cappella-nova.com
2008
Divine Art DDA25065
St Mary's Parish Church, Haddington, East Lothian
22-24 October 2007
First
Vespers
1 - Hymn Ecce fulget clarissima (part 1) [3:25]
2 - Antiphon 1 Veneranda imminentis [1:14]
3 - Antiphon 2 Altare lapideum [0:32]
4 - Antiphon 3 Signo crucis edito [0:33]
5 - Antiphon 4 Aqua suis precibus [0:35]
6 - Antiphon 5 Collectis fragminibus [0:39]
7 - Responsory Magni patris sunt Miranda – Prosa Mente
munda letabunda [5:13]
8 - Hymn Exultent filii matris ecclesie [3:22]
9 - Magnificat Antiphon Christi puer capitur [0:50]
10 - Magnificat Antiphon Sis pro nobis sancte Patrici
[1:01]
Matins
11 - Invitatory Laudemus regem – Venite [8:19]
12 - Hymn Ecce fulget clarissima (part 2: Ad hanc doctor
egregius) [3:14]
13 - Antiphon 1 Servus Christi Patricius [0:31]
14 - Antiphon 2 Oritur vir beatus [0:26]
15 - Antiphon 3 Dum baptismo [0:45]
16 - Responsory 1 Egregius Christi miles [3:26]
17 - Responsory 2 Hic nutritus a puericia [3:10]
18 - Responsory 3 Dum baptizandus [5:44]
19 - Antiphon 4 Nam cum cecus [0:40]
20 - Antiphon 5 Hic incursu piratico [0:31]
21 - Antiphon 6 Ducitur servus Christi [0:44]
22 - Responsory 4 Hic iuvenis evo [2:16]
23 - Responsory 5 Igitur servus Christi [2:58]
24 - Responsory 6 Quodam autem [3:43]
25 - Antiphon 7 Peracto iam sub servitute barbarica
[0:40]
26 - Antiphon 8 Liberatus autem [0:37]
27 - Antiphon 9 Hunc beatus Germanus [0:34]
28 - Responsory 7 Ductu angelico [3:18]
29 - Responsory 8 Celestinus apostolicam tunc rexerat arcem
[2:15]
30 - Responsory 9 Pontificali infula [3:35]
Lauds
31 - Antiphon 1 Beatus Patricius Scociam ingressus
[0:41]
32 - Antiphon 2 Iubilemus puro corde Christo [0:26]
33 - Antiphon 3 Ut nos Deus [0:32]
34 - Antiphon 4 Cuncta celi terreque creatura [0:30]
35 - Antiphon 5 Laus et honor resonet [0:40]
36 - Hymn Iesu corona presulum [2:37]
37 - Antiphon Benedictus sit Dominus – Benedictus
[4:43]
Second Vespers
38 - Antiphon Gemma sacerdotum – Magnificat [3:01]
Sources:
Trinity College, Dublin, MSS 79 & 80
Canty
Rebecca Tavener
Micaela Haslam • voice
Anne Lewis • voice
Rebecca Tavener • voice
Joanne Wicks • voice
William Taylor • wire-strung clàrsach (#1, 7, 8, 12, 16-18,
22-24, 28-30, 36)
Apostle of Ireland
Every year on 17th March half the world seems to become
Irish, even if just for a moment, as the Hibernian diaspora
plus innumerable legions of hangers-on celebrates St Patrick's Day. For
a high proportion of revellers this will not involve any religious
observance and may simply entail imbibing a pint of Guinness, wearing
something green and singing a sentimental song or two – it is, after
all, a great excuse to enjoy the fruits of a rich culture that may or
may not be one's own, and a fine opportunity for fun. St Patrick's Day
and all the traditions, sacred and secular, that have become attached
to it is the focus for international Irish-ness, and a marvellous way
for a small nation with a long historical reach to remind the world of
its significance.
But who was the real Patrick? The legend of his life is caparisoned in
the brightly bejewelled habiliments of myth, sometimes so coruscating
that they obscure the historical figure beneath, and there are many
things told of him for which we shall never find historical proof. Our
recording is, therefore, a snap-shot in time, showing what people
believed of the
saint at the moment these medieval texts were written.
There are some things we can say for sure about St Patrick, however,
and we should begin with the fact that he was not actually Irish. We
know that he was born possibly in 387 in Britain and that his family
were respected members of a settlement that was organised in the Roman
way, and that his father was a decurion – a title which implied
administrative status and responsibility rather than military rank. The
name of his birthplace cannot be linked to a particular settlement with
any certainty, but it must have been somewhere that was prey to the
incursion of Irish pirates, leading to the speculation that it could
have been close to the mouth of the Severn. There is a tradition
enshrined in the modern place-name 'Kilpatrick', however, that the
saint came from a town close to Dumbarton on the Clyde. As a Scottish
ensemble we are understandably keen to claim Patrick for Caledonia, and
those who aver that he could not come from Scotland because of the
assumption that Roman Britain was contained south of Hadrian's Wall are
surely turning a blind eye to the existence of the Antonin Wall, some
miles north of Glasgow, and evidence of other Roman structures in the
region.
When Patrick was an adolescent he was abducted by Irish pirates, along
with many others, and for the next six years worked as a slave tending
animals for his new master Miliuc, probably near Mount Sleamish in Co.
Antrim. Around the age of twenty-two, Patrick managed to escape this
onerous captivity, making a difficult cross-country journey to a major
port, probably Wexford, where he joined the crew of a vessel
transporting hounds to the continent, the most likely destination being
Armorica (Brittany). After this he appears to have wandered in France
for some time, enduring numerous difficulties before returning to
Britain. It was after his return to the family home that he began to
express a vocation for missionary work in Ireland.
In spite of objections from his family, Patrick once again left home,
this time voluntarily, to begin his training. It is not certain where
he went to study, but there is evidence that this may have been at the
island monastery of Lerins, just off the modern-day Riviera coastline,
and after that at Auxerre, from where he finally received his
appointment to serve in Ireland. It has also been suggested that he may
have studied at the monastery of St Martin in Tours. It is at this
point that the Patrick legends tend to become confused with the story
of Palladius, an earlier missionary ordained by Pope Celestine and sent
to Ireland in 431 to counter the Pelagian heresy then sweeping across
Europe. Palladius died, possibly martyred, not long after, and Patrick
appears to have heard of his death while he, too, was journeying to
Ireland to take up his own missionary work in 432. Patrick was probably
consecrated a bishop by Germanus of Auxerre rather than by the Pope
himself.
Patrick's landing in Ireland may have been either near Wicklow or
Dublin, after which he seems to have travelled north to Antrim,
beginning his work near Saul. Having met with initial success by
converting the local chieftain, Dichu, he built his first church at
Saul (Saballinum). He was disappointed, however, by his failure to
persuade his original master Miliuc to give up his pagan ways. His
missionary work is recorded in various accounts, ancient and modern,
and in his own writings, most particularly his Confessio, and
it is here that we find evidence of the difficulties and dangers he and
his companions faced. He states, for example, that they were seized and
carried off as captives on twelve occasions and that his death was
decreed in the course of one of those kidnappings.
In spite of high levels of antagonism, Patrick did not slacken his
work, targeting converts from the ruling classes who inevitably brought
their people with them, and using the existing social structure as a
basis on which to establish a Christian society. In 439 more bishops
were sent to assist him, and his work developed a seemingly unstoppable
momentum as Patrick appointed sees, eventually choosing Armagh for
himself. Patrick ordained many clergy, favouring a secular rather than
monastic system, and appears to have had a talent for organisation. His
establishment of sees based on existing civil divisions meant that
Ireland's church did not become mainly monastic until some time after
his death.
His piety is the stuff of legend, involving mortification of the flesh
and long hours spent
in prayer or studying scripture. He is supposed to have knelt in the
freezing water of the river near Saul each day whilst reciting all 150
Psalms, for example, and lain down to rest unclothed on a stone when
the need for sleep finally overcame him. After his death in 461 (or,
less likely, 493) he is popularly supposed to have been buried in the
Cathedral at Downpatrick along with St Brigit and St Columba, his
fellow patrons of Ireland – a lovely but unproven tradition.
As might be expected, after his death his reputation gathered mythic
tales as a ship collects barnacles. The two most persistent stories
concern snakes and the shamrock. He is supposed to have banished snakes
from Ireland, although no such creatures ever actually existed on the
island. The 'snakes' may be interpreted as symbolising either paganism
or theological unorthodoxy such as the Pelagian heresy, however, making
sense of the legend. Perhaps the most popular image of the saint is his
supposed use of the shamrock's tripartite leaf as a symbol representing
the Trinity, and it is this that has become the most enduring and
best-loved story about St Patrick. His celebrated poem the Lorica
(Breastplate) is greatly loved and still sung in hymn versions today
all over the world. Besides being one of the Patrons of Ireland,
Patrick is also Patron Saint of Nigeria, Montserrat, 'excluded people'
and engineers.
This Office for St Patrick's Day consists of a rich collection
of propers (material peculiar to that day alone) which would have been
sung during the Offices of 1st Vespers, Matins, Lauds and 2nd Vespers
in a religious foundation dedicated to the saint. The monastic life
revolves, now as it did then, around the singing of the daily offices,
and these venerable acts of musical prayer are the pillars of the
monastic life. Matins is the most extensive of the Offices and the most
wide-ranging in terms of musical content, and it would have taken
around two and a half hours for its majestic structure to unwind. In
the space of a single disc we are only able to provide a glimpse into
this meditative sound-world, and we have been obliged to omit most of
the standard daily liturgical material such as the nine Psalms which
would have been sung in their entirety during Matins. We have worked
almost entirely from TCD 79, although we have included the hymn Ecce
fulget which only appears in TCD 80, and we have also used the TCD
80 version of Responsory IX from Matins which lacks its Gloria
in TCD 79.
As entertainers our interest lies particularly in the propers for St
Patrick's Day as well as in those liturgical structures that offer the
most interesting musical experiences. One such is the Invitatory which
is woven around the Venite canticle at the opening of Matins.
The melody for the Venite is taken from the Herdmanston Breviary
(Edinburgh, NLS Adv. MS 18. 2. 13A, fol. 341r2), dated c.1300. This
manuscript was used in Scotland in the Haddington region in the later
Middle Ages. The tones for the Magnificat and Benedictus
are taken from a tonary contained in the same source, on folios 166v1
and 166v2, respectively. Constricted as we are by the single CD format,
there was only space to include the first verse and Gloria for each
canticle. We are extremely indebted to Dr Greta-Mary Hair for
uncovering the sources and transcribing and editing these items for us.
We were delighted to note two interesting links with Scottish medieval
offices, both involving the use of popular European melodies. The tune
for the hymn Exultent filii is an interesting variation of the
melody used for the hymn Aurora rutilat in the 13th century
Scottish Office for St Columba in the Inchcolm Antiphoner. The
melody for the prosa Mente munda letabunda pops up twice in
medieval Scottish sources: in the 13th century Office for St Kentigern
(Glasgow's patron saint) from the Sprouston Breviary, and also
as the tenor of the troped section of the Sanctus Mater mitis vere
vitis in fascicle 11 of the 13th century St Andrews Music Book
(W1). This melody is certainly European, first appearing in the Office
for St Nicholas which is attributed to Reginald of Eichstatt.
Our approach to this music is based on the concept of 'less is more'.
With that in mind, we sing the chant largely with equal notes, allowing
the text and phrase shapes to dictate subtle changes of tempo and
emphasis. We add the occasional drone when we feel that it serves the
structure, style and context of the item concerned. The harp
accompaniments, improvised by William Taylor, pay tribute to a growing
body of iconographical evidence supporting the view that harps were
played in Celtic religious foundations. We feel that the sacred
medieval music of Scotland and Ireland could not fail to be influenced
by centuries of secular bardic practice. As a harp is listed as late as
the mid-sixteenth century in the effects of a Scottish monastery at the
time of its dissolution, we feel that there is no reason to suppose
that this most Celtic of instruments might not have been in use in the
performance of an indigenous chant repertoire for several centuries.
The two manuscripts from which our performance is sourced, TCD 79 and
TCD 80, have been transcribed and edited by Dr Ann Buckley to whom we
owe the most profound debt of gratitude, not only for her immense
generosity in sharing her work with us, but also for her patience,
sound advice and warm encouragement at every stage of the project. Our
grateful thanks and acknowledgement also go to Senan Furlong OSB who
has transcribed and translated the text of the Office.
Rebecca Tavener
The Manuscripts
St Patrick, along with Saints Brigit, Colmcille and
Columbanus, was one of the most widely venerated Irish saints in early
medieval Europe. His name is found in a context in manuscripts still
surviving from Frankish Gaul and southern Germany, south as far as
Italy and Austria to the east. But today, apart from hymns attested in
numerous sources, the historical record for offices and masses in his
honour is severely depleted.
The Office for St Patrick, represented in part on this recording, is
the only one we know from medieval Ireland. It is found in ten
different sources, the oldest of which is in the Waterford collection
(now Corpus Christ College Cambridge MS 405), an early
fourteenth-century manuscript but with materials dating to c. 1200. The
remaining sources are fifteenth century or later. Only five contain
music notation, all of them now in the Library of Trinity College
Dublin: MSS 77, 78, 79, 80 and 109.
MSS 77, 78, 79 and 80 are Sarum Divine Office manuscripts. MS 77, the
Antiphonary of Armagh, was formerly used by the céli Dé
('Companions of God'), or Vicars Choral, of the Cathedral. While it
does not contain a full office for St Patrick, its psalter is unusual
in several respects, including that of the presence of three notated
antiphons in his honour in the section for the Little Hours,
'Iubilemus', 'Ut nos Deus' and 'Laus et Honor'. These are concordant
with the Lauds antiphons in MSS 79 and 80.
MS 78 is a breviary associated with the diocese of Ossory, perhaps
Kilkenny Cathedral, since it contains a unique notated office for St
Canice; other Ossory saints are well represented in its Kalendar. It
appears to have been used in Clondalkin, Co. Dublin, in the second half
of the 16th century. MS 79 is an antiphonal, dating to c. 1431-1435,
which formerly belonged to the Church of St John the Evangelist,
Dublin, a dependent of Christ Church Cathedral. MS 80 is an early
15th-century Breviary believed to come from Kilmoone, Co. Meath.
The two sources used here are MSS 79 and 80, chosen for the
complementarity of their contents. MS 79 includes the Alleluias for
Matins which would have been performed during Eastertide. Unlike MS 80,
it does not contain contemporary lections, but a set different from
those in MS 80 was added later in a 16th-century hand. MS 80 has
notation for the Gloria Patri, as well as including all nine
lections in the main body of the text. The beginning of Vespers is
missing in this source because of destruction.
MS 109 is a 15th -century Irish Observant Franciscan Antiphonary. It
contains notation for First Vespers only; the remainder of the office
is included, but without notation or lections. Another source for
Patrick was recently identified among a large number of fragments in
the Schottenstift in Vienna. This Irish Benedictine monastery was
founded in 1155 by monks from the slightly older Irish Schottenkloster
in Regensburg, Bavaria. Among these fragments, some of them
substantial, are several antiphonals and a hymnal. A completely
different notated office for Patrick is contained in one of the
12th-century antiphonals which may have been particular to that
congregation. While a copy of the hymn, 'Ecce fulget clarissima',
survives in another of the Vienna fragments, a 12th-century hymnal,
without music notation.
'Ecce fulget', included on this recording, is found in two parts in the
Kilmoone Breviary (MS 80): the first part, strophes 1-6 and 11, was
sung at First Vespers; and the second part, strophes 6-11 ('Ad hanc
doctor'), at Matins. The entire text of this hymn occurs also in the
Trinity College Dublin copy of the Irish Liber Hymnorum (MS
1441), a collection dating from the late 10th / early 11th century,
although 'Ecce fulget' was added later. The only surviving melody
associated with it is that found in the Kilmoone Breviary, a melody not
unique to Patrick but in standard use in the Gregorian repertory.
Facilitation provided by the Manuscripts Department of Trinity College
Dublin in allowing access to these source materials is gratefully
acknowledged. Research on 'Veneranda imminentis', an Office for St
Patrick, represents part of a larger international project on the
Liturgical Veneration of Irish Saints in Medieval Europe being
undertaken at the National University of Ireland Maynooth under the
direction of Dr Ann Buckley, and funded through the generous support of
the Irish Research Council for the Humanities and Social Sciences
Project Grants Scheme.
Ann Buckley
St Patrick, paiting by Maria Rud