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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.
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