, “Gallican Rites,” New Catholic Encyclopedia, Second edition in 15
volumes(Detroit:Gale, 2003) 6:67-72.
Michel Huglo with Jane Bellingham and Marcel Zijlstra, “Gallican Chant.” in New Grove
Dictionary of Music and Musicians, eds. Stanely Sadie and John Tyrell (London:Macmillan,
2001) 9:458-472.
McKinnon, James. “Lector Chant versus Schola Chant: A Question of Historical
Plausibility.” in Laborare fratres in unum: Festschrift Laszlo Dobszay zum 60. Geburtstag, J.
Szendrei and D. Hiley, eds. (Hildesheim: Zurich Weidmann, 1995) :201-11.
141

These traditional Gallican chants survive in Gregorian books; they are antiphons
added to the Masses of Holy Week and Easter and in other Masses. 55 Included in the
Table are the concordances of these antiphons with the other Aquitanian graduals
(Pa1132 is omitted since it does not include antiphons). The chants of this Table also
display specific uses of the pes stratus and other characteristics of Gallican chants. The
analysis of the traditional Gallican chants shows that the identification of “Gallican
influence” is based on the particular combination of traits found in each chant, rather than
identification of a single criterion. The next Section addresses the repertory of Mass
chants of regional preference in the Limousin region and specifically those associated
with St. Yrieix.
F. AQUITAINE AND ST. YRIEIX REPERTORIES IN THE PA903 SANCTORAL
1. Regional and Local Neo-Gregorian Sanctoral Chants
The survey of neo-Gregorian chants in Section B showed that the sanctoral
contained the greatest number of neo-Gregorian feasts and chants in Pa903. This section
collects and reviews the regional and local repertories of neo-Gregorian chants of the
sanctoral with particular attention to the chants found only in Pa903 and therefore unique
to St. Yrieix.
The neo-Gregorian sanctoral feasts in Pa903 are listed in Table 5-2(b) above. The
list also includes feasts that appear in the eighth-century Gallican sacramentaries that are
represented by neo-Gregorian Mass Propers in Pa903. The detailed summary of neo-
Gregorian chants taken from these neo-Gregorian feasts is provided in Appendix A5-4.
Table A5-4.1 of this Appendix lists the Mass formularies of these neo-Gregorian feasts
55 Huglo, “Gallican Chant,” in New Grove (2001) 9:461-62, but this group also includes
offertories with non-psalmic verses found in the Gregorian sources, treated as Gallican influenced as
discussed in detail by Kenneth Levy, “Toledo, Rome, and the Legacy of Gaul” Early Music History 4
(1984) :49-99.
142

(with the Gregorian chants removed) and the concordances of these chants with the other
Aquitanian graduals. Neo-Gregorian chants assert the individual character of the
celebrations at St. Yrieix and Aquitaine. By selecting feasts and providing them with
new chants (antiphons, tropes, prosas, and prosulas) local cantors stressed the importance
of particular feasts for the monastery. At the same time, these neo-Gregorian chants were
written in compliance with Gregorian standards of chant variability appropriate to the
period, such as the technique of centonization and the use and placement of melismas. 56
These Gregorian conventions found in neo-Gregorian chants demonstrate a will to
maintain allegiance to the stylistic conventions of the established Gregorian tradition,
while preserving elements of traditional regional cults and celebrations. These chants
provided opportunities to respond to historical events in the life of St. Yrieix by
personifying the establishment of St. Yrieix in the blessed actions of St. Aredius and by
metaphorical interpretation of Aredius‟s life or hagiography as pertaining to the
conditions of St. Yrieix.
The complete list of sanctoral neo-Gregorian chants for neo-Gregorian feasts in
Pa903 is given in Table A5-4.1 (Appendix A5-4). Of the total of ninety chants, there are
52 alleluias, 10 introits, 8 offertories, 10 communions, 6 graduals, and 4 tracts. The neo-
Gregorian chant most commonly added to an otherwise Gregorian formulary was clearly
the alleluia, which outnumbers all of the other genres combined. The alleluia was the
genre of choice for including an individual and perhaps local traditional message in
various feasts of the Sanctoral.
56 Hiley, Handbook : 75-88 describes centonization in graduals and tracts, referring to the tables
of musical phrases used repeatedly in these genres assembled by Willi Apel, Gregorian Chant, First
Midland Book Edition (Bloomington and Indianapolis: Indiana University Press, 1990): 344-363
(graduals) and :312-330 (tracts).
143

Table 5-13 summarizes the ten neo-Gregorian chants without concordance to
Aquitanian or other sources that are fully written out in Pa903. 57 Of these, there are five
alleluias, two introits, one gradual, one communion, and one offertory. These chants are
transcribed in Appendix A5-5. The musicians of St. Yrieix reserved one or more neo-
Gregorian chants in the St. Yrieix usage for the feasts of the Finding of the Cross,
Martial, and Benedict, all of which appear in four or five of the Aquitanian graduals.
Table 5-13 Neo-Gregorian Mass Chants Found Only in Pa903
PM13
No. Grads.
Incipit Pa903
p. Gregorian Feast Genre per Chant
Beatam Aredii 219 Aredius
GR 1
Dum esset gens 173 Finding the Cross IN 1
Hoc est preceptum 194 Barnabas
AL1 1
Immaculata hostiarum 219 Aredius
OF 1
Marcialis magnus 218 Martial
AL 1
Per signum sancte 173 Finding the Cross AL5 1
Sancte Benedicte 206 Benedict Transl. AL4 1
Sancte Pater Aredii 219 Aredius
IN 1
Speciosum fecit 219 Aredius
AL 1
Uirtutum pennis 219 Aredius
CO 1
These were significant feasts in Francia and throughout the Church. Martial was
the senior patron of the Limousin, and Benedict was the patron of the monastic Order for
which a complete formulary had been received from Benevento. However, the largest
and most elaborate feast in this group is the Finding of the Cross, a complete neo-
57 Some of the chants without concordance in the Aquitanian graduals were widely used in other
sources as shown in the Global Chant Database. These have been removed from this list of St. Yrieix
unique chants. There are other chants appearing only in Pa903 that are listed by incipit only. These are
summarized in Appendix A5-3 (Table A5.3) but not included here.
144

Gregorian feast included in the traditional Gallican sacramentaries, for which St. Yrieix
reserved an original introit.
The other neo-Gregorian chant that carried the St. Yrieix imprimatur was an
alleluia chosen for Barnabas as listed in the Table, whose feast was eventually added to
the Roman sanctoral. The feast of Aredius appears in one other gradual, Pa1132, but as a
Gregorian Mass with chants taken from the Common of Confessors. The entire neo-
Gregorian Mass of St. Aredius (see Section C above) appears only in Pa903. It
represents the fundamental traditions of St. Aredius at the monastery of St. Yrieix. 58
2. Conclusion
In conclusion, the establishment of St. Yrieix chose to include thirty-three proper
feasts for regional saints of Aquitaine that were not included in the international
Gregorian calendar. Many of these feasts were common to many churches of Aquitaine,
such as the feasts of St. Benedict and St. Martin, as well as the popular traditional
Gallican celebrations of the Finding of the Cross, the Chair of Peter, the Conversion of
Paul, and others. St. Yrieix celebrated St. Benedict with the neo-Gregorian Mass chants
of Aquitaine in Pa903 and with an unicum alleluia. In Pa776 (Gaillac) the Mass for St.
Benedict with Aquitanian music (as found in Pa903) was included with a second Mass
with the Cassinese chants. 59 The presence of the neo-Gregorian chants in so many of the
feasts of the sanctoral of Pa903 illustrates the commitment of the St. Yrieix cantors to
maintain currency in the trends of liturgical music composition of the period. It was by
this means that they honored the saints of particular importance to the region and locality.
58 Detailed comparison of the distribution of concordances with the neo-Gregorian chants in
Pa903 in the Aquitanian graduals is provided in Appendix A5-2.
59 Nardini and others have concluded that the Mass was probably formulated at Montecassino.
145

The community of St. Yrieix had deep connections throughout Aquitaine and the
Limousin. It was from the first a dependency of the Monastery of St. Martin of Tours
(later the Collegiate Church of St. Martin of Tours). Thus through nearly five hundred
years of monastic tradition St. Yrieix celebrated the feasts of Martin, as well as feasts for
the Maccabees (for Hilary), and Brictius (Martin‟s successor) as found in Pa903. They
also celebrated Saturninus of Toulouse and St. Front of Pèrigueux: Saturninus was the
champion of the regional power of Toulouse, able even to contest the Dukes of Aquitaine
of Poitiers; Front was another local candidate for promotion to apostle, like Saint Martial
of Limoges. 60 Certainly their most substantial contribution to the composition of neo-
Gregorian chants was the Mass for St. Aredius, a Mass Proper unique to St. Yrieix,
patron saint of the monastery, embellished with tropes and prosas. It was by these means
that St. Yrieix honored its heritage and invoked the support and power of its saints for
maintaining its spiritual leadership in the community.
Many of the texts of the neo-Gregorian chants are similar to Gregorian models:
they paraphrase or quote scripture (Chair of Peter: Tu es Petrus et super hanc petrum…),
they employ sober and considered language in their prayer and their lessons (Conversion
of Paul: Letemur omnes in domino hodiernum diem sollempniter). But these neo-
Gregorian chants also contain extended examples of exuberant praise and ecstatic visions,
e.g., in brief phrases of the offertories (Aredius protegat nos sub umbraculia piaetatis), as
well as in the Aredius prosas, (Astra hodie, and Aredius polita). Often non-Biblical texts
60 Samantha Kahn Herrick, “Studying Apostolic Hagiography: The Case of Fronto of Perigueux,
Disciple of Christ.” Speculum 85 no. 2 (2010): 235-270. Martial and Front were part of a trend in Europe
of this period to justify the patron saint of ambitious establishments as a disciple of Jesus. The case of St.
Martial was favorably resolved within a century after it was proposed. The case of Front was never
successful.
146

expressed visions of the sanctity and power of the saint and the drama of his vita (e.g.,
from the imported Benedict Mass, Intempeste noctis). 61
The neo-Gregorian chants of Pa903 often make explicit reference to music
making, e.g., choirs rejoicing in song (Holy Innocents: Cantabant sancti canticum nouum
ante sede), and the music of instruments and jubilant noise, a common theme in
Aquitanian tropes and sequences. 62 These vividly described scenes hark back to the
textual style of the Gallican tradition, long since officially suppressed by the eleventh
century.
The musical preferences for disjunct melodies and series of intervallic leaps
(especially of a third or more) in parallel repetition or in overlapping succession are
characteristics of the Aquitanian neo-Gregorian chants of Pa903 and the other Aquitanian
graduals. The Aquitanian notation itself graphically reinforces the appearance of these
sequences. The systematic notational marking of the semitones in Pa903 is characteristic
of the attention given to the precision of pitch in the transmission of these chants in
Aquitaine and St. Yrieix.
These Mass chants provide a vivid representation of religious enthusiasm and
celebration at St. Yrieix. In the late eleventh century St. Yrieix had made the transition
from a monastery (with five-hundred year tradition) to a chapter of canons, newly
reformed and loyal to its patron St. Martin (as a dependency) and supported by the
Bishop and Viscounts of Limoges. The implications of the presentation of these Mass
chants at St. Yrieix for Aquitanian and Limogian society will be further discussed in the
next chapter.
61 A scene from the Benedict vita as described by Nardini, Neo-Gregorian Chant in Beneventan
Manuscripts, forthcoming.
62 Iversen,. “A Thematic Study on Tropes from Different Traditions,” Pax et Spientia, Corpus
Troporum 28: 23-58.
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A. OVERVIEW
VI. The Gradual of St. Yrieix in Aquitaine
The previous chapters have presented the liturgical and musical content of the
Gradual of St. Yrieix and some of the historical factors influencing the St. Yrieix
establishment. This chapter brings these characteristics together in order to situate the
manuscript in the ecclesiastical and secular community of Aquitaine and the Limousin.
The chapter summarizes the process of change at eleventh-century St. Yrieix
during the period of physical expansion and reform of its ecclesiastical establishment
(Section B). The stance of St. Yrieix is also reviewed in relation to: (1) its patronal
church in Tours, (2) the secular and ecclesiastical powers of Limoges, and (3) its local
community (Section C). This position, as reflected in the usage and content of Pa903,
contributed to the ecclesiastical identity and legitimacy of St. Yrieix in the community.
Section (D) surveys the chant repertories in Pa903, while Section (E) relates Pa903 to the
group of four other surviving graduals from eleventh-century Aquitaine. Conclusions are
provided in Section F.
B. ST. YRIEIX IN TRANSITION
The ecclesiastical organization of Aquitaine reveals a complicated pattern of
overlapping jurisdictions, in which St. Yrieix, as a chapter of canons, is in a seemingly
ambiguous relationship between two different bishops and their respective archbishops in
two different dioceses. In southwestern Gaul in the fifth century two archbishoprics were
established, respectively, in Bourges and Bordeaux that endured from late antiquity
148

through the Middle Ages. 1 Historically, the diocese of Limoges was assigned to the
Archbishop of Bourges, but in the tenth and eleventh centuries, Limoges regularly came
under the influence of the synods and decisions of the Archbishop of Bordeaux, who also
held the dioceses of Poitiers, Périgueux, Angoulême, and Saintes. 2 These dioceses,
including Limoges, formed a coherent administrative group in the territory dominated by
the Duke of Aquitaine, who strongly influenced the nominations of bishops throughout
the region, including Limoges. St. Yrieix was a dependency of the collegiate church of
St. Martin of Tours, but St. Yrieix was geographically in the diocese of Limoges, and in
practice was incorporated by the Bishop of Limoges into his diocese. These multiple
layers of authority and influence dominated Aquitaine and thus St. Yrieix throughout this
period. 3 However, in spite of these cross currents of power and obligation, administrative
coherence was maintained by the familial relationships underlying these hierarchies, in
which the archbishops, viscounts, bishops, and supporting senior administrators were
primarily drawn from members of the same group of families.
Chapter 2 has shown that the eleventh-century events at St. Yrieix followed the
four conventional steps by which a former monastery could be reformed as a chapter of
canons. 4 The first two steps were: (1) to restore and renovate the property of the house,
and (2) re-assemble the properties and dependencies that had been lost, including
reclaiming properties from their current proprietors. These steps provided a stable
financial basis on which to build the future of the house. The earliest record in this
1 Anna Trumbore Jones, Noble Lord, Good Shepherd Episcopal Power and Piety in Aquitaine,
877-1050, Series on the Early Middle Ages Vol. 17 ( Leiden and Boston: Koninklijke Brill NV, 2009):21.
2 Although Agen was also assigned to Bordeaux, in practice it functioned as a part of the dioceses
of Gascony.
3 These practical realities of the Aquitanian ecclesia prevailed for centuries, yet there was no
official alteration of the original jurisdictions of the two archbishops going back to the fifth century.
4 Trumbore Jones, ibid. : 162. Jones outlines these four steps as typical of the process of reestablishing
a religious house under the influence of the bishop.
149

process for St. Yrieix is a document dated in the 1060s that refers to the return of the
monastery of Moutier-Roseille (Chapter II) to St. Yrieix. This monastery was taken from
St. Yrieix 5 as early as the eighth century by the Viscount of Aubusson and returned under
the good graces of the Aubussons and the influence of the Count of Auvergne in the mid-
eleventh century. With the return of Moutier-Roseille as a dependency of St. Yrieix, the
stage was set to initiate a major expansion program to the collegiate church of St. Yrieix.
The final two conventional steps of re-establishment, according to Trumbore
Jones, were: (3) to establish a reformed observance at the establishment, and (4) assemble
powerful witnesses to these events to provide public support and endorsement. While it
was not unusual in this period for canons and monks to be co-located in a monastery, the
closing of the monastery of St. Yrieix (1070) with the death of Seguin, its last abbot,
necessitated legitimization of the chapter of canons at St. Yrieix as inheritors of the
monastic establishment and its dependencies. A separate formal agreement (dated 1090)
between St. Yrieix and St. Martin re-affirmed the authority of St. Martin over the chapter
of canons at St. Yrieix. However, to strengthen their position further, the chapter
produced a foundation diploma for St. Yrieix, purportedly issued by Charlemagne in 794,
that established the chapter of canons. This diploma was a forgery of the 1090s, but
according to its terms the Chapter was authorized thirty-two prebends and a full
administrative staff under the imperial authority of Charlemagne. 6 The diploma thus
maintained the earliest monastic traditions of St. Yrieix through Charlemagne, who
fulfilled the intention of his own predecessor, Pepin III, and thus continued the royal
protection offered by the Merovingian Kings at the foundation of St. Yrieix. Although
St. Yrieix was formally under the jurisdiction of St. Martin of Tours, and protected in
5 See Michel Aubrun, L’Ancien Diocèse de Limoges: n.75, p.151-52.
6 See Chapter II for the details of the diploma.
150

fact by the Bishop and Viscounts of Limoges, the foundation diploma of Charlemagne
gave royal assurance of the legitimacy of the Chapter and confirmed the traditions of St.
Yrieix in an atmosphere of reform in the eleventh century.
During the renovations of the church, the Bishop of Limoges authorized
elevations of the Aredius relics in synodic ceremonies attended by the nobles and ecclesia
of the Limousin and Aquitaine to demonstrate regional public support for St. Yrieix.
Under the prevailing papal rules of canonization, Aredius, as a saint with a centuries-old
tradition of veneration in the Limousin, received papal authorization for a simple feast,
with 25 August as feast day. These elevation ceremonies, accompanied by contemporary
miracles of St. Aredius, reinforced the program of reform at St. Yrieix by the public
endorsements of the regional bishops, viscounts, and the Duke of Aquitaine. The far-
reaching changes at St. Yrieix, begun in the eleventh century, culminated in the twelfth
century with the installation of Bernard, uncle of the Aymar V, Viscount of Limoges, as
dean of the chapter of canons of St. Yrieix. 7
C. PA903: USAGE AND ECCLESIASTICAL IDENTITY
The regional community looked to St. Yrieix to obtain the advocacy of St.
Aredius for their spiritual welfare and for protection against the natural disasters and
secular hazards of the time. The selection and prominence of feasts celebrated at St.
Yrieix expressed loyalty to the international cults of the Church as well as to regional
cults for the support and mercy of God. The contents of Pa903, with its collection of
Mass chants for the year, portray the loyalties of St. Yrieix as a member of the Limousin
ecclesia. 8
7 These details are addressed at length in Chapter II.
8 This usage is specifically addressed in Pa903 in the litanies on rogation days, the votive Masses
for healing, safe journey, et. al.
151

First and foremost, Pa903 is a book for the preservation of the international
Gregorian rite; and in fact it is dominated by the Gregorian liturgical calendar and the
Mass chants that make up the feasts of that calendar. The religious observances at St.
Yrieix also included newer Masses in Pa903 that were additions to the standard
Gregorian corpus of the ninth and early tenth centuries (i.e., in the AMS sources), and
were ultimately included in the Roman rite. These included the feasts of the
Transfiguration, Trinity, All Saints, and feasts for the Apostles Barnabas, Bartholomew,
Matthew, Timothy, various vigils and special feasts for Paul, Peter, and John the Baptist,
all included in Pa903 but added after the AMS graduals were copied. 9
Another characteristic of the individual usage of St. Yrieix is the group of
traditional feasts found in Gallican sacramentaries that were not included in the
Gregorian calendar: the Finding of the Cross, Conversion of Paul, Chair of Peter, and
Chains of Peter. The latter feast was provided with a Gregorian formulary, but the other
three feasts were provided with one or more neo-Gregorian chants not included in the
Gregorian chant repertory.
The regional feasts of Pa903 reflect the allegiances of St. Yrieix in this period,
carefully balanced between Tours, Limoges, and the centers of power in Aquitaine. 10
These allegiances would reflect the sources of spiritual power on which St. Yrieix relied
for protection and support. The usage favored its traditional senior patron Martin of
Tours over Martial of Limoges and particularly venerated Benedict of Montecassino.
These preferences were emphasized through additional neo-Gregorian Masses for Martin
(and other saints of Tours who were associated with Martin), and of Benedict, including
9 Tissot, in PM13 cited the feasts of the Transfiguration and Barnabas in dating the manuscript to
the early eleventh century, however writing for publication in 1925, he did not have access to the AMS
edition, published in 1935.
10 The family of the Duke of Aquitaine in this period was centered in Poitiers, which had wrested
the Ducal title from Toulouse in the previous century.
152

the chant texts of the Cassinese neo-Gregorian Proper for this feast. 11 As a chapter of
canons, St. Yrieix had considerable flexibility in choosing the rule of Benedict or other
religious rules that were adapted to the canonical way of life. The established tradition of
the Roman rite in Aquitaine and the long history of the Benedictine order both at St.
Yrieix and St. Martin evidently militated in favor of Benedictine practice as reflected in
Pa903. 12
St. Aredius is prominently featured as patron of St. Yrieix with a neo-Gregorian
Proper that would be highly suitable not only for annual commemorations but also for the
celebration of the translations of the relics in the late eleventh and twelfth centuries.
Martial (Limoges) and Saturninus (Toulouse) were treated as prominent regional saints;
Martial was provided a troped Mass from the Gregorian common of confessors that lacks,
however, reference to Martial as apostle. 13 Saturninus was provided with both a
Gregorian and a neo-Gregorian Mass. 14 Yet, the sanctoral of St. Yrieix as a whole favors
the saints of Limogian monastic usage, perhaps in deference to the five-hundred year old
monastic tradition of St. Yrieix. 15 To this is added the prominent neo-Gregorian Masses
of the Chair of Peter, Finding of the Cross, and Conversion of Paul that also suggest a
persistent Gallican-influenced tradition at St. Yrieix.
11 St. Yrieix also equably includes a feast for St. Front of Périgueux, a nominee for apostle, in a
case similar to the controversial nomination of St. Martial as apostle in Limoges in the same period.
12 In the twelfth century, chapters of canons would overwhelmingly choose the Augustinian rule,
but this practice had not been established in Aquitaine at this early time.
13 Martial appears in Apostolic references in an alleluia prosa among the additions to the
manuscript associated with the thirteenth century (see Chapter IV).
14 The Viscounts of Limoges, who were actively supporting St. Yrieix, had themselves taken a
step away from the administration of the ancient abbey of St. Martial by negotiating (for their own benefit)
the transfer of the Abbey to the Abbey of Cluny as a dependency in 1062. The question of the proposed
nomination of St. Martial as Apostle that had failed in the late 1020s was re-opened with a favorable
resolution after the arrival of Cluny.
15 See Chapter III.
153

D. PA903 CHANT REPERTORIES
1. Antiphons, Tropes, Prosulas, and Prosas
The embellishing chants of the Mass are presented differently in each of the
Aquitanian graduals: tropes appear only in Pa903; antiphons appear in all but the St.
Martial gradual; prosulas and prosas are prominently presented in the St. Yrieix, Gaillac,
and the St. Martial graduals. The tropes of the Proper and Ordinary, listed complete in
Appendix A4-2, make their first appearance as a group outside of Pa903, with notations
of the feasts and chants to which each of the tropes applies. Similarly, the complete
repertory of prosulas and prosas of Pa903 is listed for the first time under one cover in
Chapter IV, including the feasts and chant genres for which they were written and
concordances with the other Aquitanian graduals.
These repertories, however, show that there are structural anomalies in Pa903. In
the case of the tropes, a small number were copied with cues to Gregorian Mass chants
that were not included in the neo-Gregorian formularies of their assigned feasts. The
tropes for the prominent feasts of Aredius, Benedict, the Finding of the Cross, Finding of
St. Stephen and Vigil of St. Martin were composed for Gregorian chants, but the
formularies for these Masses in the gradual are neo-Gregorian. In addition a group of
tropes was assigned to chants that are not included in the gradual. The miss-assigned
tropes are instead compatible with the Gregorian chants for a common of saints (one
martyr, multiple martyrs, and so on) that is missing in the manuscript.
Similarly, some of the alleluia prosas (including the Aredius prosas) explicitly
include an alleluia that was not used for the feast to which it was assigned, while others
were assigned to a feast that does not appear in the gradual. A further feature of these
chants is that Pa903 transmits prosulas that are overwhelmingly concordant with one
154

Aquitanian gradual (Pa776), while the alleluia prosas concord only with Pa1132 (more on
this in section E of this Chapter).
The hand in which all these tropes and prosulas were written is that of the main
body of the manuscript, so it appears that these anomalies developed during the writing
of the manuscript before delivery to St. Yrieix. 16 But mistaking the assignment of tropes
and prosas for these important feasts remains a puzzling anomaly, given the importance
of the Masses involved.
2. Mass Chants
(a.) Neo-Gregorian Chants
The neo-Gregorian Mass chants of the gradual are listed as a group for the first
time in Chapter V, including chants of the sanctoral, temporal, and ritual Masses. This
includes complete Masses with neo-Gregorian formularies for prominent neo-Gregorian
feasts as well as a ritual Mass for the dead and the Mass for the second Sunday of Lent
from the temporal. These chants, as well as the embellishing chants, demonstrate that the
church musicians practiced liturgical music-making in contemporary musical genres that
reflected regional traditions. 17 The following paragraphs address particular categories of
the neo-Gregorian chants in Pa903.
(b.) Gallican Influence
Pa903 transmits a group of Gallican-influenced feasts taken from the Gallican
sanctoral tradition and a group of chants that correlate with traditional Gallican antiphons
found in Spanish sources and others (Chapter V). The Gallican traits include florid
16 The alleluia prosula for St. Martial is the exception to this, however.
17 Neo-Gregorian chants found in the Gregorian feasts of Pa903 are also listed in Appendix A5-1.
Further details regarding the neo-Gregorian feasts and alleluias are provided in Herzo, “Five Aquitanina
Graduals,”: 5-160.
155

metaphorical language, non-Psalmic offertory verses, and musical characteristics
favoring disjunct melodies and the use of the pes stratus in the chant notation (See
Chapter V). While no one of these “Gallican” elements provides a definitive
identification of Gallican musicianship, they are all identified as reflecting a chant
tradition differing from the Gregorian. The examples in Pa903 reflect the continuing
preference at St. Yrieix for including Gallican-influenced, neo-Gregorian chants and
feasts with textual and musical elements referring back to prior Gallican tradition.
3. Chants Transmitted only by Pa903
Based on concordances with the other Aquitanian graduals and the broader
Gregorian indices, 18 this work lists the neo-Gregorian chants of the Mass and
embellishing chant genres that are found only in Pa903. These repertories (Chapters IV
and V) account for ten neo-Gregorian chants in the Mass genres, thirteen antiphons, and
twenty-six prosulas and prosas: a total of forty-nine chants without concordances to
AMS, CAO, or the other Aquitanian graduals. 19 The antiphons and prosas were
principally reserved to major Gregorian feasts of the temporal with a group assigned to
the neo-Gregorian feast of Aredius. The neo-Gregorian chants for the Mass that were
fully written out in Pa903 were assigned to the neo-Gregorian feasts for Aredius (in five
Mass genres), the Finding of the Cross (introit and alleluia), Barnabas, Martial, and the
Translation of Benedict. These chants are indicative of a vigorous group of musicians
associated with St. Yrieix, who particularly contributed versions of their liturgical music
traditions in the Pa903 gradual.
18 These include the online Globalchant and Cantus-Planus databases, as well as the Bryden and
Hughes Index.
19 Identifying St. Yrieix-unique tropes was beyond the scope of this work.
156

E. THE AQUITANIAN GRADUALS
1. Similarity of the Manuscripts
The five surviving Aquitanian graduals have many similarities as well as some
distinctive differences, all within the expected range of variation prevailing in
manuscripts copied within this period. The initial variant analysis of the five graduals
conducted by Solesmes showed that the graduals of St. Yrieix, Gaillac, and Toulouse
form a group with more than ninety-percent agreement on the basis of the musical
variants of the Gregorian repertory in these manuscripts. 20 Narbonne and St. Martial
showed melodic content closer to seventy-five percent agreement for the corresponding
group of musical samples.
The gradual of St. Martial (Pa1132) is a book of Cluniac usage with a total
of 113 neo-Gregorian feasts; however, all but nine chants in this gradual are found in the
AMS sources of the Gregorian Mass chants. 21 In contrast to the other graduals, this is a
seemingly encyclopedic collection of feasts from all over the Aquitanian region, perhaps
to reinforce the Aquitanian position of St. Martial under Cluny dependency.
St. Yrieix, Gaillac, Toulouse, and Narbonne demonstrate more regionally
Aquitanian usage with between 30 and 43 neo-Gregorian feasts each, in which more than
half of the chants of these feasts have concordances with St. Yrieix. The concordances of
feasts with Pa903 show a regional consensus on fourteen neo-Gregorian feasts celebrated
in all five of the graduals, of which four neo-Gregorian feasts are also listed in Gallican
sacramentaries. Three additional neo-Gregorian feasts appear in four of the five graduals,
including Pa903.
20 Graduel Romain, edition critique, Moines de Solesmes, eds. (Solesmes: Abbaye Saint-Pierre de
Solesmes, 1957) 4:221.
21 Herzo, “Five Aquitanian Graduals,” : 68-69.
157

2. Copying of Pa903
This study has focused on the concordances of Pa903 with the other Aquitanian
graduals, especially regarding the repertories of antiphons, prosulas, prosas, and the neo-
Gregorian Mass chants. None of this information has been systematically included in
arguments regarding the copying of the Aquitanian graduals, especially the closely
associated graduals of Pa903, Pa776, and Harl.4951. In addition, Luisa Nardini‟s
analysis of the transmission of the Cassinese Proper for St. Benedict involves Aquitanian
sources that are relevant to the question of copying Pa903. 22
Tissot pointed out the obvious close association of these three graduals, but left
the question open as to which, if any of them, served as exemplar to the others. Tissot‟s
early eleventh-century date for Pa903 eventually designated this manuscript as the oldest,
based on the estimated dates for Pa776 and Pa780 in the late eleventh century provided in
more recent scholarship. Harley4951 is dated generally to the eleventh century, while
Pa1132 is dated between 1063 and 1100. 23 Without advancing systematic arguments in
favor, more recent comments on the date of Pa903 have tended toward the second half of
the eleventh century. 24
The evidence of the concordances of antiphons, prosulas, prosas, and neo-
Gregorian Mass chants of Pa903 establishes Pa776 as containing approximately eighty
percent of the antiphons and prosulas of Pa903 but none of the prosas that are located in
the section following the gradual. 25 The Mass chant concordances show that Pa776
transmits five complete neo-Gregorian formularies and approximately sixty percent of all
22 While this discussion focuses on the copying of Pa903 from exemplar sources, the communion
Per lignum servi for the Finding of the Cross is found only in Pa903 in the Aquitanian sources and only in
the twelfth century missal Vat.599 in Beneventan sources (Table 5-6 and Appendix A5-2). This
relationship is compatible with Pa903 as exemplar for Vat599 for this Mass.
23 Herzo, “Five Aquitanian Graduals,” : 64,68-9.
24 These issues are discussed in detail in Chapter III.
25 Roughly half of the Pa903 prosas appear only in Pa1132.
158

the neo-Gregorian chants for neo-Gregorian feasts that are found in Pa903. Harley4951,
on the other hand, transmits three of these formularies and twenty-nine percent of the
corresponding group of neo-Gregorian chants. But significantly, as discussed in Chapter
V, Pa776 transmits both the Aquitanian and the Beneventan music for the Cassinese
Mass for St. Benedict, while only the Aquitanian music appears in Pa903. Based on
Nardini‟s dual distribution theory, this would plausibly reinforce Pa903 as the older
source (in agreement with Tissot‟s early date for the manuscript) and be compatible with
Pa903 as an exemplar used by the scribe of Pa776 in copying the Aquitanian and the
Beneventan versions of this Mass in the later eleventh century. 26
If, on the other hand, the date of Pa903 were more nearly contemporaneous with
the other graduals in the late eleventh century, these graduals could serve as exemplars
for copying Pa903, allowing the scribe for Pa903 to select the majority of antiphons and
prosulas for Pa903 primarily from Pa776 and all of the prosas in Pa903 from Pa1132.
But concordances alone are not sufficient to resolve all the ambiguities of this question.
Further confirmation of the early textual transmission of the Benedict Mass to Aquitaine
would do much improve the estimate of the date of Pa903.
F. CONCLUSION
This survey of Pa903 has brought together in one place the complete repertories
of antiphons, tropes, prosulas, prosas, and neo-Gregorian Mass chants included in the
Gradual of St. Yrieix. The overall repertory of neo-Gregorian chants in Pa903 is
substantial, accounting for approximately thirty percent of all the chants in the
manuscript. This neo-Gregorian repertory and the many concordances with the other
26 This argument establishes the arrow of time from Pa903 to Pa776, but it does not rule out
independent use of other materials, although at a cost of increased complexity and coincidental choice in
the process.
159

Aquitanian graduals demonstrate that the composition of music for the Mass liturgy and
its para-liturgical embellishment was actively pursued in eleventh-century Aquitaine.
From a broader perspective, the neo-Gregorian repertory of Pa903 contributes to
the general study of neo-Gregorian chants as they proliferated throughout Europe in this
period. Comparison shows that nearly fifty feasts in Pa903 that included neo-Gregorian
chants were concordant with the feasts of the Beneventan neo-Gregorian repertory.
While the assignment of feasts to each chant is often different in the two repertories, there
were nineteen neo-Gregorian chant concordances (in text and chant genre) between the
Pa903 and the Beneventan sources. 27 The specific treatment of the Cassinese neo-
Gregorian Mass for St. Benedict in Pa903 and Pa776 has contributed to the understanding
of the transmission of this Mass from Benevento to Aquitaine. The evidence
accumulated in this work on the numbers of antiphons, prosulas, and neo-Gregorian
feasts and chants in Pa903 with concordance in Pa776 (including the details of
presentation of the Benedict Mass) reinforces the argument in favor of Pa903 as an
exemplar for Pa776.
This work on the neo-Gregorian repertory of St. Yrieix suggests the importance of
accumulating corresponding repertories from the Aquitanian graduals and other regional
sources, analogous to the neo-Gregorian Italian repertories identified by Nardini. These
chants and repertories may contribute to studies of chant composition, the pathways of
chant transmission, and estimates of manuscript dates of origin. 28 To that end, this work
on Pa903 provides a first step in accumulating the Aquitanian repertory of neo-Gregorian
chants. But to glean the most reward, a systematic accumulation of surveys of neo-
Gregorian sources, not only in Benevento and Aquitaine but throughout Europe is needed
27 Details are provided in Chapter 5.
28 Nardini, Neo-Gregorian Chants in Beneventan Manuscripts, forthcoming.
160

to fill in the issues in geographic and temporal coverage that are inevitably left
unresolved by localized surveys.
The concordances of the neo-Gregorian chants of Pa903 with the surviving
Aquitanian graduals allow identification of the unica chants unique to Pa903. These
unica demonstrate the participation of the musicians of the St. Yrieix gradual in
contemporary trends of chant composition of the eleventh century. Musical examples
show the persistence of a Gallican influenced tradition and the inclusion of neo-
Gregorian Masses with exclusively neo-Gregorian formularies.
The Gradual of St. Yrieix was a book for the musicians of the church, assembled
under the supervision of the cantor, one of the senior officials of the establishment. Its
repertories were employed not to enlist popular enthusiasm, but to express the power and
ecstasy of religious worship and reassure nobleman and commoner alike of the power of
St. Yrieix (through the intercession of Aredius) to enlist the aid and protection of the
Almighty. This gradual reflects the active participation of St. Yrieix in the cultural
traditions of its region and the effectiveness of its canons in negotiating major new
relationships with the regional hierarchies who included St. Yrieix in their ecclesiastical
initiatives. The reforms at St. Yrieix were duly celebrated in the Limousin by the
elevation of the Aredius relics, participation by the secular and ecclesiastical lords of the
region, and the contemporary miracles wrought by St. Aredius, all reinforcing the
legitimacy and viability of the reformed St. Yrieix.
After the dissolution of the Church in the French Revolution, the buildings of St.
Yrieix continued in use by the governmental administration of the Limousin. The early
gothic church of St. Yrieix is now visited as a monument of the heritage of France; and
Aredius is still venerated with public processions in the town of Saint-Yrieix-La-
161

Perche. 29 But also, the influence of medieval St. Yrieix has persisted into modern times.
With the publication of the gradual of St. Yrieix in 1925, the main body of Pa903 became
the primary, accessible representative of the eleventh-century chant of Aquitaine in the
music-historical scholarship of the next fifty years.
29 Christian Bélingard, Un Village Arédien sur la route de Compostelle (Périgueux: Editions
Fanlac, 1997): 114.
162

Appendices
APPENDIX A3-1 FRONT GUARD PAPER OF PA903
The front guard paper bound into Pa903 is shown on the following page.
163

164

APPENDIX A3-2 TABLE OF ST. YRIEIX SANCTORAL FEASTS
Pa903 AMS GALL Usage
Pa903 Sanctoral
AMS GALL
Regional
Local SS
Lucy
X
Stephen proto martyr
X X
John evangelist
X X
Holy Innocents
X X
Sylvester
X
Felix
X
Marcellus
X
Prisca
X
Fabian & Sebastian
X
Agnes
X X
Vincent
X
Conversio sci Pauli Apli
X
Purification of Mary
X
Agatha
X
Valentine
X
Chair of Peter
Matthew
X
Gregory PP
Benedict Abbot
X
Annunciation Mary
X
Tiburcus Valerian Maximus X
George
Mark evangelist
X
Vitalis
X
Phillip & Jacob
X
Alexander Valerian Maximus X
Finding the Holy Cross X(1) X
Gordian & Epimachus
X
Nereus & Achilleus
John before the gates
Victor
Potentiane
Major Litany
X
Urban PP
X
Marcelinus & Peter
X
165

Table Continued
Pa903
AMS GALL
Regional
Local SS
Medard
X
Primus and Felicianus X
Basil Cirinus Nabor
Cyrus & Julite
X
Mark and Marcelianus X
Gervasius & Protasius X
Germanus of Paris
Barnabas
X X
Avitus Senior
X
John Baptist Vigil
X
John Baptist Day
X X
Amand
X
JohnPaul
X
Leo
X
X
Peter&Paul Vigil
X
Peter and Paul Day
X
Paul
X
Processus & Marinian
X
VII Brothers X
Benedict Translation
X
Octave Apostles
X
[Martial]
X
Praxedus
X
Apollinarus
James
Simplicity& Faust
X
Beatrice
Abdon & Sennes
X
Chains of Peter
Maccabees
X
Stephan PP
Finding Stephen
Transfiguration vigil
Transfiguration day
X
Syxtus X X
Felicity & Agapitus
X
Cyrus
X
166

Table Continued
Pa903 Item
AMS GALL
Regional
Local SS
Laurence vigil
X
Laurence Day
X X
Tiburcus
X
Hipplyte
X X
Eusebius
X
Assumption Mary X X
Octave Laurence X
Agapitus
X
Timothy
Bartholomew
X
Aredius
X
Hermes
X
P
a Sabine X
9 Beheading John Baptist X
0
3
Felix & Audactus X
Adrian X
L Gurgonus X
A Protus & Hyacinth X
C Exaltation of Cross X
U Cornelus& Ciprianus
N Nicodemus X
A Eufemia X
Luke evang
Caprasius
Mathew vigil
Mathew Day X
Cosmos & Damian X
Michael vigil
Dedication Basilica
X
Mark PP X
Dionysus&Rusticus
x
167
X
X
X

Table Continued
Pa903
AMS GALL
Regional
Local SS
Front
X
Simon,Jude vigil
X
Simon & Jude Day
X
Calixtus PP
X
All Saints vigil
X
Quentin
X
All Saints Day
Caesar
X
IV Crowns X
Theodore
X
Martin vigil
X
Menne
X
Martin Day X X X
Brictius
X
Cecilia
X X
Clement
Felicity
X X
Chrysogonous X
Saturninus I & II
X X
Andrew vigil X
Andrew Day X X
Elegius
X
Valerie
X
Trinity
X
168

APPENDIX A3-3 PA903 AMS GALL TOURS LIMOUSIN USAGE
This Appendix compares the sanctoral of Pa903 to sacramentaries from the following
eleventh- or twelfth- century Aquitanian sources:
Antiphonale Missarum Sextuplex Hesbert, AMS 8th, 9th Century
Gregorian Sacramentary Pa9438 9th Century
Gelasian Sacramentary Vat. Reg. lat. 316 9th Century
Gallican Sacramentaries Bobbio Missal, Missale Gothicum,
and the eleventh-twelfth- century sacramentaries from Tours and the Limousin as
follows:
Cathedral St. Martin of Tours Pa9434 (Missal 11th century)
Marmoutier (monastery near Tours) Bibl. Mun.Tours196 (sacramentary 11th
century)
Limousin Abbey Pa821 (sacramentary, early 12th century)
Abbey of St. Martial of Limoges Pa822 (sacramentary, 12th century).
Each of the latter sources was reviewed in Leroquais and the Proper feasts noted. 1
An “X” in a column denotes inclusion of the feast to the left of the X. Where the
source includes a feast not listed in Pa903 it is interpolated in the row in the approximate
calendar order. The Yppapanti feast at the time of the Purification of the Virgin refers to
a traditional Judaic ceremony, appropriated in the Byzantine rite, for the presentation of
Jesus in the Temple, and coincident with the Judaic ceremony for the purification of the
mother.
Particular feasts that are characteristic of the Tours ecclesia as well as St. Yrieix
include the Feast of St. Germanus of Paris, the Maccabees feast, and prominence for St.
Martin. The prominent Limousin feasts are those of local and regional saints, with a
conventional Gregorian feast for St. Martial. Summary Tables for Pa903 are provided in
the main text.
1 Dom Victor Leroquais, Les Sacramentaires et les Missels Manscrits des Bibliothèques
Publiques de France in 4 Vols. (Macon: Protat Frères a Macon, 1924) 3:148-151 (Pa9434), 3:145-147
(B.M. Tours MS 196), 3:203-204 (Pa822, 12 th century), 3:154-158 (Pas821, 11 th century).
169

170

171

172

173

174

175

APPENDIX A3-4 AQUITANIAN SANCTORALS
The table of feasts in the sanctoral of each of the Aquitanian graduals is
summarized in the following pages. The Aquitanian graduals used in this comparison are
the following from the eleventh-, early twelfth-centuries: 2
Pa903 Gradual of St. Yrieix, Paris Bibliothèque Nationale fonds latin 903
Pa776 Gradual of Gaillac, Paris Bibliothèque Nationale fonds latin 776
Pa780 Gradual of Narbonne, Paris Bibliothèque Nationale fonds latin 780
Pa1132 Gradual of St. Martial of Limoges, Paris Bibliothèque Nationale fonds
latin 1132,
Harley 4951 Gradual of Toulouse, London: British Library, Harley 4951
The intention is to show and compare the structure of each sanctoral. The feasts are
listed in calendar order; however, since some sources (including Pa903) do not include a
date for each feast, all feasts are listed in sequential order as they appear in each source.
The number of feasts is equivalent in the all of the graduals except Pa1132. This
source is the earliest gradual surviving from St. Martial of Limoges. It was produced
after the Cluny takeover of 1063 and reflects Cluniac usage. In addition it contains a
larger number of neo-Gregorian feasts than the other Aquitanian graduals. Consequently,
the part of the Table for Pa1132 has two columns, one for the conventional feasts
generally corresponding to the other graduals, plus an adjacent supplemental column
containing the additional feasts of this sanctoral. The order of the feasts has been
maintained.
2 See the bibliography for full bibliographic details of each source.
176

177

178

179

180

181

182

APPENDIX A4-1 PA903 ANTIPHONS
Complete Pa903 Antiphons with Concordances
The full list of antiphons in Pa903 is provided in alphabetic order in Table A4-1.1.
Concordances with AMS and the other Aquitanian graduals are noted in this Table. The
Aquitanian manuscripts compared include Pa903, Pa776, Pa780, and Harley 4951.
Pa1132 was included in the survey, but antiphons are not listed in this gradual.
Presumably they were collected in a different chant book at St. Martial of Limoges in this
period.
The last column on the right of the Table lists the identification of each antiphon
as it appears in the Antiphon texts section of the Cantus Planus website. 3 The sources
used in compiling the database include various antiphoners and graduals of the AMS,
major chant indices, including the Bryden and Hughes Index of Gregorian Chant, the
Graduel Romain, Liber Usualis, Processionale Monasticum, and Variae Preces, which
provide further access to the Gregorian repertory. 4 Included in the Cantus Planus
column are brief notes to identify those antiphons (1) which are not listed in C-P, (2) for
which sections of the text are unique to St. Yrieix (“unicum version,”) and (3) for which
five or less sources are identified as sources of the antiphon. The entries which list only
the CAO index number are for antiphons that are found in multiple sources (more than
five up to 28, maximum) which transmit the same text. These antiphons are
representative of the international repertory, while those with less than five sources are
set aside to investigate regional antiphon usage.
In all the following Tables of this Appendix the page number in PM13 for the
published antiphons and the folio number in Pa903 for the antiphons in the supplement to
the gradual are noted by a virgule (/) after the page number (in PM13, p./) or before the
folio number (in Pa903 manuscript, /f).
3 URL http://www.uni-regensburg.de/Fakultaeten/phil_Fak_I/Musikwissenschaft/cantus/ selected
for “antiphon texts,” downloaded as the antiphon.txt file.
4 These sources are listed in detail at the above URL
183

Table A4-1.1 Concordances with Aquitanian and CAO Sources
(*=unicum version)
Pa903 Incipit PM13p/f AMS Pa776f Har4951f. Pa780f CAO Feast
Adiuro vus filie hierusal /143
145v
BVMary
Adoramus te xriste 141/
98v(Roman)
1297 Lord Pass.
Adoremus crucis signac 139/
64v
61 1292 Lord Supp.
Adorna thalamum 46/
26v XXX
1019 Purif.BVM
Alleluia Alleluia Hodie /182
84
Sabb.Pent
Ambulate sancti Dei …. /138v X 142v
1367 Relics
Ambulate Dei…maiestat /137v X 142v
1367 FR. II
Angeli archangeli…nob /143v
141
All Saints
Angelus domini descen 147/
68 CII v
1412* Easter
Annunciate inter gentes /137v X 143v
1427 FR. II
Ante diem festum pasch 134/
62v
1431 Lord Supp.
Ante sex dies sollempni 119/ X 55
54 1437 Palm. Sun.
Appropinquante ihesu 120/ X 55 LXIIII v 53 1465* Palm. Sun.
Arbor decora fulgida 143/ rhyme 65 98 (Rom)
* Lord Pass.
Asperges me Domine /143v
139
107v 1494 Post Pent
Ave gratia plena 46/ X 26 XXX 21v 1538 Purif.BVM
Ave rex noster 118/
55 LXXIIII
1543 Palm. Sun.
Benedic Domine domu /144v
140v
107v 1685 Post Pent
Benedicat dominus cor 134/
62
119 1689* Lord Supp.
Benedicat vos summa /145
140v
79
Post Pent
Benedictus deus partum 136/
144
1717* Lord Supp.
Cena facta sciens domi 133/
62 LXXXV 58v 1780 Lord Supp.
Ceperunt omnes turbe 118/
55v
Palm. Sun.
Christe pater misericor 69/
34v LXXII 31v 1884 Lent
Christus resurgens 147/
69v C 64 1796 Easter
Collegerunt pontifices 117/ X
LXIIII
1852 Palm. Sun.
Confitemini Domino fili /134 X 83 CXII 75v 1879 Let.Maior
Congnouimus domine 65/ X
1849* Cap.Iun
Congregauit nos Christu 132/
98v(Rom) 59 1888 MaunThurs
Congregauit nos in unu 132/
61v
1888* MaunThurs
Conuertimini omnes 65/
1925* Cap.Iun
Convertere Domine… /137v X 86
1919 Penitents
Cor contritum et humili /147
Healing
Crucem tuam adoramus 141/ X
60v 1954 Lord Pass.
Crux alma fulget 142/
65v
1960 Lord Pass.
Crux fidelis inter omnes 143/
65 88v(Rom)
1962 Lord Pass.
Cum appropinquaret 118/ X 54v LXXIII 53 1976 Palm. Sun.
Cum audisset populous 117/
54v LXIII v 53 1983 Palm. Sun.
Cum iocunditate…cum /137 X
CXV 78 2015 FR. III
Cum rex glorie 148/
68v CI v
2031 Easter
Cum sederit filius 70/
34v
2032 Lent
Cum venerimus ante 70/
139v
2042 Lent
184

Pa903 Antiphon
Incipit PM13p/f AMS Pa776 Harl.4951 Pa780 CAO Feast
Cum venerit paraclit 141v
69v CXXIIIv 31v 2044 Ascension
Custodi domine greg /145
140v
Post Pent
Custodi me Domine… /147
Healing
Custodi nos Domine… /145
139v
Post Pent
Custodit Dominus ani /138v X
Relics
De hierusalem exeunt /133v X 83/85v CXVII v 78 2109 Let.Maior
Deprecamur te Domin /135 X 84v
2151 Let.Maior
Deus amator bonorum /146
144v
Safe ourn
Deus caritas est 131/
6v
2167 MaunThu
Deus qui es benedictus /144v
143v
78v 2181 Post Pent
Diligamus nos 131/
61v
58 2231 MaunThu
Dimitite Domine pecca /134v X 85 CXVI
2287 Let.Maior
Dimitte Domine peccat /135v X 86v CXVIIII
2236 Let.Maior
Dimitte nobis Domine /135v
86
2238 Let.Maior
Dixit autem ihesus 132/
2167 MaunThu
Domine Deus noster /134 X 141v CXII 75 2336 Let.Maior
Domine imminuti sumu /134 X 83v CXII v
2347 Let.Maior
Domine miserere nostr /140 X 141v
Enemies
Domine non est alius /134v X 84v CXV v
2360 Let.Maior
Domine rex Deus Abra /138v X 141v
77 2376 Rain
Domine rigans…creatu /139 X 142
Rain
Domine si iratus 64/
86
2385 Cap.Iun
Dominus Ihesus locuut /147
Healing
Dominus omnipotens… /147
144v
ClericOrd
Domnie tu michi lauas 130/
LXXXII
4889 MaunThu
Domum istam protege 135/
62
2424 LordSupp
Ducti sunt Petrus et /142
101 CLI v
Peter
Dum duceretur Petrus /142
101 CLI
2446 Peter
Dum fabricator mundi 140/
64v 88(Rom) 61 2453 Passion.
Ecce karissimi dies 72/
4 1st pgs. 45 2497 Lent
Ecce lignum crucis 139/ X 64 87v 60v 2522 LordSupp
Ecce maria uenit 47/
26v
21v 2523* PurfBVM
Ecce nunc tempus 71/
35
31 2532 Lent
Ecce populus custodie /138 X 142
2534 Relics
Ego sapientia … cora /145v
140
107v
Post Pent
Ego sum alfa et O 147/
70 C v 67,77 2589 Easter
Ego sum Deus patrum /133v X 83 CXI 75 2591 LetMaior
Emitte spiritum sanctu 21/
15
2642* Advent
Exaudi Deus deprecati /135 X 85v CXVII v
2765 LetMaior
Exaudi domine deprec /134v X 84v CXV v
2765 LetMaior
Exaudi Domine lacrim /139 X 141v
Rain
Exaudi Domine populu /138v X 141v
2768 Rain
Exaudi nos domine 64/ X 33
29v 2770 Cap.Iun
Exaudi nos Domine qui /139v X 141
2769 Serenity
Exclamemus omnes ad /134 X 83v
2780 LetMaior
185

Incipit Pa903
PM13
p/f. AMS Pa776 f. Harl.4951 Pa780 CAO Feast
Exite sancti orate…cir /137v
83
FR. IV
Exurge Domine…nome /136v X 83
FR. III
Factum est prelium… /142v
117v p.298
Michael
Gregem tuum Domine /146v
139v
2980 Compline
Haec est generatio… /145v
144
2999 Cleric Ord
Hic accipiet benedictio /147
144
3047 Cleric Ord
Immutemur habitu 64/ X 38v
29v 3193 Cap.Iun
In die quando uenerit 71/
35 LX 26 3221 Lent
In die resurrectionis 146/
67v
68 3222 Easter
In diebus illis mulier 130/
61 83(Rom) 58 3224 MaunThurs
In hoc cognoscent omn 131/
61
58v 3239 MaunThurs
In sanctis gloriosus … /137v X 86v
3284 FR. II
Inclina Domine aurem /135 X 86 CXVII v
3315 Let.Maior
Iniquitates nostrae… /134 X 83v CXII v
3346 Let.Maior
Intrantes in templum* /145
Post Pent
Intret oratio mea… /147v
Healing
Introeuntem te domine 120/
55v
3387 Palm. Sun.
Inundaverunt aque Do /139 X 142
3393 Serenity
Invocantes Dominu ex /135v X 84v
3400 Let.Maior
Iohannes est nomen… /142
98v
John Bapt.
Iuxta uestibulum 64/ X 33v
3554 Cap.Iun
Karitas est summum 132/
63
1772 MaunThurs
Lapidem quem reproba 149/
69v
3577 Easter
Letare uirgo maria 18/
13v
Advent
Libera Domine populu /139v X 141
3615 Serenity
Lignum uite crucem 141/
65
3627 Lord Pass.
Longo contritus carcer 148/ X 69 CI 81 3632 Easter
Lumen ad reuelatione 47/
21 3645 Purif.BVM
Mandatum nouum do 130/
60v 82v(Rom) 58 3688 MaunThur
Maneant in nobis 131/
61v
3692 MaunThur
Manete autem 131/
MaunThur
Maria ergo unxit 132/
61 83v(Rom) 58v 3699 MaunThur
Memor humane conditi 69/
35
31v 3138* Lent
Memor sit Dominus… /141
93v LV
Bishop
Miserere Domine et /139v X 141
Serenity
Miserere Domine plebi /134v X 84v CXV v
3772 Let.Maior
Miserere Domine
Prayers
Miserere michi /147
Healing
Miserere pater iuste
Prayers
Misit denique aqu 133/
3782 Lord Supp
Mittat tibi Dominus /147
Healing
Monasterium istud…ex /145
P. Pent
186

Pa903 Antiphon Incipit
PM13
p./f. AMS Pa776 Harl.4951 Pa780 CAO Feast
Mulier que erat 132/
61 LXXXIII 58v 3822 MaunThurs
Multa sunt Domine … augu /135 X 84v CXV v
3829 Let.Maior
Multa turba iudcorum 120/
55v LXXV
3830 Palm.Sun.
Non in iustificationibus /135v
86v CXVIII v
Let.Maior
Non nos demergat…multis /139v X 142
3925 Serenity
Nos autem gloriari 142/
69v CII
3954 Lord Pass.
Numquid est in idolis pluv /138v X 142
77 3971 Rain
O admirabile precium 140/
3987 Lord Pass.
O beata infantia 18/
13v XI v 9 3994 Advent
O crux admirabile signum 141/
65 88v(Rom)
4018 Lord Pass.
O crux benedicta que sola 141/
65
4016 Lord Pass.
O crux benedicta quia in te 142/
65
61v 4017 Lord Pass.
O crux splendidior 140/
64v 88(Rom)
4019 Lord Pass.
O crux..sanguis eius adoran 142/ X
Lord Pass.
O crux… sanguis eius effus 141/
Lord Pass.
O maria iesse 17/
13 XI v 8v 4036 Advent
O quam casta 17/
13
4060 Advent
O Rex gloriose*…benedi /146v
Compline
Occurrunt turbe 118/
55v
4107 Palm Sun.
Omnipoten Deus supplice /144
139
78v 4143 Post Pent
Oportet nos mundum…past /144
139v
107v 4164 Post Pent
Oremus dilectissimi nobis /143v
139
78 4190 Post Pent
Parce Domine …irascaris /134 X 83v CXII 75v 4219 Let.Maior
Pax eterna ab eterna patre… /145
4252 Post Pent
Pax huic domui…regredient /145
140v
120
Post Pent
Peccavimus Domine…fili /139v
85
4258 Serenity
Peccavimus Domine…mise /135 X 84v
77 4257 Let.Maior
Per signum crucis 142/
65v
4264 Lord Pass.
Per signum sancte ac uenera 142/
69v
4265 Lord Pass.
Plateae Iherusalem…dicent /138v
142v
4299 Relics
Popule meus quid feci 139/
4312 Lord Supp.
Populus sion convertimini /134 X 83 CXI v 75,77 4314 Let.Maior
Post quam ergo lauit 133/
82(Rom)
4336* Lord Sup.
Post quam resurrexit 149/
68v
81
Easter
Post quam surrexit dominus 130/
60v
4339 MaunThur
Prima autem die 120/
56
4375 Palm.Sun.
Propitius esto domine…De /133v
84v
76 4393 Let.Maior
Pueri acbreorum tollentes 118*/
55v
4415 Palm.Sun.
Pueri ebrorum uestimta 118*/
55v
52v 4416 Palm.Sun.
187

Table A4-1.1 Concluded
Pa903 Antiphon Incipit
PM13
p./f. AMS Pa776 Harl.4951 Pa780 CAO Feast
Redemptor mundi conserva /145
144
King
Respice Dominie… extera /138v X 142
77
Rain
Responsum accepit simeon 47/ X 26v XXX v 21v 4638 Purif
Rogamus te Rex
Prayers
Saluator mundi salua nos 141/ X 65v 88(Rom) 79v 4690 Lord Pass.
Salvator mundi…mereamur /143v
143v
4689 All Saints
Sana Domine*…referat /147
Healing
Sanctifica nos domine 142/
65v 88(Rom)
4744 Lord Pass.
Sanctus Deus…sanctus fort /137v
85v CXVII v
1755 FR. IV
Si clauso celo … ad /139
141v
77
Rain
Si ego dominus 130/
60v LXXXII
MaunThu
Si fecissimus…populo tuo /135v X 86 CXVIII
Let.Maio
Sicut Pastor…Israhel /144v
139v
Post Pent
Sicut ros hermon…benedict /147
144v
Cleric Ord
Signum salutis pone…plaga /144v
139
107v
Post Pent
Sit Dominus Deus…Deus /146 X 144
King
Spiritus sanctus hodie*… /141v
84
Pentecost
Stetit angelus 146/
68
5029 Easter
Super omnia ligna 144/
65v 90v(Rom) 61v 5061 Lord Pass.
Surgens dominus ihesus 149/
69
66v,68 5073 Easter
Surgit ihesus a cena 133/
LXXXII
1165* Lord Sup.
Timor ac tremor…reverter /138
86v CXVIII v 78v
Death
Tota pulchra…coronaberis /143
143
5162 BVMary
Tu es Domine…michi /146v
144
Cleric Ord
Tuam crucem adoramus 142/
65
5227 Lord Pass.
Tunc precinxit se 132/
5249* MaunThu
Ubi est caritas et dilectio 131/
61v
5259 MaunThu
Ubi fratres in unum 131/
61v
58v 5261 MaunThu
Ubi sunt misericordiae… /139v X 141v
Serenity
Ve nobis quia peccauimus 139/
LordSupp.
Veniente domino ihesu 119/
55
5331* PalmSun.
Venit ad petrum 134/
5340 LordSupp
Venit mariae magdelenae 146/
68
5344* Easter
Venite et accendite 47/
26v XXX
PurifBVM
Venite populi ad sacrum 154/
72
1181 Easter
Versus. Beatus qui audit… /
Post Pent
188

Pa903 Antiphon Incipit PM13/f. AMS Pa776 Harl.4951 Pa780 CAO Feast
Vespere sabbati 146/
67v 98v(Rom)
5371 Easter
Vidi aquam 145/
67v
63v,84 5403 Easter
Vigilate et orate…altare /146v
5419 Compline
Vigilemus omnes* … regna /146
Compline
Visita Domine habitatione* /146v
Compline
Vos uocatis me 133/
60v LXXXII 58 5504 LordSupp.
Total. ANs less 4 duplicates 206
Total Antiphons
** Includes Pa903 unicum antiphons
59 169 69 70 136**
Antiphon Summary
AMS Antiphons
59
CAO Antiphons in multiple sources 19
Subtotal CAO International Antiphons
CAO Antiphons Pa903 unica 8
No CAO listing & no Aquitainian concordance 13
Other regional antiphons 107
Subtotal Regional Antiphons 128
Total Antiphons Pa903 206
189
78

To complete this summary of Pa903 antiphons, Table A4-1.2 lists the AMS
antiphons with concordances in Pa903 and the other Aquitanian graduals. The Table
includes (1) four of the Pa903 antiphons with concordance only with AMS, (2) twentyone
antiphons with two concordances, almost exclusively with AMS and Pa776, but also
one antiphon each with AMS and Harley4951 and Pa780, respectively. (3) Nineteen
antiphons showed concordances with three other Aquitanian graduals, again all with
AMS and Pa776 plus ten with Harley4951 and nine with Pa780. Finally, (4) twelve of
the Pa903 antiphons were in concordance with AMS plus all three of the Aquitanian
graduals which transmit antiphons.
The Letania Maiore is the feast with the most AMS concordances, including ten
antiphons with concordances in all four of the Aquitanian graduals including Pa903.
AMS antiphons with fewer concordances with Pa903 were also assigned to votive
Masses, Lent, and Holy Week as shown in the Table.
190

Table A4-1.2 Gregorian Antiphons in Pa903 with Concordances
PM13 Pa776
Pa780
Pa903 Antiphon Incipit
p/f. AMS f. Har4951f. f. Feast
Ambulate sancti Dei …. Ab origine /138v X 142v
Relics
Ambulate sancti Dei…maiestatem /137v X 142v
FR. II
Annunciate inter gentes…in eis /137v X 143v
FR. II
Ante sex dies sollempnis pasche 119/ X 55
54 Palm. Sun.
Appropinquante ihesu 120/ X 55 LXIIII v 53 Palm. Sun.
Benedicat dominus corda 134/ X 62
119 Lord Supp.
Collegerunt pontifices 117/ X
LXIIII
Palm. Sun.
Confitemini Domino fili…mirabilia /134 X 83 CXII 75v Let.Maior
Congnouimus domine
65/ X
Cap.Iun
Convertere Domine…direige nos /137v X 86
Penitents
Crucem tuam adoramus 141/ X
60v Lord Pass.
Cum appropinquaret
118/ X 54v LXXIII 53 Palm. Sun.
Cum iocunditate…cum gaudio /137 X 83/84v CXV 78 FR. III
Custodit Dominus animas sanctor /138v X
Relics
De hierusalem exeunt reliquie… /133v X 83/85v CXVII v 78 Let.Maior
Deprecamur te Domine…peccavi /135 X 84v
Let.Maior
Dimitite Domine peccata populi /134v X 85 CXVI
Let.Maior
Dimitte Domine peccata…nostre /135v X 86v CXVIIII
Let.Maior
Domine Deus noster qui cum pa /134 X 141v CXII 75 Let.Maior
Domine imminuti sumus /134 X 83v CXII v
Let.Maior
Domine miserere nostri…Deus no /140 X 141v
Enemies
Domine non est alius Deus…in bon /134v X 84v CXV v
Let.Maior
Domine rex Deus Abraham…Deus /138v X 141v
77 Rain
Domine rigans…creatura tua /139 X 142
Rain
Ecce lignum crucis
139/ X 64 LXXXVII v 60v Lord Supp.
Ecce populus custodiens /138 X 142
Relics
Ego sum Deus patrum vestrorum /133v X 83 CXI 75 Let.Maior
Exaudi Deus deprecationem nostr /135 X 85v CXVII v
Let.Maior
Exaudi domine deprecationem /134v X 84v CXV v
Let.Maior
Exaudi Domine lacrimas…Deus /139 X 141v
Rain
Exaudi Domine populum…Deus /138v X 141v
Rain
Exaudi nos domine
64/ X 33
29v Cap.Iun
Exaudi nos Domine qui exaudisti /139v X 141
Serenity
Exclamemus omnes ad Dominum /134 X 83v
Let.Maior
Exurge Domine…nomen tuum /136v X 83
FR. III
Immutemur habitu
64/ X 38v
29v Cap.Iun
Inclina Domine aurem tuam… /135 X 86 CXVII v
Let.Maior
Iniquitates nostrae…misercordiam /134 X 83v CXII v
Let.Maior
Inundaverunt aque Domine… /139 X 142
Serenity
Invocantes Dominum exclamamus /135v X 84v
Let.Maior
Iuxta uestibulum
64/ X 33v
Cap.Iun
Libera Domine populum tuum /139v X 141
Serenity
Longo contritus carcere 148/ X 69 CI 81 Easter
191

PM13 Pa776
Pa780
Pa903 Antiphon Incipit
p/f. AMS f. Har4951f. f. Feast
Parce Domine …irascaris nobis /134 X 83v CXII 75v Let.Maior
Miserere Domine et dic…animam /139v X 141
Serenity
Miserere Domine plebi tuae /134v X 84v CXV v
Let.Maior
Multa sunt Domine … augustie /135 X 84v CXV v
Let.Maior
Non nos demergat…multis /139v X 142
Serenity
Numquid est in idolis pluviam /138v X 142
77 Rain
O crux..sanguis eius adorandus 142/ X
Lord Pass.
Peccavimus Domine…miserere /135 X 84v
77 Let.Maior
Popule meus quid feci 139/ X
Lord Supp.
Populus sion convertimini /134 X 83 CXI v 75,77 Let.Maior
Propitius esto domine…Deus /133v X 84v
76 Let.Maior
Respice Dominie… extera tua /138v X 142
77 Rain
Saluator mundi salua nos 141/ X 65v LXXXVIIII 79v Lord Pass.
Si fecissimus ..populo tuo 135v X 86 CXVIIII
Let maior
Sit dominus deus
/146 X 144
King
Ubi sunt misercordiae /139v X 141v
Serenity
192

APPENDIX A4-2 PA903 TROPES
Table A4-2.1 summarizes each of the tropes for the Mass in Pa903 as follows:
Col. 1 Chant Incipit
Col. 2 Folio number (Proper trope folia: ff. 147v-167)
Col. 3 Comments including Chant genre, Feast, and incipit of the troped chant in
the feast .
Each additional trope in the same genre in the Pa903 gradual is marked and numbered
Alia1, Alia2, etc. Where the troped chant is not provided in the comment column, the
trope does not agree with the chant cited in the gradual. In the Tables above, the (*) after
the chant genre (CH) abbreviation is used as follows:
(1) CH* = this trope for the chant genre CH cues a different chant from
that specified for the feast
(2) CH** = this trope is listed for a feast that is not in the gradual.
193

Table A4-2.1 Proper Tropes ff.147v-163
CH*= CHant not used for listed feast CH**=Feast not listed in gradual
Pa903 Tropes Incipit
PM13ff. Comment
Quem queritis inn presepe pastores 147v IN Christmas Puer natus est
Gaudemus hodie qui a deus
147v IN Christmas Puer natus Alia
Ecce ad est uerbum de quo prophete 148 IN Christmas Puer natus est
Qui es sine principio
148 OF Christmas Tui sunt caeli
Desinat esse dolor
148 CO* Christmas
Statuerunt apostoli septem
148v IN Stephen Et enim sederunt
Salus martirum hodie stephanum 148v IN Stephen Et enim Alia1
Hodie Staphanus martir caelos
148v IN Stephen Et enim Alia2
Alme dei Stephane leuite
149 OF Stephen Elegerunt apostoli
Lauream regni cum triumpho
149 OFV1 Stephen Surrexerunt
Sanguinem innocuum sine ciusa
149 OFV2 Stephen Exclamantes
Intuitus caelum beatus Staphanus 149 COM Stephen Video caelos
Grandine lapidum
149 Stephen Ite missa est
Ecce iam iohannis ad est
149 IN John Evang In medio Eccl
Fons et origo sapientie
149 IN John Evang In medio Alia1
Celica celestem decantauit
149v IN John Evang In medio Alia2
Psalite dilecto meruit
149v OF John Evang Justus ut Palma
Corda fratrum fama uoluunt
149v CO John Evang Exiit sermo
Hodie paruulorum cunule precioso 149v IN Innocents Exore infantium
Dicite nunc pueri psallentes
150 IN Innocents Exore Alia1
Quam miranda facis deitas
150 IN Innocents Exore Alia2
Infantum dic die nunc inclita turba 150 OF Innocents Anima nostra
Psallite sanctorum preconia
150 CO Innocents Vox in rama
Hec est praeclara dies tribus
150 IN Epiphany Ecce aduenit
Eva sion gaude et letare
150v IN Epiphany Ecce aduen Alia1
Descendens ib aetherei stellato
150v IN Epiphany Ecce aduen Alia2
Regi Xhristo iam terris
150v OF Epiphany Regres tharsis
Stella preuia reges ab oriente
150v CO Epiphany Vidimis
Caelica sanctorum quod clamat turba 151 IN Fabian&Sebastian Intret in conspectu
Suscipe sanctorum festiuas rex
151 IN Fabian&Sebastian Intret Alia1
Floria martyrum et corona
151 IN Fabian&Sebastian Intret Alia2
Vera est in caelis sanctorum
151 OF Fabian&Sebastian Letamini in dno
Summa dei proles humano
151 CO Fabian&Sebastian Multitudo langue
O nova res en uirgo uenit
151v IN Purification BVM Suscepimus deus
Pectore laudi fluo
151v IN Purification BVM Suscepimus Alia1
Celorum rex aduenisti
151v IN Purification BVM Suscepimus Alia2
Aurea dauitica prodisti
151v OF Purification BVM Diffusa est
194

Pa903 Tropes Incipit
PM13ff. Comment
Felix qui meruit promissum
152 CO Purification BVM Responsum accepit
In iubilo vocis Benedicto
152 IN* Benedict Os iusti
Psallite doctilogo quod iure
152 IN* Benedict Os iusti Alia1
A domino ampletum sacro
152 IN* Benedict Os iusti Alia2
Christus furexit amor tuis
153 Ante Prosa Benedict Fulgens preclara
Ab increpatione et ira
153 OF* Benedict
Laus honor uirtus deo nostro
153 CO* Benedict
Haec est nimis pre fulgida festa
153v IN FRII post pasche Introduxit
Et ecce terrae motus factus est
153v OF FRII post pasche Angelus domini
Discipulis dominus referans
153v IN FRIII post pasche Aqua sapientia
Nos dominus qui est lucis
154 IN FRIIII post pasche Venite Benedicti
Ecce omnes redemptio genus
154 IN Oct Pasche Quasi modo geniti infantes
Et ecce terrae motus ut
154 OF Oct Pasche
Glorientur cuncti fideles Christi
154 IN* Cross (Inventio) Nos autem
Gloria nostra crucis est
154v INGL Cross (Inventio) Gloria patri
Quem creditis super astra
154v IN Ascension Uiri galilei
Montis olivi feri Christus
154v IN Ascension Uiri galileiAlia1
Celsa potestas qui
155 IN Ascension Uiri galileiAlia2
Elevatus est rex fortis
155 OF Ascension Uiri galilei
Ab in tuentium
155 OF V Ascension Cum que in tuorentur
Corpus quod nunc in terra
155 CO Ascension Psallite domino
Hora est psallite iuboque dominus 155 IN Pentecost day Spiritus domini repleuit
Inclita refulgoque dies ualde
155v IN Pentecost day Spiritus ad PL
Discipulis flammas infundens
155v IN Pentecost day Spiritus Alia1
Sanctus inveniens sanctorum
155v IN Pentecost day Spirit Alia2
Pangite iam focii
155v OF Pentecost day Confirma hoc deus
Dum essent discipuli propter
156 CO Pentecost day Factus est repente
Quem creditis in orbeo
156 IN John Baptist day Deuentre matris
Turba polelis ouans casro
156 INPs John Baptist day Bur…
Ad dei non strandum preclari luminis 156 IN John Baptist day Alia1
Johannes est hic domum
156v INGL John Bapt day Gloria patri
Prescius olim ferma prophetalis
156v IN John Baptist da DeuentreAlia1Protexit
Johannes est hic domum
156v OF John Baptist day Iustus ut palma
Quem iohannes in iordane
156v AGN John Baptist day Agnus dei
Preuius hic de quo pater
157 CO John Baptist day Tu puer propheta
Petro ad hostium pulsanti
157 IN Peter in Chains Nunc scio
Apostolorum principem caelebre
157 INPL Peter in Chains Domine probasti
Ecce dies ad est apostolorum
157 IN Peter in Chains Nunc scio Alia1
Divina beatus Petrus
157v IN Peter in Chains Nunc scio Alia2
Mundum uel irester
157v OF Peter in Chains Constitues
195

Pa903 Tropes Incipit ff. Comment
O pastor e gregie nosetrarum uinculua 157v OF Peter in Chains Tu es Petrus Alia1
Iam patronis emicant festa Christo 157v IN Martial Statuit ei domini
Plebs deuota deo nostrum
158 INPL Martial Benedictionem super caput
Marcialem duodenus apex
158 IN Martial Statuit ei Alia1
Marcialis meritum quii fulsit
158 IN Marial Statuit ei Alia2
Marcialem dominus roborat
158 OF Martial Et in nomine not in gradual
O sacer gloriose tibi laus
158v CO Martial Beatus seruus
Lauream regni tenet leuita Laurentius 158v IN Laurence day Confessio et pulchritudo
Quie quid sanctum constat magno 158v INGL Laurence day Confessio Alia1
Fulget nempe dies cunctis
158v INGL Assumption Gaudeamus omnes
Almi regis ianua lueida famulo
159 INPLV Assumption Ps. Magnus dominus
Celi regina hodie ad poli peruenit 159 GL Assumption Gloria patri
Alam sanctam nunc ingressi
159 IN Assumption Gaudeamus Alia1
Christicole laudum modulos
159 IN* Aredius Os iusti not listed Aredius
Carmina iam reboent lirico
159 INPs* Aredius Noli emulari
Emicat ecce dies ueneranda
159 IN* Aredius Os iusti Alia1
Cerna depromat modulamina nos 159v INGL* Aredius Gloria patri
Inclita dauitica preconia carminis 159v IN* Aredius Os iusti Alia2
Splendore sollempni rutilat dies
159v IN** NL St. Mary not in gradual
Principis aetherei Michaelis festa 159v IN** Michael Archangel in Pa903 lacuna
Hodie mundo festiuus illuxit
160 IN All Saints day Gaudeamus omnes
Gaudete angeli omnes sancti
160 INPL All Saints day IN psalm
Hodie est fratres
160 GL All Saints day Gloria patri
Ecce Christicole psallentes carmina 160 IN All Saints day Gaudeamus Alia1
Martinis meritis uirtutum
160 IN* Martin day Statuit ei
Letabunda per orbem nunc emicat 160v IN* Martin day Statuit Alia1
Eva gaudete Martino quia pium est 160v IN* Martin day Statuit Alia2
Celse deus pre eibus Martini
160v OF Martin day Posuisti
His dictis prelucens morum
161 CO Martin day Beatus seruus
Alma dies cunctis nimium
161 IN Andrew day Michi autem
Leta cohors proclamet
161 INPS Andrew day Domine probasti
Concinat Andree sancti plebs
161 INGL Andrew day Gloria petri
Christe tuos mundo segregas
161 OF Andrew day
Ut meruit Christi glis cens in uisere 161 CO Andrew day Dicit Andreas
Nobile apostolicum ad mirans decus 161v IN Apostles day
Psallite tam quod Saturninus
161v IN** One Martyr Saturninus featured
Celica sanctorum quod clamat turba 161v IN** Mutliple Martyrs
Suscipe sanctorum festiuas rex
161v IN** Mutiple Martyrs Alia1
Vera est in caelis sanctorum
162 OF** Multiple Mart
Summa dei proles humano
162 CO**MultiMartyrs
196

Pa903 Tropes Incipit
ff. Comment
In sancti huius laude celsa
162 IN** Confessors
Ad est nunc caelebranda
162 IN** Virgins
Ecce iam omnes Christicole valeriam 162v IN** Virgins Alia1
Caelebremus ouanter festa aeclesiae 162v IN Dedicat. of church Terribilis est locus
Tripudi antes reboemus
162v INPL Ded. Of Church Dominus regnauit
Hic trina sonat deitas
162v IN Ded. Chur Terribilis Alia1
Hanc duina manyus faerauit
163 IN Ded. Chur Terribilis Alia2
Concrepet aeclesie laudes uoce
163 OF Ded.Chur Domine deus in simplicita
Domum istam tu pretegere digneris 163 CO Ded. Church Domus mea in orationis
197

APPENDIX A4-3 COMPLETE PA903 PROSULAS AND PROSAS
Table A4-3 below is in two parts and lists the complete repertory of prosulas and
prosas found in Pa903. They are listed alphabetically by incipit with concordances in
Pa776, Pa1132, and Wo79. The latter source is a general collection of prosulas from all
over Europe; concordances were taken from the Limousin group in the source. Prosulas
were not found in Pa780 or Harl.4951. Also included in the Table are the rubrics
(sometimes ambiguous) found in the manuscript and the proper category to which the
chant belongs.
An additional detail of the complete set of prosulas and prosas of Pa903 is the
pattern of concordances. The concordant prosulas of Pa903 match only with Pa776,
while the concordant prosas match only to Pa1132. A concordance in Pa776 is never
matched by another concordance with Pa1132 for the same chant. The much fewer
Wo79 concordances in the Table always agree with those of Pa776. One way to obtain
this result is that the cantor producing Pa903 referred directly to Pa776 and Pa1132 in
choosing the prosulas and prosas. Two other possibilities are (1) use of a fourth
manuscript as exemplar for all three sources and (2) use Pa903 as exemplar for Pa776
and Pa1132 for prosas and prosulas, respectively. The latter hypothesis, however, is
plausible without altering the dates of origin of the manuscripts, since Pa903 from the
first half of the eleventh century is the oldest manuscript of the group. 5 Otherwise, the
date of Pa903 would be moved to the end of the eleventh century to be compatible with
the origin of Pa776 and Pa1132.
The list of prosulas and prosas in Pa903 without concordances form a group of St.
Yrieix chants, specifically associated with Pa903, and so listed in Chapter IV.
5 Concordance information is useful, but alone is not definitive, in estimating the date of
manuscripts because of the various logical possibilities to obtain the observed pattern of concordance.
Making Pa903 an exemplar for Pa776 also would be consistent with a date of origin of Pa776 earlier than
1079, the date the monastery of Gaillac transitioned to a chapter of Canons.
198

199

200

201

APPENDIX A5-1 NEO-GREGORIAN REPERTORY
The neo-Gregorian chants in Pa903 are distributed throughout the manuscript: in
the temporal, sanctoral, and ritual Masses, and in all the chant genres of the Mass. This
Appendix identifies these chants by liturgical assignment in the gradual and by their
Mass chant genre. These chants appear in all of the Mass genres of the formulary in
complete neo-Gregorian Masses; as single chants, they appear in individual neo-
Gregorian and Gregorian feasts. The neo-Gregorian alleluia is frequently found in both
Gregorian and neo-Gregorian Masses throughout the gradual.
This Appendix lists the complete repertory of neo-Gregorian chants in Pa903 in
Table A5-1.1. The Table comprises 314 chant entries, including each instance of a chant
assigned to multiple feasts. The resulting group is a significant body of chant, taken from
150 Masses of the gradual. The distribution of neo-Gregorian chants in each Mass chant
genre for each category of feast is given below. 6
Distribution of Neo-Gregorian Chants in Pa903
Sanctoral
Classification\ Temporal Ritual Greg. Neo-Greg
Genre
Feast Feast Totals
IN
3 7 2 10 22
GR
2 3 1 6 12
AL
78 5 93 52 228
TR
8 0 5 4 17
OF
2 3 0 8 13
CO
7 5 0 10 22
Totals
100 23 101 90 314
6 Alleluias account for two thirds of the total. The neo-Gregorian alleluias in Table A5-1.1 were
obtained from Herzo, “Five Aquitanian Graduals: Their Mass Propers and Alleluia Cycles,” Ph.D. diss.
University of Southern California, 1966 : 78-160.
202

Table A5-1.1 Complete List of Neo-Gregorian Chants in Pa903
Incipit Pa903
Genre Pa903 Feast
A Christo de caelo
GR Conversion of Paul
Absolue domine
CO 1 For the Dead III
Adiuua sancte tuos
GR Saturn II
Aduersum me
CO FR2 Holy Week
Amavit eum
AL Hippolytus
Angelus domini no.1 AL FR 5 p Easter
Angelus domini no.2 AL Sun in Alba
Apparuerunt apostoli AL FR5 below Oct Pent
Ardens est
AL Sun4 p Easter
Ascendo ad patrem
AL3 Ascension Day**
Assumo celo
GR Sat. 12lessons Adv.
Assumpta est no.1
AL Assumption
Ave Maria
TR Annunciation BVM**
Beata Agathes
AL Agatha
Beatam Aredii
GR Aredius
Beati estis ..qui cotidie AL1 All Saints Day
Beati estis ..qui meruistis AL2 All Saints Day
Beati mondo cor
CO All Saints Day
Beati omnes qui timent GR Nuptials
Beati quorum
AL Sun4 p Pent
Beatus Laurentius
AL Laurence Oct
Beatus Petrus
AL Peter
Beatus uir qui suffert AL2 Victor
Beatus vir qui suffert AL Agapitus
Beatus vir qui suffert AL Chrysogonus
Benedicamus patrem (2 versions) AL Trinity
Benedicat nos deus deus noster TR 2 Lent
Benedicat te
IN Ordination Bishop
Benedicta tu no. 2
AL Assumption
Benedicta tu no.1
AL Assumption
Benedictus dominus
IN Undertaking journey
Benedictus es (2 versions) AL Trinity
Benedictus sit dei
AL Trinity
Biduo vivens
AL Andrew
Bonum certamen
AL Paul
Cantabant sancti
AL Innocents
Cantate domino no.2 AL Sun13 p Pent
Cantatibus organis
AL Cecilia**
203

Neo-Greg chants continued
Incipit Pa903
Genre Pa903 Feast
Christe deus
IN Saturn II
Christus pro nobis
IN FR5 Lord's Supper
Christus resurgens no.1 AL Sun5 p Easter
Christus resurgens no.2 AL Sun3 p Easter
Confessor domini
AL1 Benedict Translation
Confitebuntur
GR Primus&Felician**
Confitebuntur daeli no.2 AL Philip & James
Confitemini domino
TR 2 2Sun. Lent
Confitemini domino
AL Litany major
Constitues eos
AL2 Barnabas
Constitues eos
AL2 Germanus
Constitues eos no.2
AL Luke evangelist
Crastina die
AL Christmas vigil
Crucifixus surgens
AL Sun2 p Easter
Crux Ihesu Christi
CO 4 FR5 Lord's Supper
Cum esset Stephanus AL Stephen
Cum inuocarem
CO FR3 1st wk. Lent
Cum sederit filius
AL FR4 p Easter
Cum venerit paraclitus AL Sun below Oct Ascens
Data est mihi
AL FR6 p Easter
Dedisti hereditatem
AL3 Bartholomew
Deus a libano
AL Sun2 Advent
Deus uenerunt
AL6 All Saints Day
Dicite ingentibus
AL1 Finding the Cross
Diffusa est
TR1 Purification BVM**
Diffusa est gratia
AL Lucy
Dilexisti iusticiam
AL Felicity
Dilexit Andream
AL Andrew
Dixit dominus
AL Sun13 p Pent
Dixit dominus mulieri TR 2Sun Lent
Domine dilexi
IN 2Sun. Lent.
Domine non aspice
TR2 Benedict Abb.
Domine non secundum TR Start of Fasting
Domine prevenisti
IN Saturn I
Dominus deus israhel IN Nuptials
Domnine Ihesu Christe OF For the Dead I
Domus mea
TR 1 Quadra evenerit
Dulce lignum
AL4 Finding the Cross
Dum complerentur
AL Sun Pentecost
204

Neo-Greg chants continued
Incipit Pa903
Genre Pa903 Feast
Dum esset gens
IN Finding the Cross
Ecce adest dies
AL Assumption
Ecce miles Christe
AL Tiburtius
Ecce sacerdos magnum IN Martin Day**
Ecce sacerdos magnus AL Eusebius
Ecce sic benedicetur CO Nuptials
Ecce virgo concipiet AL Sun1 Advent
Effuderunt
TR Innocents**
Ego rogabo patrem
AL FR3 below Oct Pent
Ego sum pastor bonus AL Sun2 p Easter
Ego sum pastor bonus qui pasco AL Sun2 p Easter
Ego sum resurrectio et uita CO 2 For the Dead III
Ego sum vitis vera
AL Mark
Ego veritatem
AL Sun4 p Easter
Erat lucerna ardens
AL John Baptist
Eripe me de inimicis AL Sun5 p Pent
Erue domine
OF For the Dead II
Euntes in mundum
AL Sun below Oct Ascens
Exaltent eum
GR Chair of Peter
Exaudi deus orationem AL Sun6 p Pent
Factus est repente
AL Sun Pentecost
Felix namque
AL Finding Stephen
Fundamenta ejus
AL Ded. Church
Fundata est no.1
AL Ded. Church
Fundata est no.2
AL Ded. Church
Gaudens perhenniter TR Virgin
Gavisi sunt
AL Sun. in Alba
Gloria et honore
CO Leo
Hic est martyr
AL Menna
Hic est uere
AL Saturn I
Hic martinus
AL Martin
Hic martyr domini
AL Cesarius
Hoc est preceptum
AL1 Barnabas
Hoc est preceptum
AL1 Germanus
Hoc jam tertio
AL FR6 p Easter
Hodie dilectus
CO Benedict Abb.
Hodie maria
AL Assumption
Holocasta medullata OF Saturn II
Immaculata hostiarum OF Aredius
205

Neo-Greg chants continued
Incipit Pa903
Genre Pa903 Feast
In columbe specie TR1 Benedict Abb.
In die resurrectionis AL Sun5 p Easter
In omnem terram
IN James
In omnem terram no.3 AL James
In omnes terram
IN Barnabas
In tempeste nocte
OF Benedict Abb.
In tua patientia
AL Lucy
Ingressus Paulus
OF2 Conversion of Paul
Ingressus Zacharias
AL John Baptist
Inter natos mulierum no.1 AL John Baptist
Interrogabat magos
AL Epiphany
Iste cognouit
AL1 Medard
Iste est qui ante deum AL Stephen PP
Iste est qui pro lege
AL Felix
Iste sanctus digne
AL Martin
Iste sunt duae olive
AL John & Paul
Iste sunt duae olive
AL Simon & Jude
Iste sunt duo viri
AL Peter & Paul Oct
Iste sunt qui venerunt AL Gervasius&Protasius
Ite nunciate fratribus AL Sun in Alba
Iterum autem videbo vias AL Sun3 p Easter
Iterum videbo vos
AL Sun3 p Easter
Iustorum animae
AL Calixti
Judicabunt sancti
AL Marcellian&Peter
Jurauit dominus
AL2 Medard
Juravit dominus
AL Sylvester
Justi confitebuntur
AL Primus&Felician
Justorum animae
OF All Saints Day
Justorum animae no.1 AL Cosmo&Damian
Justum deduxit
AL Chrysogonus
Justum deduxit ..regnum AL Eusebius
Justus col suum
AL Aviti Senior
Justus germinabit
AL3 Benedict Translation
Karitas dei
IN Sat. p' Pentecost
Laetabitur justus
AL Apollinarius
Laetabitur justus
AL Caprasius
Laetabitur justus
AL Theodore
Lapidem quem reprobaverunt 1 AL Sat. in Alba
Lauabo inter innocentes OF 2Sun. Quadra
206

Neo-Greg chants continued
Incipit Pa903 Genre Pa903 Feast
Laudate dominum in sanctis AL 4 Crowns
Laudate pureri dominum
AL 7 Brothers
Letabitur iustus
AL Caprasi
Letabitur iustus
AL1 Victor
Letamur hodie
IN Cecilia**
Letamur omnes
IN Conversion of Paul
Letatus sum in his
TR 4Sun. Lent.
Levita Laurentius no.1 AL Laurence
Loquebantur variis linguis AL FR2 below Oct Pent
Loquebar domine
AL Prisca
Lutum ex puto dominus fecit CO FR3 p'4SunLent
Lux aeterna luceat eis CO For the Dead I
Magnus dominus
AL Sun5 p Pent
Mane nobiscum domine AL FR3 p Easter
Marcialis magnus
AL Martial
Martinus abrahae filii CO Vigil Martin
Martinus abrahae sinu AL Martin
Martinus hic pauper AL Martin
Martinus igitur
OF Vigil Martin
Martinus signi potens AL Martin
Mirabilis dei
CO1 All Saints Vigil
Mirabuntur omnes
AL Sun3 p Epiphany
Misercordias domini AL Sun14 p. Pent
Miserere mei deus
AL Sacerdos pro semeti
Modicum et non videbitis AL Sun3 p Easter
Multipharie olim deus AL Christmas vigil puer
Ne timeas zacharia oratio AL John Baptist
Ne timeas zacharias no.2 AL John Baptist
Non vos me elegistis AL Phillip&James
Non vos relinquam
AL Sat. Quad Temp
Nonne cor nostrum no.1 AL Sun2 p Easter
Nonne cor nostrum no.3 AL FR2 p Easter
Nunc dimittis
TR2 Purification BVM**
Nuptiae factae sunt
AL Sun2 Epiphany
O adoranda trinitas
AL Trinity
O beatum uirum
IN Vigil Martin
O culisae manibus
AL1 Vigil Martin
O pie Deus
OF For the Dead III
O quam gloriosum
AL3 All Saints Day
207

Neo-Greg chants continued
Incipit Pa903
Genre Pa903 Feast
Obtulerunt discipuli
AL FR3 p Easter
Oculis hoc manibus
AL Martin vigil
Offerentur regi
IN Felicity
Omnis terra
AL Sun2 Epiphany
Oprotebat pati no.1
AL FR2 p Easter
Ora pro nobis
GR Vigil Martin
Os iusti
AL Amand
Os iusti
AL Elegius
Os iusti
AL Germanus Parisius
Os iusti
AL Transfiguration
Osanna filio domini
AL Sun2 Advent
Partem beate resurrectionis CO 3 For the Dead III
Pater cum essem
AL Ascension Vigil**
Per lignum serui
CO Finding the Cross
Per signum crucis
TR FR5 Lord's Supper
Per signum sancte
AL5 Finding the Cross
Pes enim meus stetit
CO 2Sun Lent
Plantatus in dei
AL3 Medard
Positis autem gentibus AL Stephen
Positis gentibus
AL Stephen
Post dies octo no.1
AL Sun in Alba
Post dies octo no.2
AL Sun. in Alba
Post excessum beatissimi AL Brictius
Post partum virgo
AL Philip & James
Posuisti domini no.2 AL Clement
Posuisti domini no.2 AL Laurence Oct
Preciosa in conspectu AL Timothy&Symphorian
Primus ad sion
AL John before the Gate
Primus ad sion
AL Mark
Proba me domine
GR 2Sun Lent
Proficiat nobis
CO Saturn II
Propicius esto domine AL Sacerdos pro semeti
Propter ueretatem
AL Valerie
Protege domine
OF2 Finding the Cross
Psallite domino
AL4 Ascension Day**
Puer meus
AL Laurence
Pulchra facie
AL Agnes
Qualis pater
AL Trinity
Qui congnoscis domine IN For Priests
208

Neo-Greg chants continued
Incipit Pa903 Genre Pa903 Feast
Quinque prudentes virgines
AL Agnes Oct
Quis vestrum habebit
AL Litany major
Reddet deus
AL Basilidis et soc.
Redemptor mundi
CO 3 FR5 Lord's Supper
Repleti sunt
AL Pentecost
Repletus sancte spiritu GR Benedict Abb.
Requiem aeternam
GR For the Dead I
Requiem aeternam
IN For the Dead I
Sacerdos dei martine AL Martin
Sacerdotes tui
AL Felix
Salua nos Christe
AL2 Finding the Cross
Sancte Benedicte
AL4 Benedict Translation
Sancte Pater Aredii
IN Aredius
Sancti tui..fiorebunt no.2 AL All Saints
Sancti…iusti in domino AL5 All Saints Day
Sanctorum sicut
AL2 Maccabees
Saturninus pontifex
AL Saturn II
Si enim credimus
GR For the Dead II
Si enim credimus
IN For the Dead II
Si enim non habiero
AL Sun4 p Easter
Sicut portavimus imaginem IN For the Dead III
Solue iubente
AL Chains of Peter
Solve Jubente
AL Peter
Specie tua no.2
AL Agnes
Spetiosum fecit
AL Aredius
Spiritus domini repleuit orbem OF FR2 p'Pent
Spiritus ejus
AL FR2 p Pent
Spiritus est
AL Sat. QT Pentecost
Spiritus omnia scrutatur no.1 AL FR4 p Pent
Spiritus qui a patre no.1 AL FR3 p Pent
Spiritus sancti gratia AL John Evangelist
Spiritus sanctus
AL Sun1 Advent
Spiritus ubi vult
AL FR5 p Pent
Stabunt justi
AL Alexander & soc.
Stetit Jesus
AL Sun. in Alba
Surgens dominus Jesus AL FR3 p Easter
Surgens Jesus
AL Sun. In alba
Surrexit altissimus no.2 AL Sun5 p Easter
209

Neo-Greg chants continued
Incipit Pa903 Genre Pa903 Feast
Surrexit Christus no.1 AL Sun2 p Easter
Surrexit Christus no.2 AL FR5 p Easter
Surrexit dominus et occurrem AL Sun in Alba
Surrexit dominus vere AL FR2 p Easter
Surrexit pastor bonus
AL Sun2 p Easter
Timebunt gentes
AL Sun16 p Pent
Timete dominum no.1 AL Cyrus & Julite
Timete dominum no.3 AL Cyrus & Julite
Tolle puerum et matrem AL Sun1 p Christmas
Tristitia implebit no.1 AL Sun4 p Easter
Tu es Petrus
IN2 Chair of Peter
Tu es Petrus
OF Chair of Peter
Tu es Petrus
TR Chair of Peter
Tu es sacerdos
AL Front
Tu es sacerdos
AL Marcellus
Tu es uas
TR Conversion of Paul
Tu es vas
AL Paul
Tu puer propheta
AL John Baptist
Tuam crucem
AL3 Finding the Cross
Tuam crucem adoramus CO 2 FR5 Lord's Supper
Uenite ad me
AL2 Bartholomew
Uenite iusti ad
AL Conversion of Paul
Uideo caelos
CO Finding Stephen
Uir dei Benedictus
IN Benedict Abb.
Uir domini
AL2 Benedict Translation
Uirtutum pennies
CO Aredius
Uos estis lux
AL1 Bartholomew
Uos qui reliquistis
CO Bartholomew
Usque modo non petistis AL Sun5 p Easter
Vado ad eum
AL Sun4 p Easter
Valde honorandus est AL John Evangelist
Veni domine visitare AL Christmas vigil
Veni sponsa Christi no.1 AL Praxedius
Veni sponsa Christi no.2 AL Praxedius
Veniens uir
OF1 Finding the Cross
Venite ad me sancti
AL Peter&Paul Oct
Venite benedicti
TR FR2,1Sun.p'Quadra
Verbo domine
AL Sun3 p Pent
Verbo mea auribus
AL Sun1 p Pent
210

Neo-Greg chants continued
Incipit Pa903
Genre Pa903 Feast
Vidi speciosam
AL Pudentiana
Vindica domine sanguinem no.2 AL Abdon & Sennen
Virtutes caeli movebuntur AL Sun2 Advent
Vox exultationis
AL Pancras
The distribution of the feasts with neo-Gregorian chants in Pa903 is summarized
in Table A5-1.2. Table A5-1.3 lists the feasts of the temporal and the ritual Masses that
contain neo-Gregorian chants; Table A5-1.4 lists the Gregorian and neo-Gregorian feasts
of the sanctoral that contain neo-Gregorian chants. Of the total of 240 Masses in Pa903,
approximately 62 percent (150 total) are listed in this Table as containing neo-Gregorian
chants. The distribution of the Masses with neo-Gregorian chants in the gradual is
summarized below.
Table A5-1.2 Number of Masses in Pa903 with Neo-Gregorian Chants
Number Masses
Neo-
Pa903 Masses Gregorian Gregorian Total
Temporal 52 1
53
Sanctoral 56 33
89
Ritual
5 3
8
Total
113 37
150 (~62% of the total)
Total Masses in the Gradual
240
211

Table A5-1.3 Temporal and Ritual Masses with Neo-Gregorian Chants
(a) Temporal Masses
2Sun Lent Sun1 Advent
4Sun. Lent Sun1 p Christmas
Ascension Day Sun1 p Pent
Ascension vigil Sun13 p Pent
Christmas vigil Sun14 p. Pent
FR 5 p Easter Sun16 p Pent
FR2 below Oct Pent Sun2 Advent
FR2 p Easter Sun2 p Easter
FR2 p Pent Sun2 p Epiphany
FR3 below Oct Pent Sun3 p Epiphany
FR3 p Easter Sun3 p Easter
FR3 p Pent Sun3 p Pent
FR4 p Easter Sun4 p Easter
FR4 p Pent Sun4 p Pent
FR5 below Oct Pent Sun5 p Easter
FR5 p Easter Sun5 p Pent
FR5 p Pent Sun6 p Pent
FR6 p Easter
FR2 Holy Week
FR2 p'Pent
FR2,1Sun.p'Lent
FR3 1st WK. Lent
FR3 p'4SunLent
FR5 Lord's Supper
Pentecost
Quadragesima
Lenten evenerit
Sat. 12lessons Adv.
Sat. Quad Temp
Sat. in Alba
Sat. p' Pentecost
Sat. QT Pentecost
Start of Fasting
Sun below Oct Ascens
Sun in Alba
Sun Pentecost
212
(b) Ritual Masses
For Priests
For the Dead I
For the Dead II
For the Dead III
Nuptials
Ordination Bishop
Ded. Of Church
Undertaking journey

Table A5-1.4 Sanctoral Feasts in Pa903 with Neo-Gregorian Chants
Neo-Gregorian Feasts
All Saints
All Saints Vigil
Amand
Aredius
Aviti Senior
Barnabas
Bartholomew
Benedict Abb.
Benedict Translation
Brictius
Calixti
Caprasi
Chains of Peter
Chair of Peter
Conversion of Paul
Cyrus & Julite
Elegius
Felicity
Finding Stephen
Finding the Cross
Front
Germanus Parisius
James
John before the Gate
Leo
Maccabees
Martial
Martin vigil
Medard
Quentin
Saturn I&II
Valerie
Victor
Gregorian Feasts
4 Crowns
Pancras
7 Brothers Paul
Abdon & Sennen Peter
Agapitus
Peter & Paul Oct
Agatha
Philip & James
Agnes
Praxedius
Agnes Oct Primus&Felician
Alexander & soc. Prisca
Andrew
Pudentiana
Annunciation BVM Purification BVM
Apollinarius Simon & Jude
Assumption Stephen
Basilidis et soc. Stephen PP
Cecilia
Sylvester
Cesarius
Theodore
Chrysogonus Tiburtius
Clement
Timothy&Symphorian
Cosmo&Damian Transfiguration
Epiphany
Trinity
Felix
Virgin
Gervasius&Protasius
Hippolytus
Innocents
John & Paul
John Baptist
John Evangelist
Laurence
Laurence Oct
Luke evangelist
Litany major
Mark
Lucy
Marcellian&Peter
Marcellus
Martin
Menna
213

The following tables list the specific neo-Gregorian chants that belong to each of
the above categories of feasts as follows:
Table A5-1.5 Neo-Gregorian Chants of the Temporal
Table A5-1.6 Neo-Gregorian Chants of the Ritual Masses
Table A5-1.7 Neo-Gregorian Chants of the Gregorian Feasts of the Sanctoral
Table A5-1.8 Neo-Gregorian Chants of the Neo-Gregorian Feasts of the Sanctoral
These chants are taken from the general list of neo-Gregorian chants in Pa903 in Table
A5-1.1 above.
214

Table A5-1.5 Neo-Gregorian Chants of the Temporal
Incipit Pa903
Genre Pa903 Feast
Aduersum me
CO FR2 Holy Week
Angelus domini no.1 AL FR 5 p Easter
Angelus domini no.2 AL Sun in Alba
Apparuerunt apostoli AL FR5 below Oct Pent
Ardens est
AL Sun4 p Easter
Ascendit ad patri
AL3 Ascension Day
Assumo celo
GR Sat. 12lessons Adv.
Beati quorum
AL Sun4 p Pent
Benedicat nos deus deus noster TR 2 Quadragesima
Cantate domino no.2 AL Sun13 p Pent
Christus pro nobis
IN FR5 Lord's Supper
Christus resurgens no.1 AL Sun5 p Easter
Christus resurgens no.2 AL Sun3 p Easter
Confitemini domino
TR 2 2Sun. Lent
Crastina die
AL Christmas vigil
Crucifixus surgens
AL Sun2 p Easter
Crux Ihesu Christi
CO 4 FR5 Lord's Supper
Cum inuocarem
CO FR3 1st WK. Lent
Cum sederit filius
AL FR4 p Easter
Cum venerit paraclitus AL Sun below Oct Ascens
Data est mihi
AL FR6 p Easter
Deus a libano
AL Sun2 Advent
Dixit dominus
AL Sun13 p Pent
Dixit dominus mulieri TR 2Sun Lent
Domine dilexi
IN 2Sun. Lent
Domine non secundum TR Start of Fasting
Domus mea
TR 1 Lenten evenerit
Dum complerentur
AL Sun Pentecost
Ecce virgo concipiet AL Sun1 Advent
Ego rogabo patrem
AL FR3 below Oct Pent
Ego sum pastor bonus AL Sun2 p Easter
Ego sum pastor bonus qui pasco AL Sun2 p Easter
Ego veritatem
AL Sun4 p Easter
Eripe me de inimicis AL Sun5 p Pent
Euntes in mundum
AL Sun below Oct Ascens
Exaudi deus orationem AL Sun6 p Pent
Factus est repente
AL Sun Pentecost
215

Chants of the Temporal cont’d
Incipit Pa903
Genre Pa903 Feast
Gavisi sunt
AL Sun. in Alba
Hoc jam tertio
AL FR6 p Easter
In die resurrectionis AL Sun5 p Easter
Ite nunciate fratribus AL Sun in Alba
Iterum autem videbo vias AL Sun3 p Easter
Iterum videbo vos
AL Sun3 p Easter
Karitas dei
IN Sat. p' Pentecost
Lapidem quem reprobaverunt 1 AL Sat. in Alba
Lauabo inter innocentes OF 2Sun. Lent
Letatus sum in his
TR 4Sun. Lent
Loquebantur variis linguis AL FR2 below Oct Pent
Lutum ex puto dominus fecit CO FR3 p'4SunLent
Magnus dominus
AL Sun5 p Pent
Mane nobiscum domine AL FR3 p Easter
Mirabuntur omnes AL Sun3 p Epiphany
Misercordias domini AL Sun14 p. Pent
Modicum et non videbitis AL Sun3 p Easter
Multipharie olim deus AL Christmas vigil puer
Non vos relinquam
AL Sat. Quad Temp
Nonne cor nostrum no.1 AL Sun2 p Easter
Nonne cor nostrum no.3 AL FR2 p Easter
Nuptiae factae sunt
AL Sun2 Epiphany
Obtulerunt discipuli
AL FR3 p Easter
Omnis terra
AL Sun2 Epiphany
Oprotebat pati no.1
AL FR2 p Easter
Osanna filio domini
AL Sun2 Advent
Pater cum essem
AL Ascension Vigil
Per signum crucis
TR FR5 Lord's Supper
Pes enim meus stetit
CO 2Sun Quadra
Post dies octo no.1
AL Sun in Alba
Post dies octo no.2
AL Sun. in Alba
Proba me domine
GR 2Sun Quadra
Psallite domino
AL4 Ascension Day
Redemptor mundi
CO 3 FR5 Lord's Supper
Repleti sunt
AL Pentecost
Si enim non habiero
AL Sun4 p Easter
Spiritus domini repleuit orbem OF FR2 p'Pent
Spiritus ejus
AL FR2 p Pent
Spiritus est
AL Sat. QT Pentecost
216

Chants of the Temporal cont’d
Incipit Pa903 Genre Pa903 Feast
Spiritus omnia scrutatur no.1 AL FR4 p Pent
Spiritus qui a patre no.1 AL FR3 p Pent
Spiritus sanctus
AL Sun1 Advent
Spiritus ubi vult
AL FR5 p Pent
Stetit Jesus
AL Sun. in Alba
Surgens dominus Jesus AL FR3 p Easter
Surgens Jesus
AL Sun. In alba
Surrexit altissimus no.2 AL Sun5 p Easter
Surrexit Christus no.1 AL Sun2 p Easter
Surrexit Christus no.2 AL FR5 p Easter
Surrexit dominus et occurrem AL Sun in Alba
Surrexit dominus vere AL FR2 p Easter
Surrexit pastor bonus AL Sun2 p Easter
Timebunt gentes
AL Sun16 p Pent
Tolle puerum et matrem AL Sun1 p Christmas
Tristitia implebit no.1 AL Sun4 p Easter
Tuam crucem adoramus CO 2 FR5 Lord's Supper
Usque modo non petistis AL Sun5 p Easter
Vado ad eum
AL Sun4 p Easter
Veni domine visitare AL Christmas vigil
Venite benedicti
TR FR2,1Sun.p'Quadra
Verbo domine
AL Sun3 p Pent
Verbo mea auribus
AL Sun1 p Pent
Virtutes caeli movebuntur AL Sun2 Advent
217

Table A5-1.6 Neo-Gregorian Chants of the Ritual Masses
Incipit Pa903
Genre Pa903 Feast
Absolue domine
CO 1 For the Dead III
Beati omnes qui timent GR Nuptials
Benedicat te
IN Ordination Bishop
Benedictus dominus
IN Undertaking journey
Dominus deus israhel IN Nuptials
Domnine Ihesu Christe OF For the Dead I
Ecce sic benedicetur CO Nuptials
Ego sum resurrectio et uita CO 2 For the Dead III
Erue domine
OF For the Dead II
Fundamenta ejus
AL Ded. Church
Fundata est no.1
AL Ded. Church
Fundata est no.2
AL Ded. Church
Lux aeterna luceat eis CO For the Dead I
Miserere mei deus
AL Sacerdos pro semeti
O pie Deus
OF For the Dead III
Partem beate resurrectionis CO 3 For the Dead III
Propicius esto domine AL Sacerdos pro semeti
Qui congnoscis domine IN For Priests
Requiem aeternam
GR For the Dead I
Requiem aeternam
IN For the Dead I
Si enim credimus
GR For the Dead II
Si enim credimus
IN For the Dead II
Sicut portavimus imaginem IN For the Dead III
218

Table A5-1.7 Neo-Gregorian Chants of the Gregorian Sanctoral Feasts
Incipit Pa903
Genre Pa903 Feast
Amavit eum
AL Hippolytus
Assumpta est no.1
AL Assumption
Ave Maria
TR Annunciation BVM
Beata Agathes
AL Agatha
Beatus Laurentius
AL Laurence Oct
Beatus Petrus
AL Peter
Beatus vir qui suffert AL Chrysogonus
Beatus vir qui suffert AL Agapitus
Benedicamus patrem (2 versions) AL Trinity
Benedicta tu no.1 AL Assumption
Benedicta tu no.2 AL Assumption
Benedictus es (2 versions) AL Trinity
Benedictus sit dei
AL Trinity
Biduo vivens
AL Andrew
Bonum certamen
AL Paul
Cantabant sancti
AL Innocents
Cantatibus organis
AL Cecilia
Confitebuntur
GR Primus&Felician
Confitebuntur daeli no.2 AL Philip & James
Confitemini domino
AL Litany major
Constitues eos no.2 AL Luke, evangelist
Cum esset Stephanus AL Stephen
Diffusa est
TR1 Purification BVM
Diffusa est gratia
AL Lucy
Dilexit Andream
AL Andrew
Ecce adest dies
AL Assumption
Ecce miles Christe
AL Tiburtius
Ecce sacerdos magnum IN Martin Day
Ecce sacerdos magnus AL Eusebius
Effuderunt
TR Innocents
Ego sum vitis vera
AL Mark
Erat lucerna ardens
AL John Baptist
Gaudens perhenniter TR Virgin
Hic est martyr
AL Menna
Hic martinus
AL Martin
Hic martyr domini
AL Cesarius
Hodie Maria
AL Assumption
In tua patientia
AL Lucy
Ingressus Zacharias
AL John Baptist
219

Neo-Greg in the Greg Sanctoral cont’d
Incipit Pa903 Genre Pa903 Feast
Inter natos mulierum no.1 AL John Baptist
Interrogabat magos
AL Epiphany
Iste est qui ante deum AL Stephen PP
Iste est qui pro lege
AL Felix
Iste sanctus digne
AL Martin
Iste sunt duae olive
AL John & Paul
Iste sunt duae olive
AL Simon & Jude
Iste sunt duo viri
AL Peter & Paul Oct
Iste sunt qui venerunt AL Gervasius&Protasius
Judicabunt sancti
AL Marcellian&Peter
Juravit dominus
AL Sylvester
Justi confitebuntur
AL Primus&Felician
Justorum animae no.1 AL Cosmo&Damian
Justum deduxit AL Chrysogonus
Justum deduxit ..regnum AL Eusebius
Laetabitur justus
AL Apollinarius
Laetabitur justus
AL Theodore
Laudate dominum in sanctis AL 4 Crowns
Laudate pureri dominum AL 7 Brothers
Letamur hodie
IN Cecilia
Levita Laurentius no.1 AL Laurence
Loquebar domine
AL Prisca
Martinus abrahae sinu AL Martin
Martinus hic pauper AL Martin
Martinus signi potens AL Martin
Mirabuntur omnes
AL Sun3 p Epiphany
Ne timeas zacharia oratio AL John Baptist
Ne timeas zacharias no.2 AL John Baptist
Non vos me elegistis AL Phillip&James
Nunc dimittis
TR2 Purification BVM
O adoranda trinitas
AL Trinity
Os iusti
AL Transfiguration
Positis autem gentibus AL Stephen
Positis gentibus
AL Stephen
Post partum virgo
AL Philip & James
Posuisti domini no.2 AL Clement
Posuisti domini no.2 AL Laurence Oct
Preciosa in conspectu AL Timothy&Symphorian
Primus ad sion
AL Mark
220

Neo-Greg in Greg Sanctoral cont’d
Incipit Pa903
Genre Pa903 Feast
Puer meus
AL Laurence
Pulchra facie
AL Agnes
Qualis pater
AL Trinity
Quinque prudentes virgines AL Agnes Oct
Quis vestrum habebit AL Litany major
Reddet deus
AL Basilidis et soc.
Regi autem
AL Trinity
Sacerdos dei martine AL Martin
Sacerdotes tui
AL Felix
Solve Jubente
AL Peter
Specie tua no.2
AL Agnes
Spiritus sancti gratia AL John Evangelist
Stabunt justi
AL Alexander & soc.
Tu es sacerdos
AL Marcellus
Tu es vas
AL Paul
Tu puer propheta
AL John Baptist
Valde honorandus est AL John Evangelist
Veni sponsa Christi no.1 AL Praxedius
Veni sponsa Christi no.2 AL Praxedius
Venite ad me sancti
AL Peter&Paul Oct
Vidi speciosam
AL Pudentiana
Vindica domine sanguinem no.2 AL Abdon & Sennen
Vox exultationis
AL Pancras
221

Table A5-1.8 Neo-Gregorian Chants of the Neo-Gregorian Sanctoral Feasts
Incipit Pa903
Neo-Gregorian Feasts of the Sanctoral
Genre Pa903 Feast
A Christo de caelo
GR Conversion of Paul
Adiuua sancte tuos
GR Saturn II
Beatam Aredii
GR Aredius
Beati estis ..qui cotidie AL1 All Saints Day
Beati estis ..qui meruistis AL2 All Saints Day
Beati mondo cor
CO All Saints Day
Beatus uir qui suffert AL2 Victor
Christe deus
IN Saturn II
Confessor domini
AL1 Benedict Translation
Constitues eos
AL2 Barnabas
Constitues eos
AL2 Germanus
Dedisti hereditatem
AL3 Bartholomew
Deus uenerunt
AL6 All Saints Day
Dicite ingentibus
AL1 Finding the Cross
Dilexisti iusticiam
AL Felicity
Domine non aspice
TR2 Benedict Abb.
Domine prevenisti
IN Saturn I
Dulce lignum
AL4 Finding the Cross
Dum esset gens
IN Finding the Cross
Exaltent eum
GR Chair of Peter
Felix namque
AL Finding Stephen
Gloria et honore
CO Leo
Hic est uere
AL Saturn I
Hoc est preceptum
AL1 Barnabas
Hoc est preceptum
AL1 Germanus
Hodie dilectus
CO Benedict Abb.
Holocausta medullata OF Saturn II
Immaculata hostiarum OF Aredius
In columbe specie
TR1 Benedict Abb.
222

Neo-Greg Chants in Neo-Greg Sanctoral cont’d
Incipit Pa903
Genre Pa903 Feast
In omnem terram
IN James
In omnem terram no.3 AL James
In omnes terram
IN Barnabas
In tempeste nocte
OF Benedict Abb.
Ingressus Paulus
OF2 Conversion of Paul
Iste cognouit
AL1 Medard
Iustorum animae
AL Calixti
Jurauit dominus
AL2 Medard
Justorum animae
OF All Saints Day
Justus col suum
AL Aviti Senior
Justus germinabit
AL3 Benedict Translation
Laetabitur justus
AL Caprasius
Letabitur iustus
AL Caprasius
Letabitur iustus
AL1 Victor
Letamur omnes
IN Conversion of Paul
Marcialis magnus
AL Martial
Martinus abrahae filii CO Vigil Martin
Martinus igitur
OF Vigil Martin
Mirabilis dei
CO1 All Saints Vigil
O beatum uirum
IN Vigil Martin
O culisae manibus
AL1 Vigil Martin
O quam gloriosum
AL3 All Saints Day
Oculis hoc manibus
AL Martin vigil
Offerentur regi
IN Felicity
Ora pro nobis
GR Vigil Martin
Os iusti
AL Amand
Os iusti
AL Elegius
Os iusti
AL Germanus Parisius
Per lignum serui
CO Finding the Cross
Per signum sancte
AL5 Finding the Cross
Plantatus in dei
AL3 Medard
Post excessum beatissimi AL Brictius
Primus ad sion
AL John before the Gate
Proficiat nobis
CO Saturn II
Propter ueretatem
AL Valerie
Protege domine
OF2 Finding the Cross
Repletus sancte spiritu GR Benedict Abb.
223

Neo-Greg Chants in Neo-Greg Sanctoral
cont’d
Incipit Pa903 Genre Pa903 Feast
Salua nos Christe
AL2 Finding the Cross
Sancte Benedicte
AL4 Benedict Translation
Sancte Pater Aredii
IN Aredius
Sancti tui..fiorebunt no.2 AL All Saints
Sancti…iusti in domino AL5 All Saints Day
Sanctorum sicut
AL2 Maccabees
Saturninus pontifex
AL Saturn II
Solue iubente
AL Chains of Peter
Spetiosum fecit
AL Aredius
Timete dominum no.1 AL Cyrus & Julite
Timete dominum no.3 AL Cyrus & Julite
Tu es Petrus
IN2 Chair of Peter
Tu es Petrus
OF Chair of Peter
Tu es Petrus
TR Chair of Peter
Tu es sacerdos
AL Front
Tu es uas
TR Conversion of Paul
Tuam crucem
AL3 Finding the Cross
Uenite ad me
AL2 Bartholomew
Uenite iusti ad
AL Conversion of Paul
Uideo caelos
CO Finding Stephen
Uir dei Benedictus
IN Benedict Abb.
Uir domini
AL2 Benedict Translation
Uirtutum pennies
CO Aredius
Uos estis lux
AL1 Bartholomew
Uos qui reliquistis
CO Bartholomew
Veniens uir
OF1 Finding the Cross
224

APPENDIX A5-2 FINDING OF THE CROSS: AQUITANIAN FORMULARIES
The formularies of neo-Gregorian chants for the Finding of the Cross in the five
Aquitanian graduals are listed below in Table A5-2.1. They comprise 28 total chants. Of
these, ten are unique to their respective graduals: St. Yrieix with 3, Gaillac with 2,
Narbonne with 3, and St. Martial with 2.
Table A5-2.1 Finding of the Cross Aquitanian Chant Concordances
Genre Incipit
Pa903 Pa776 Harl4951 Pa780 Pa1132 Type No.Grad.
IN Dum esset gens X
St.Yrieix 1
IN Nos autem glori
X X X X
4
ALv Dicite in genti X X X X X
5
ALv Benedictus sit ihesus X X
2
ALv Salua nos Christ X X X X
4
ALv Tuam crucem X X X
3
ALv Dulce lignum X X X X X
5
ALv Per signum sanc X
St.Yrieix 1
ALv Nos autem glory
X
Narbonne 1
ALPla Laudetur omnis X X
2
ALPla O quam lignum
X
Gaillac 1
ALPla Dicite cori cun X X
2
ALPla Hic uir dux polo X X
2
ALPla Confido de note
X Martial 1
OF Veniens uir X X X
3
OFv Cumque in sopo X X X
3
OF Protege domine X X
X X
4
OFv In conspectu X X
X
3
OFv Saluator mundi X X
X X
4
OFv Veni lignum
X
Narbonne 1
OFv Salus omnium
X Martial 1
OFPla Protege dominat
X
Gaillac 1
CO Nos autem glor
X X
2
CO Per lignum serui X
St.Yrieix 1
CO Tuam crucem ador… X X
2
CO Per signum cruc
X X X X
4
CO Crux ihesu Chri
X
1
CO Redemptor mun
X
Narbonne 1
Total Count 28 15 19 11 10 9
225

Table A5-2.2a summarizes the concordances of the Aquitanian chants with
Beneventan sources for the Finding of the Cross, based on Nardini‟s Neo-Gregorian
Chant in Beneventan Manuscripts (see Bibliography). The two chants in this group from
Pa903 are marked in bold font.
Table A5-2.2b lists each of the chants for the Finding of the Cross in the Aquitanian
graduals and the concordances with Beneventan sources.
Table A5-2.3 lists the feasts containing neo-Gregorian chants in both Pa903 and the
Beneventan sources
Table A5-2.2a Summary of Finding of the Cross Concordances with Pa903
(Aquitanian and Beneventan Sources)
Genre
Finding of the Cross
Incipit
AQT Sources
Beneventan Sources
OF Veniens uir Pa903, Pa776, Harl.4951 Note (1)
CO Nos autem gloriari Harl.4951, Pa780
Note (2)
CO Per lignum serui Pa903
Note (3)
(1)* Bal6, Ben35,38,39.40, Vat576
(2)* Ben20,29,33,3435,38,39.40, MC127,Vat6082
(3)* Vat699 (Veroli)
*Nardini, Neo-Gregorian Chants in Beneventan Manuscripts, forthcoming.
226

Table A5-2.2b Finding of the Cross Aquitanian and Beneventan Concordances
227

Table A5-2.3 Feasts with Neo-Gregorian Chants and Beneventan Concordances
Temporal
Gregorian
Sanctoral
Neo-Gregorian
2Sun Quadra
Agatha
Bartholomew
4Sun. Quadra.
Agnes
Benedict Abb.
FR2 below Oct Pent
Andrew
Chair of Peter
FR2 p Easter
Annunciation Conversion Paul
FR3 below Oct Pent
Apollinarius Finding the Cross
FR5 Lord's Supper
Ascension Day Transfiguration
Sat. QT Pentecost
Ascension Vigil
Sun below Oct Ascens Assumption
Sun1 p Christmas
Cecilia
Sun14 p. Pent
Clement
Sun2 Epiphany
Eusebius
Sun3 p Epiphany
Gervasius&Protasius
Sun3 p Pent
Innocents
Sun5 p Easter
John & Paul
Laurence
Laurence Oct
Martin
Paul
Philip & James
Purification BVM
Simon & Jude
Start of Fasting
Virgin
228
Ritual
Ordination Bishop
Ded. Church
For the Dead
UndertakeJourney

APPENDIX A5-3 AQUITANIAN NOTATION OF PA903
Four neumes Used to Define Semi-tones
The Aquitanian notation is the defining characteristic of the group of graduals
surviving from Aquitaine. Ferretti‟s article in PM13 and Suñol‟s general survey of chant
notation are two of the earliest descriptions of Aquitanian notational practice, including
Pa903. 7 Ferretti pointed out that four characteristic neumes are used in Pa903 to mark
the semitones. 8 The apparent evolution of Aquitanian notation reflected in the
Aquitanian musical manuscripts has been pointed out by Emerson, who suggested the
need for a detailed chronological review, potentially useful for dating Aquitanian
manuscripts. 9
Frasch has shown that the specific notational style in Pa903 is indicative of the
modality of the chants, an element of the uses of eleventh-century Aquitanian notation
not reported by other studies. 10 The music scribe of St. Yrieix developed the system of
marking the semi-tones in Pa903 by the use of the four neumes shown above.
7 Paolo Ferretti, “Étude sur la notation acquitaine d’après le Graduel de Saint-Yrieix,” in PM
13(1925):54-21. Dom Gregoire M. Suñol, Introduction a la Paleographie Musicale Gregorienne.
Translated from the Catalan by G. M. Durnford. No. 708 Societe de Saint Jean L’Evangelist ( Paris :
Desclee et Cie, 1935).
8 Ferretti, ibid.:139.
9 John A. Emerson, “Section Five: Notation in BN 780,” in “Graduale Narbonensis a study of
Paris BNF lat 780,” Masters Thesis. University of California, Berkeley, 1960 : 123-220.
10 Cheryl Crawford Frasch, “Notation as a Guide to Modality in the Offertories of Paris, B.N. lat.
903.” 2 Vols. Ph. D. diss., The Ohio State University, 1986 1:37-56.
229

Musical notation in Pa903 is diastematic, referenced to the dry-point centerline
between the lines of text. The above four neumes were placed with respect to the centerline
to define the semitones of the melody and thus the mode of the chant. Frasch
showed that the pitch of the center-line was conventionally placed as follows. 11
Mode Pitch at the Center Line
1 – Protus authentic F
2 – Protus plagal D
3 – Deuterus authentic G
4 – Deuterus plagal F
5 – Tritus authentic a
6 – Tritus plagal F
7 – Tetrardus authentic b
8 – Tetrardus plagal G
The combination of the pitch at the center line and the placement of semitones define the
pitches of the chants.
11 Frasch, “Notation in Pa903,” 1:37-56.
230

APPENDIX A5-4 NEO-GREGORIAN MASS CHANT CONCORDANCES (SANCTORAL)
The neo-Gregorian Mass chants in neo-Gregorian feasts of the Pa903 sanctoral
are listed with their Aquitanian concordances in Table A5-4.1. The chants are described
in succeeding columns: (1) alphabetically by feast, (2) chant genre, (3) incipit, (4) page in
PM13 and (5-8) the corresponding folia of the chant in the other Aquitanian graduals.
The final two columns at far right list the (9) total number of graduals transmitting the
chant and (10) the total number of Aquitanian graduals which transmit the feast.
A column with (+) in the entry row denotes a chant in the indicated gradual for
the feast, but different from the incipited neo-Gregorian chant. A blank space for the
chant indicates that the indicated gradual does not transmit the feast. A (*) next to the
incipit denotes the chant is transmitted by incipit only in the gradual.
Col. no. 1 2 3 4 5 6 7 8 9 10
Ascension
Ascendo ad
Day AL3 patrem 179 89 242 80v 73 5 5
Ascension
Psallite
Day AL4 domino 179 89 + + + 2 5
Feast Genre
Incipit
Pa903 p.PM13 Pa776 H.4951 Pa780
231
No.
Pa1132 /chant
The above example lists two alleluia chants for Ascension Day in Pa903: Ascendo ad
patrem and Psallite domino. Ascendo is found in Pa776, Harl.4951, Pa780, and Pa1132,
as well as in Pa903, thus there are 5 graduals that transmit the chant and 5 that transmit
the feast (cols. 9 and 10, respectively). Psallite, however, is transmitted only in
Pa903 and Pa776, while the other graduals transmit the feast, but with a different chant.
Thus col. 9 reports 2 graduals have the chant, col. 10 reports all 5 graduals have the feast.
The concordances of the alleluia chants in Table A5-4.1 are based on Herzo‟s study. 12
The other concordances were obtained in this work.
12 Sr. Anthony Marie Herzo, Five Aquitanian Graduals: Their Mass Propers and Alleluia Cycles,
Ph.D. diss. University of Southern California, 1966 : 78-160.
No.
/feast

Table A5-4.1 Pa903 Concordances in Neo-Gregorian Sanctoral Feasts
232

Appendix 5-4, Table A5-4.1 cont‟d. 2/4
233

Appendix 5-4, Table A5-4.1 cont‟d. 3/4
234

Table A5-4.1 (Continued) 4/4
235

The concordances of the Pa903 neo-Gregorian chants of Table A5-4.1 are
summarized in Table A5-4.2. They are ordered by the number of Aquitanian graduals
which transmit each chant. Those chants found only in Pa903 are listed separately.
Table A5-4.2 Neo-Gregorian Concordances with Neo-Gregorian Feasts
Incipit Pa903 PM13p. Sanctoral Feast Genre
No. Grads.
per Chant
Exaltent eum 53 Chair of Peter GR 5
Tu es Petrus 53 Chair of Peter TR 5
Tu es Petrus 53 Chair of Peter OF 5
Ascendo ad patrem 179 Ascension Day** AL3 5
Cantatibus organis 228 Cecilia**
AL 5
Diffusa est 49 Purification BVM** TR1 5
A Christo de caelo 44 Conversion of Paul GR 4
Adiuua sancte tuos 230 Saturn II
GR 4
Beati mondo cor 222 All Saints Day CO 4
Christe deus 230 Saturn II
IN 4
Dicite ingentibus 173 Finding the Cross AL1 4
Dulce lignum 173 Finding the Cross AL4 4
Hic est uere 229 Saturn I
AL 4
Justorum animae 222 All Saints Day OF 4
Letamur omnes 44 Conversion of Paul IN 4
O quam gloriosum 222 All Saints Day AL3 4
Protege domine 173 Finding the Cross OF2 4
Salua nos Christe 173 Finding the Cross AL2 4
Uos qui reliquistis 219 Bartholomew CO 4
Ave Maria 57 Annunciation BVM** TR 4
Confitebuntur 190 Primus&Felician** GR 4
Justum deduxit 229 Chrisogonus ** AL 4
Pater cum essem 178 Ascension Vigil** AL 4
Beati estis ..qui cotidie 222 All Saints Day AL1 3
Dilexisti iusticiam 229 Felicity
AL 3
Domine prevenisti 229 Saturn I
IN 3
Felix namque 211 Finding Stephen AL 3
Gloria et honore 201* Leo
CO 3
Holocasta medullata 230 Saturn II
OF 3
Ingressus Paulus 44 Conversion of Paul OF2 3
Proficiat nobis 230 Saturn II
CO 3
Saturninus pontifex 230 Saturn II
AL 3
236

Table A5-4.2 Continued
Incipit Pa903 PM13p. Feast Genre No. Grads.
Solue iubente 210* Chains of Peter AL 3
Tu es uas
44 Conversion of Paul TR 3
Tuam crucem 173 Finding the Cross AL3 3
Uenite iusti ad 44 Conversion of Paul AL 3
Uideo caelos 211* Finding Stephen CO 3
Veniens uir 173 Finding the Cross OF1 3
Ecce sacerdos magnum 226 Martin Day** IN 3
Nunc dimittis 50 Purification BVM** TR2 3
Beati estis ..qui meruis 222 All Saints Day AL2 2
Confessor domini 206 Benedict Translation AL1 2
Dedisti hereditatem 218 Bartholomew AL3 2
Deus uenerunt 222 All Saints Day AL6 2
Domine non aspice 56 Benedict Abb. TR2 2
Hodie dilectus 56 Benedict Abb. CO 2
In columbe specie 56 Benedict Abb. TR1 2
In tempeste nocte 56 Benedict Abb. OF 2
Iste cognouit 189 Medard
AL1 2
Justus germinabit 206 Benedict Translation AL3 2
Martinus abrahae filii 234 Vigil Martin CO 2
Martinus igitur 234 Vigil Martin OF 2
O beatum uirum 234 Vigil Martin IN 2
O culisae manibus 234 Vigil Martin AL1 2
Offerentur regi 229* Felicity
IN 2
Ora pro nobis 234 Vigil Martin GR 2
Os iusti
199 Amand
AL 2
Per lignum serui 173 Finding the Cross CO 2
Plantatus in dei 189 Medard
AL3 2
Repletus sancte spiritu 56 Benedict Abb. GR 2
Sancti…iusti in domin 222 All Saints Day AL5 2
Timite dominum 192 Cyrus and Julite AL1 2
Tu es Petrus 53 Chair of Peter IN2 2
Uenite ad me 218 Bartholomew AL2 2
Uir dei Benedictus 56 Benedict Abb. IN 2
Uir domini 206 Benedict Translation AL2 2
Uos estis lux 218 Bartholomew AL1 2
Letamur hodie 227 Cecilia**
IN 2
Psallite domino 179 Ascension Day** AL4 2
* = Incipit only ** = Gregorian feast with neo-Greg. chant
237

Table A5-4.3 lists the non-notated Neo-Gregorian chants in Pa903 that are listed
by incipit only with no concordances in Aquitanian graduals. These chants in Table A5-
4.3 have been removed from the list of neo-Gregorian chants uniquely copied in Pa903
given in Chapter 5.
Table A5-4.3 Pa903 Neo-Greg Chant Incipits in Neo-Greg Feasts
Page
No.
Grads.
per
Incipit Pa903
no. Gregorian Feast Genre Chant
Beatus uir qui suffert 177* Victor
AL2 1
Constitues eos 194* Germanus AL2 1
Hoc est preceptum 194* Germanus AL1 1
In omnes terram 194* Barnabas
IN 1
Iustorum animae 221* Calixti
AL 1
Justus col suum 194* Aviti Senior AL 1
Letabitur iustus 221* Caprasi
AL 1
Letabitur iustus 177* Victor
AL1 1
Mirabilis dei 221* All Saints Vigil CO1 1
Os iusti
231*** Elegius
AL 1
Primus ad sion 177* John before the Gate AL 1
Tu es sacerdos 221* Front
AL 1
Propter ueretatem 232*** Valerie
AL 1
Constitues eos
* Incipit only
194*** Barnabas
AL2 1
***= AMS incipit, chant in different genre
The pattern of chant concordances with Pa903 shows Pa776 (Gaillac) with by far
the most frequent concordances in neo-Gregorian chants. Pa776 typically transmits many
of the same neo-Gregorian feasts and formularies, prosulas and antiphons as Pa903, but
with additional elaboration in the realization of the chants, often with additional verses or
embellishments compared to Pa903. The similarity of Pa776, Harley4951, and Pa903
was discussed from the beginning in PM13 and has been further commented on since.
Often particular feasts and chants of Pa903 accord only with Pa776. The inclusion of
prosulas in the Mass formularies and the overall organization of these two codices further
suggest the two were in close proximity (to each other or to a common exemplar) when
copied.
238

APPENDIX A5-5 TRANSCRIPTIONS OF THE ST. YRIEIX UNICUM MASS CHANTS
The neo-Gregorian Mass chants transcribed to modern notation in this Appendix
are taken from the list of the St. Yrieix chants in Table A5-4.1 that have no Aquitanian or
other concordances. These chants are only found in the St. Yrieix Gradual and clearly
preserve the regional conventions of musical practice illustrated above in Chapter 5.
Table A5-5.1 Neo-Gregorian Mass Chants only in Pa903
Page
No.
Grads.
per
Incipit Pa903 no. Gregorian Feast Genre Chant
Beatam Aredii 219 Aredius
GR 1
Dum esset gens 173 Finding the Cross IN 1
Hoc est preceptum 194 Barnabas
AL1 1
Immaculata hostiar 219 Aredius
OF 1
Marcialis magnus 218 Martial
AL 1
Per signum sancte 173 Finding the Cross AL5 1
Sancte Benedicte 206 Benedict Translation AL4 1
Sancte Pater Aredii 219 Aredius
IN 1
Speciosum fecit 219 Aredius
AL 1
Uirtutum pennis 219 Aredius
CO 1
239

PM13:219
IN Sancte pater Aredi angelicis sociate cum Christo choris prefrueris gloria
paradisi celesticum rege secularum exultans semper in aeternum.
Ps: Cantate domino 1. Seculorum Amen.
Figure A5-5.1 Aredius Introit Sancte pater Aredii
240

GR Beatam Aredii animam ad caelos Christus exevit digne admirabiliter
glorificandam. V: Famulos respice Christe tuos confessoris Aredii meritis
et sanctafica cunctos.
PM13 :219
Figure A5-5.2 Aredius Gradual Beatam Aredii animam
241

Alleluia. V. Speciosum fecit rex angelorum Aredium et in caelestibus regnis sublimavit
eum cuius meritis nos adiuvare dignetur.
PM13 :219
Figure A5-5.3 Aredius Allelluia Speciosum fecit
242

PM13:220
OF: Immaculatas hostiarum preces pro delictis nostris xriste tibi
offerimus et ut eas suscipere elementer digneris petimus qui beatum
Aredium tibi elegisti templum et aram hostiam atque litatorem
dignissimum.
Verse 1: O inclite atque sublimis Aredi inter agmina regis celestis
Christum fac nobis placabilem qui legit sibi.
Verse 2: Pulcher virtutibus et sanctitate nemorosus deo dilectus Aredius
protegat nos sub umbraculis pietatis xristi qui ante secula eum sibi
prescivit templum et aram. Ostiam.
Figure A5-5.4a Aredius Offertory Immaculatas hostiarum
243

PM13:220 Immaculatas hostiarum
Figure A5-5.4b Aredius Offertory Transcription
244

PM13:220
Aredius OF Verse 1 O inclite
Figure A5-5.4c Aredius Offertory Verse Transcriptions
245

CO Virtutum pennis ad astra sublevatus est vir deo plenus ideo gaudeamus in eius
tripudii laudibus.
V. Victoriarum uiui eris sumpsit insignia atque tropheum sui certaminis ferrit gloriosum
Ideo.
PM13: 220
Figure A5-5.5 Aredius Communion Virtutem pennis
246

Figure A5-5.6 Finding of the Cross Introit Dum esset gens
247

PM13: 173
Figure A5-5.7 Pa903 Finding of the Cross Alleluia Verse Per signum sancte
248

PM13:207
Figure A5-5.8 Pa903 Benedict Alleluia Verse Sancte Benedicte
249

PM13: 208
Figure A5-5.9 Pa903 St. Martial Alleluia Verse Marcialis magnus
250

PM13:194
Figure A5-5.10 Barnabas Alleluia Verse Hoc est perceptum
251

List of Abbreviations
AASS Acta Sanctorum
AMS Antiphonale Missarum Sextuplex
AH Analecta Hymnica
BH Bryden and Hughes Index of Gregorian Chants in 2 Vols
BSAHL Bulletin de la Société Archéologique et Historique du Limousin
CAO Corpus Antiphonalium Officii
CT Corpus Troporum
DHGE Dictionnaire d’histoire et de geographie ecclesiastiques
Gr.Rom. Le Graduel Romain, Edition Critique in 5 Vols, 1957
MGH Monumenta Germaniae Historica
PL Patrologia Latina
PM Paléographie musicale: Les principaux manuscrits de chant grégorien,
ambrosien, mozarabe, gallican [premier série, deuxième série].
Individual volumes and dates of publication are listed in the Bibliography.
List of Manuscripts
London: British Library, Harley 4951, Gradual of Toulouse.
Paris: Bibliothèque Nationale fonds latin 776, Gradual of St. Michael of Gaillac.
Paris: Bibliothèque Nationale fonds latin 780, Gradual of Narbonne.
Paris : Bibliothèque Nationale fonds latin 903 Gradual of St. Yrieix.
Paris: Bibliothèque Nationale fonds latin 1132 Gradual of St. Martial of Limoges.
252

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Vita
William M. Sherrill is a native of San Antonio, Texas. He received Bachelor of
Arts and Bachelor of Science degrees from the University of Texas at Austin in 1957. In
1959 he received a Master of Science degree from the Rice University in Houston, Texas.
For the next years until retirement he worked in radio systems development at Southwest
Research Institute in San Antonio, Texas. After receiving a Bachelor of Music degree
from the University of Texas at San Antonio in 2005, he entered the graduate school of
the University of Texas at Austin where he received a Master of Music in 2007.
Permanent email: wmjosherrill@prodigy.net
This dissertation was typed by the author.
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