Notre Dame de Rouen. The façade of the Gothic Church in France. Photographer: Hippo1947. Licence: SHUTTERSTOCK.

Sunday 1 March 2020

“Hapus Dydd Gwyl Dewi”. A Very Happy Saint David’s Day. Feast Day 1 March.





The Welsh National Anthem.
Available on YouTube at




The Welsh Dragon.
Flag of Wales.
Illustration: DINO





Paragraph from:


In Wales, the Daffodil is a symbol of The Patron Saint,
David (Welsh: Dewi Sant), and of rebirth and faithfulness,
because they bloom every year, even after the harshest Winters.
Illustration: PINTEREST




The Welsh National Anthem.
Sung just before Wales beat England 30-3,

Saturday, 16 March 2013.

Available on YouTube at





The Welsh National Anthem.
Available on YouTube at



“Hen Wlad Fy Nhadau”
is the Welsh National Anthem.



The tune and words were the work of
the father and son team of Evan James (1809 - 1878)
and James James (1833 - 1902).

Cymraeg:

Mae hen wlad fy nhadau yn annwyl i mi
Gwlad beirdd a chantorion enwogion o fri
Ei gwrol ryfelwr, gwlad garwyr tra mad
Tros ryddid collasant eu gwaed.

Gwlad Gwlad,
Pleidiol wyf i'm gwlad,
Tra mor yn fur i'r bur hoff bau
O bydded i'r hen iaith barhau




English:


Land of my Fathers, O land of the free,

A land of poets and minstrels, famed men.
Her brave warriors, patriots much blessed,
It was for freedom that they lost their blood.

Wales ! Wales !,
I am devoted to my Country.
So long as the sea is a wall to this fair beautiful land,
May the ancient language remain.




Cymraeg: Baner Dewi Sant
Image: August 2006.
Source: Altered from Image:Flag of Cornwall.svg
(Wikimedia Commons)





Saint David's Day.
Available on YouTube at



Saint David's Day is on 1 March. He brought Christianity to Wales
in the 6th-Century A.D. Saint David (Dewi Sant) is The Patron Saint of Wales and 1 March is The Welsh National Day. This is an edited version of 'Songs of Praise' 24/02/2013. The final song is sung by Rhys Meirion, in Welsh, accompanied by a Traditional Welsh Harp. The Welsh name for the City of Saint David is Tyddewi.





Cymraeg: Darlun o Ddewi Sant ar ffenestr lliw yng
Nghapel Coleg yr Iesu, Rhydychen. 19eg ganrif hwyr.
English: Late-19th-Century Stained-Glass Window in
Jesus College Chapel, Oxford, England, depicting Saint David.
Photo: June 2006.
Source: Own work.
Author: Casper Gutman.
(Wikimedia Commons)




HAPUS DYDD GWYL DEWI.

HAPPY SAINT DAVID'S DAY.



The Welsh Flag.
Illustration: WALES ONLINE




The Treorchy Male Voice Choir
singing "Sanctus",
Saint David's Day, 1989.
Available on YouTube at




And, as a Saint David's Day Bonus to all Welshmen,
watch “The Greatest Rugby Try Ever Scored”
(The Barbarians versus The All Blacks).
Scored, naturally, by a Welshman.
Watch, below.




“The Greatest Rugby Try Ever Scored”.
[And it was scored by Wales, of course.]
Available on YouTube at



Kyrie Eleison (Orbis Factor). Mass Setting XI (Sundays Throughout The Year Outside Of Lent And Advent). Mediæval Chant From The Gradual Of Eleanor Of Brittany.



English: Kyrie Eleison (Orbis Factor).
Mediæval Chant from The Gradual of Eleanor of Brittany (13th - 14th Century).
Director: Marcel Peres Album: "Le chant de la Memoire"
Sung by: Ensemble Organum.
Director: Marcel Peres.
Album: "Le Chant de la Memoire".
Français: Graduel d' Alienor de Bretagne (Orbis Factor).
Available on YouTube at


English: Detail from The Gradual of Eleanor of Brittany, showing The Nativity.
Français: Graduel d'Aliénor - Nativité.
Date: 15 November 2014.
Bibliothèque multimédia de Limoges.
Author: Anonymous.



English: Detail from The Gradual of Eleanor of Brittany,
showing The Resurrection.
Français: Graduel d'Aliénor - Résurrection.
Date: 15 November 2014.
Bibliothèque multimédia de Limoges.
Author: Anonymous.


The following Text is from Wikipedia - the free encyclopædia.

Eleanor of Brittany (1275 – 16 May 1342) was the sixteenth Abbess of Fontevrault Abbey, France.

She was born in England to John II, Duke of Brittany and Beatrice of England, and, in 1281, at the age of seven, entered Amesbury Abbey, a Priory of The Fontevrault Order (her first cousin, twice removed, Eleanor, Fair Maid of Brittany is buried there).

In 1290, she moved to Fontevrault Abbey in the Loire region of France, the Parent Abbey of The Order, where she took her Vows and became a Nun. A richly illuminated Gradual was presented to her upon her Induction. In 1304, she became Abbess. Upon her death in 1342 she bequeathed the Gradual to the Abbey. It survives to this day and is held by the Public Library of Limoges.


Gregorian Chant Setting for Kyrie XI, notated in Neumes.
Missa XI Orbis Factor
(In Dominicis Infra Annum),
beginning of Kyrie Eleison,
version B.
XIV-XVI Century.
From Graduale Romanum Sacrosanctae Romanae Ecclesiae,
Solesmes MCMLXXIX, p748.
(Wikimedia Commons)



The Kyriale is a collection of Gregorian Chant Settings

It contains eighteen Masses (each consisting of the Kyrie, Gloria [excluded from Masses intended for Weekdays/Ferias and Sundays in Advent and Lent], Sanctus, and Agnus Dei), six Credos, and several “Ad Libitum” Chants.

This collection is included in Liturgical Books
such as The Graduale Romanum and Liber Usualis, and it is also published as a separate book by the Monks of Solesmes Abbey.


In The Kyriale, the individual Chants of The Ordinary are grouped into complete Sets, whose Title usually indicates the opening of the “Prosula”, formerly sung to each respective Kyrie melody. These Masses are followed by individual items not grouped with the complete Masses.

The following list of Masses indicates the Seasons or Feasts for which each Mass is intended. In practice, however, Mass Settings may be used on days that fall outside the Seasons or Feasts listed below; additionally, Chants may be extracted from multiple Mass Settings for use during a given Mass.


(Dominica Ad Aspersionem Aquæ Benedictæ).
(for the Asperges Rite outside of Paschaltide)
(Extra Tempus Paschale).


“Asperges Me”.
Available on YouTube at


Vidi Aquam
(for the Asperges Rite in Paschaltide)
(Tempore Paschali).
Available on YouTube at


Mass I:
“Lux Et Origo”
(in Paschaltide)
(Tempore Paschali).

Mass II:
“Fons Bonitatis”
(In Festis Solemnibus I)
(for Solemnities or First-Class Feasts).


“The Kyrie”.
Mass II.
Available on YouTube at

Mass III:
“Deus Sempiterne”
(In Festis Solemnibus II)
(for Solemnities or First-Class Feasts).

Mass IV:
“Cunctipotens Genitor Deus”
(In Festis Duplicibus I)
(Pre-Vatican II “Double Feast”)
(for Feasts of Apostles or Second-Class Feasts).


Mass V:
“Magnæ Deus Potentiæ”
(In Festis Duplicibus II)
(Pre-Vatican II “Double Feast”)
(for Feasts or Second-Class Feasts).


“The Kyrie”.
Mass V.
Available on YouTube at

Mass VI:
“Rex Génitor”
(In Festis Duplicibus III)
(Pre-Vatican II “Double Feast”)
(for Feasts or Second-Class Feasts).


“The Kyrie”.
Mass VI.
Available on YouTube at

Mass VII:
“Rex Splendens”
(In Festis Duplicibus IV)
(Pre-Vatican II “Double Feast”)
(for Feasts or Second-Class Feasts).

Mass VIII:
“De Angelis”
(In Festis Duplicibus V)
(Pre-Vatican II “Double Feast”)
(for Feasts or Second-Class Feasts).


Mass IX:
“Cum Jubilo”
(In Festis Beatæ Mariæ Virginis I)
(for Marian Solemnities and Marian Feasts or Feasts).

Mass X:
“Alme Pater”
(In Festis Beatæ Mariæ Virginis II)
(for Marian Solemnities and Marian Feasts or Feasts).


“The Kyrie”.
Mass X.
Available on YouTube at

Mass XI:
“Orbis Factor”
(In Dominicis Per Annum)
(for Sundays throughout the year, excluding Lent and Advent)
(Time After Epiphany or Pentecost).

Mass XII:
“Pater Cuncta”
(In Festis Semi-Duplicibus I)
(Pre-Vatican II “Semi-Double Feast”)
(for Memorials or Third-Class Feasts).


Mass XIII:
“Stelliferi Conditor Orbis”
(In Festis Semi-Duplicibus II)
(Pre-Vatican II “Semi-Double Feast”)
(for Memorials or Third-Class Feasts).


“The Kyrie”.
Mass XIII.
Available on YouTube at

Mass XIV:
“Jesu Redemptor”
(In Festis Semi-Duplicibus III)
(Pre-Vatican II “Semi-Double Feast”)
(for Memorials or Third-Class Feasts).

Mass XV:
“Dominator Deus”
(In Festis Semi-Duplicibus IV)
(Pre-Vatican II “Semi-Double Feast”)
or Commemorations and Ferias in Christmastide).


“The Kyrie”.
Mass XV
Available on YouTube at

Mass XVI:
(In Feriis Per Annum)
(for Weekdays during Ordinary Time
or Ferias Per Annum).


Mass XVII:
(In Dominicis Adventus Et Quadragesimæ)
(for Sundays in Advent and Lent).

Mass XVIII:
“Deus Genitor Alme”
(In Feriis Adventus Et Quadragesimæ, In Vigiliis,
Feriis Quatuor Temporum Et In Missa Rogationum)
(for Weekdays in Advent and Lent, or Ferias in Advent and Lent, for Vigil Masses, Ember Days, and Rogation Days).


Credo I to VI.

Cantus Ad Libitum.
Kyrie (I–XI).
Gloria (I–IV).
Sanctus (I–III).
Agnus Dei (I–II).

Missa Pro Defunctis.
(for Requiem Masses).

Quadragesima Sunday. First Sunday Of Lent. Lenten Station At The Papal Arch-Basilica Of Saint John Lateran.




Text from The Saint Andrew Daily Missal,
unless stated otherwise.

Quadragesima Sunday.
   First Sunday of Lent.

Station at Saint John Lateran.

Indulgence of 10 Years and 10 Quarantines.

Semi-Double.

Privileged Sunday of The First Class.


Violet Vestments.


Artist: René de Cramer.
"Copyright Brunelmar/Ghent/Belgium".
Used with Permission.



English: Papal Arch-Basilica of Saint John Lateran.
Rome, Italy, by Alessandro Galilei, 1735.
Latin: Archibasilica Sanctissimi Salvatoris et Sanctorum Iohannes Baptistæ
et Evangelistæ in Laterano. Omnium urbis et orbis ecclesiarum mater et caput.
Italiano: Facciata principale della Basilica di San Giovanni in Laterano,
progettata da Alessandro Galilei (1735).
Français: Façade principale de la basilique Saint-Jean-de-Latran
(Rome) par Alessandro Galilei, 1735.
Photo: 2006/09/07.
Source: Own work.
Author: Jastrow
(Wikimedia Commons)

Originally, The Forty Days of Lent were counted from this Sunday. The Liturgical gathering of "The Station" takes place today, as it has since the 4th-Century A.D., at Saint John Lateran, which is The Patriarchal Basilica of The Bishops of Rome. At its first Consecration, it was Dedicated to "Saint Saviour", a name which calls to mind the Redemption accomplished by Our Blessed Lord.

Immediately after His Baptism, Our Lord began to prepare for His Public Life by a Fast of Forty Days in the mountainous desert which stretches between Jericho and the mountains of Judea. [Tradition tells us that Our Lord took shelter in the grotto on the highest peak of all, known as Mount of the Quarantine.] It was there that He was tempted by Satan, who wished to discover whether The Son of Mary was, in reality, The Son of God (Gospel of The Mass of The Day).

As in the case of Adam, Satan addresses his first attack to the senses. Our Lord is hungry and the tempter suggests to Him that He should turn stones into bread. In the same way, he tries, during these Forty Days, to make us give up on our Fasting and mortification. This is the concupiscence of the flesh.


English: Basilica of Saint John Lateran, Vatican.
With its length of 400 feet, this Basilica ranks fifteenth
among the largest Churches in the World.
Français: Basilique Saint-Jean-de-Latran, Vatican, située à Rome.
Avec sa longueur de 121,84 mètres, cette Basilique se classe
au 15è rang parmi les plus grandes églises au monde.
Photo: September 2010.
Source: Own work.
Author: Tango7174
(Wikimedia Commons)


The devil had promised our first parent that he should be as God. Now, he takes Our Lord to the pinnacle of the Temple and tries to induce Him to let Himself be carried by the Angels through the air, amidst the applause of the crowds below. Satan tempts us by Pride, which is opposed to the spirit of Prayer and meditation on God's Word. This is the Pride of Life.

Finally, just as he had promised Adam a knowledge which, like that of God Himself, should enable him to know all things, so Satan assures Jesus that he will make Him Ruler over all Created Things, if He will fall at his feet and worship him. In the same way, the devil seeks to attach us to Temporal goods, when we ought, by Alms and Works of Charity, to be doing good to our neighbour. This is the concupiscence of the eyes, or Avarice.

Since the Sword of the Spirit is the Word of God, Our Lord made use of the Psalm XC against Satan, and this is the theme of the whole Mass and is found again and again in The Office of The Day. "His Truth shall cover thee with a shield," says the Psalmist. This Psalm is, therefore, the ideal Psalm for Lent as a special time of warfare against the devil.


English: Basilica of Saint John Lateran, Vatican.
The Choir and Apse. The mosaics in the Dome are a 19th-Century
rebuilding of Jacopo Torriti's works, dating to the 13th-Century.
Français: Basilique Saint-Jean-de-Latran, située à Rome.
Chœur et abside. La mosaïque du dôme est une réfection du XIXè siècle
de l'œuvre de Jacopo Torriti remontant au XIIIè siècle.
Photo: September 2010.
Source: Own work.
Author: Tango7174
(Wikimedia Commons)


Again, The Eleventh Verse: "He hath given His Angels charge over Thee, to keep Thee in all Thy ways," recurs in Vespers-like refrain during the whole Season. We find the entire Psalm in the Tract, which reminds us of the old custom of singing Psalms during certain parts of The Mass.

Some of its Verses make up the Introit, with its Verse, the Gradual, the Communion and the Offertory, which last was formerly composed, in today's Mass, of three Verses instead of one, following the order of the threefold temptation as recorded in the Gospel.

Side-by-side with this Psalm, the Epistle, certainly dating from the time of Pope Saint Leo, sounds one of the characteristic notes of Lent. There, Saint Paul borrows a Text of Isaias: "In an accepted time, have I heard thee, and in the Day of Salvation have I helped thee." "Behold," says the Apostle, "now is the acceptable time. Behold, now is the Day of Salvation" (Epistle and First Nocturn).


The Decorated Ceiling
of the Basilica of Saint John Lateran, Rome, Italy.
Photo: March 2010.
Source: Own work.
(Wikimedia Commons)


On this, Saint Leo comments: "Although there is no Season of the Year which is not rich in Divine Gifts and in which we, by God's Grace, do not find immediate access to His Mercy; nevertheless, at this time, when the return of the day on which we are redeemed summons us to fulfil all the duties of Christian piety, the Souls of Christians must be stirred with more zeal for spiritual progress, and possessed of a very great confidence in Almighty God.

In this manner, with pure Souls and bodies, shall we celebrate this Mystery of The Lord's Passion, Sublime beyond all others. True, we ought always to be in The Divine Presence, just as much as on The Easter Feast. But, because this spiritual vigour is the possession of only a few, while, on the other hand, the weakness of the flesh leads to any very severe observance being relaxed, and on the other, the varied occupations of this life share and divide our interest, it necessarily happens that the dust of the world soils the hearts, even of Religious themselves.


The Cloisters at Saint John Lateran.
Photo: August 2006.
Source: Own work.
Author: Kodiak
(Wikimedia Commons)


This Divine Institution has been planned with great profit to our Salvation, in a manner that the exercises of these Forty Days may help us to regain the Purity of our Souls, making up, in a way, for the faults of the rest of the Year, by Fasting and pious deeds.

However, we must be careful to give no-one the least cause of complaint or scandal, so that our general behaviour may not be inconsistent with our Fasting and Penance. For it is useless to reduce the nourishment of the body unless the Soul departs from sin" (Second Nocturn).

In this "acceptable time" and in these "Days of Salvation", let us purify ourselves with The Church (Collect), "in Fastings, in Chastity," by zeal in hearing and meditating on The Word of God and by Charity unfeigned (Epistle).

Every Parish Priest Celebrates Mass for the people of his Parish.

Mass: Invocábit me.
Creed: Is said.
Preface: For Lent.

Saturday 29 February 2020

The “Le Puy Manuscript”.




“Le Puy Manuscript”
Vespers: “Veni Redemptor Gencium”.
Available on YouTube at

Recently, not only has the Manuscript unexpectedly re-appeared, but a second book, containing the same New Year’s Office, has come to light. This second book also contains a large number of polyphonic pieces, both simple two-parts textures and four-part settings, made in the 16th-Century by the Clerks of Le Puy, on the basis of older melodies.

No other Manuscript has been found which brings together such a range of older and newer material. It not only reflects the specific ritual Celebrated in this Cathedral, but also vividly illustrates the way Liturgy could evolve over hundreds of years, particularly its artistic, musical aspects, from the Chants found in the oldest notated sources to pieces inspired by the new arts of poetry and song composition in The High Middle Ages, and, finally, the polyphonic writing of The Renaissance.


“Le Puy Manuscript”.
“Psallat Vox Ecclesis”.
Available on YouTube at

It was the custom in The Middle Ages for each individual Clerical rank to Celebrate its own Feast on a specific day following Christmas: The Pueri (boys), as the youngest, would come first, followed by the Deacons and Sub-Deacons, and then the Priests. On their Feast, those concerned would embellish the Liturgy with as much ingenuity as possible, making additional Processions and singing new compositions at the communal meal.

In the 12th-Century and 13th-Century, special books were compiled for such Celebrations, and it is to this Tradition that The Festal Office for New Year’s Day at the Cathedral of Le Puy belongs.


“Le Puy Manuscript”.
Vespers: “O Admirabile Commercium”.
Available on YouTube at

The basis for The Feast was The Liturgy, Proper to The Day, stretching from Vespers on the preceding day through The Night Offices to the end of Vespers on The Feast, itself, almost without a break for more than twenty-four hours.

As in Monastic practice, the Clerks met in the Chancel of the Cathedral every three hours to sing Psalms, to Pray, to read Lessons, and recite their associated Chants, and, of course, to say Mass.

They would also make Processions to the impressive frescoes and paintings in the vast Church and its surrounding buildings high over the Town. The Feast Day ended with dancing by “The Pueri”.


“Le Puy Manuscript”.
Vespers: “Annus Novus In Gaudio”.
Available on YouTube at

As with all High Festivals, Christmas was ‘re-Celebrated’ eight days later, on New Year’s Day. Thus, the principal theme, of both the older and the newer texts in The Le Puy Manuscript, is the Christmas Miracle, the coming of The King of Kings, entering into His Dominion. And, with The Redeemer, was Celebrated – especially in The Middle Ages – Mary, The Mother of God. The Feast is, thus, full of The Joy of Christmas, but, also, that of The New Year, which is greeted by the Clerks in a song addressed to the Cantor.

[ . . . ] a song transports us immediately into the characteristic sound world of The Le Puy Office. It is a 16th-Century Setting for four voices of a monophonic song, notated circa 1100. We then follow the order of pieces in the first part of the Manuscript, with the entire Vespers Liturgy, followed by later stages of The Feast (1424). [. . . ] (see end of Article).

In the book’s old monophonic Chants for Vespers, the characteristic sounds of a Liturgical Tradition stretching back far before The Middle Ages can be heard. Their Texts are drawn mainly from The Psalter and other books of The Bible.


The Structure of a Mediæval Manuscript.
Available on YouTube at

Examples of Choral Psalmody, sung Antiphonally, are the Psalm and the Magnificat, both framed by Antiphons. Other parts of The Vespers Office, which belong to this early material, are the Ambrosian Hymn, and the closing Prayer.

To this basic structure, are added a Blessing by The Priest before The Reading, and a Response sung after it. A short Psalm Verse is then inserted, and The Office concludes with poetically-extended versions of the usual Thanksgiving, “Benedicamus Domino”, and its Response, “Deo Gratias”.

The Le Puy Vespers were enhanced by the addition of other Chants: A Solemn introduction taken from the main Night Office of Matins; Verses from a Hymn composed by the 6th-Century A.D. poet, Venantius Fortunatus, for New Year’s Day; the song addressed to the Cantor, already mentioned, composed circa 1100; and a Response to The Reading, in the form of a series of skilful hexameters, written in the 11th-Century by Bishop Fulbert of Chartres.


“Le Puy Manuscript”.
Vespers: “Magnum Hereditatis Misterium “D” Magnificat”.
Sung by: Ensemble Gilles Binchois and Dominique Vellard.
Available on YouTube at


The monophonic Chants exhibit considerable variety, both in the alternation of participants – Priest, Readers, Cantor, Soloists and Choir – and, particularly, in musical texture: the delivery of Text on a single pitch, then more ornamental recitation patterns – formulas specific to the beginning, middle, and end of a phrase – and, finally, actual melodies.

Further variety is provided by the different possibilities of polyphonic sound, and especially the contrast between monophonic and polyphonic textures within single pieces. Along with full four-part textures created by adding chords to pre-existing melodies, we find two-part textures in which the second voice is added in accordance with long-standing simple oral techniques. In the final piece, a “Melisma” is sung over a held Pitch, a procedure which hardly needed to be notated.

In the following parts of The Office, this sound world becomes even more diverse. After a request for Blessing addressed to The Bishop, followed by The Blessing, itself, a Processional Chant (Conductus) takes us from the Chancel to the Chapter House.

There, after another Blessing, the Reading is given as a “Farsumen”, a technique widely practised in the time of the great Cathedrals, whereby Text is alternately read and sung. This piece, composed in the Late-11th-Century, is based on The Prologue to The Gospel of Saint John.



“Le Puy Manuscript”.
Selected Chants: “Serpentia amonicio”.
Available on YouTube at

Then, singing another “Conductus”, the Clerks move on to the meal in the Refectory, where another ceremony takes place, with a Reading and Farsumen. The "Toast" is followed by Psalm 50, with its Antiphon. On the way back into the Church, through the Cloister, the Choir divides: at this point a four-part Kyrie is sung, a Setting probably composed in The Late Middle Ages. Once back in the Chancel, the Clerks sing more polyphonic acclamations, a Versicle and a further Prayer, ending with a final “Benedicamus”.

It is in this part of the Manuscript that the new songs, with which The Liturgy had been elaborated since the turn of the 12th-Century, are most prominent. This strophic art is the Liturgical counterpart of early-European "Courtly Song", an art in which verse, rhyme and musical structures are organised in an astonishing variety of patterns, and in which every Text has its own specific melody.

It is here that the origins of European song, in the full sense of the word, lie. This new type of song could be heard in the Church, above all as “Conductus”, or, in the place of The Benedicamus, or, at the Cathedral of Le Puy, as “Farsumen”.


“Le Puy Manuscript”.
“Exultantes In Pertu Virginie”.
Available on YouTube at


Le Puy has possessed a revered image of The Virgin Mary since its earliest days, but, unfortunately, all that survives today is a replica from the Late-18th-Century. The original statue was a Black Virgin statue from circa 1000 A.D. This was Venerated by Pilgrims for eight Centuries until its violent destruction by Revolutionaries on 9 June 1794, when the wooden image was publicly burned on “Le Place du Martouret”.

As the statue burned away, a secret door in its back was revealed, the door opened, and a roll of parchment fell out. Tragically, no attempt was made to read the parchment before it was consumed by the flames. The replica statue is carried in procession on Feast Days, just as the original was throughout The Middle Ages.

[ . . . ] concludes with three of the most beautiful compositions in this part of the Manuscript: Two polyphonic pieces of the 16th-Century, in full and clear harmonies, and, between them, a “Conductus”, itself, an example of one of the most elaborate forms used in monophonic song in The High Middle Ages.


Here, a strophic pattern is linked with the older structure of The Sequence, based on repetition. This led to the creation of very long and intricately-woven melodic designs, and is one of the most impressive aspects of 12th-Century song. With the development of new forms of musical expression and structures, this special art was lost.

The “Conductus”, heard here, survives only in The Le Puy sources, and its style shows that The Office, itself, originated in the period when this song art was in full flower. The Cathedral of Le Puy lay on one of the great Mediæval Pilgrim Routes leading to Santiago de Compostela, but, after The Middle Ages, the Town was somewhat remote from historical events taking place in the outside World.

The Cathedral building, itself, constantly modified , with its frescoes dating from the 11th-Century to the 13th-Century, presents a parallel to the pattern of continuous Liturgical expansion reflected in this Festal Office. Yet, the different kinds of music in this Office – the old Liturgical Chants, the new Mediæval songs, pieces in which a second voice is added, following simple oral techniques, and, finally, the characteristic polyphony of The Late Middle Ages – go together, perhaps even more successfully than the Cathedral’s architectural elements, to make up a fascinating, unified whole.

Wulf Artl
(1992).
Translation by Susan Rankin.
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