(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS
WOLINSKI, Mary E. (Department of Music, Western Kentucky University)
Arms and the Lady: Flemish Court Liturgy and the Psalter of Louis de Mâle
Donnerstag/Thursday, 9.8., 15.30 Uhr, MuWi, HS 1
The manuscript Brussels, Bibliothèque Royale Albert I er , 9427 is a fourteenth-century psalter
of the highest artistic achievement and one of the very few liturgical books of its type
provided with music. My paper reconsiders the original recipient of the manuscript
through a study of its heraldry and identifies the liturgy of its chant.
While the psalter’s earliest known owners were Louis de Mâle, Count of Flanders
(accessed 1346-1384), and Margaret, heiress of Brabant and Limbourg (married 1347–1368),
it has been suggested that they were not its original recipients. This is because several of
the psalter’s heraldic shields have been painted over previous ones. Nevertheless, there is
reason to believe that the psalter was destined for the house of Flanders. Of thirteen
shields, six with the arms of Flanders were not painted over anything else. Furthermore,
the Flemish lion is incorporated into the background of one of the historiated illuminations
on folio 100 v . Of the shields that were painted over, four belonged to the Countess.
Three more shields that were painted over show a black lion on a field of red or red with
gold. The last of these on fol. 145 v , seems to show another lion underneath where the paint
has flaked away. I suggest that the second layers of arms are corrections that may show
different generations, but all within the house of Flanders.
The psalter provides valuable evidence of the type of chant that was sung in the
Flemish chapel. Its notated hymns and antiphons follow the liturgy of Tournai, the diocese
that included Flanders. This demonstrates that the court observed the local liturgy,
and not that of a higher authority, such as the King of France.
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WRIGHT, Peter (Department of Music, University of Nottingham)
The ‘St Emmeram’ Mensural Codex (Munich, Bayerische Staatsbibliothek, Clm
14274). The Identity of Scribe D
Freitag/Friday, 10.8., 16.30 Uhr, KuGe, SR 3
Of the many copyists who assisted Hermann Pötzlinger (ca. 1415–1469) in the task of
compiling his famous musical anthology, the scribe commonly designated ‘D’ must be
considered the most important and interesting. It was he who was responsible (barring a
handful of entries by other scribes) for the third and final layer of the manuscript, as well
as for a number of additions and emendations to material contained in the first and second
layers, and who thereby made a more substantial contribution to the codex than any of
Pötzlinger’s other collaborators. While scribe D’s work is prone to lapses of a kind that is
all too typical of this source, it also contains elements suggestive of a degree of professional
expertise that appears to be generally lacking in the work of Pötzlinger and his
other colleagues: there is, for instance, plenty of evidence to suggest that he regularly took
initiatives (albeit of a somewhat limited nature) with his exemplars. To date the identity
of this copyist, like that of most medieval scribes, has remained not merely unknown, but
seemingly unknowable – so much so that it has not even been a subject of speculation in
the scholarly literature. However, newly discovered evidence from a quite unexpected
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