Siglum: 
D-KA Aug. LX
Summary: 
Late twelfth-century antiphoner of which the musical notation was almost completely rewritten in the 13th/14th century. Originated in Zwiefalten; was taken from there to the abbey of Reichenau early in the 16th century. Four-line staff, with red F-line and yellow C-line; seven different notations. Monastic cursus. 276 folios.
Liturgical occasions: 
Ff. 001b-116v: Winter Temporale and Sanctorale. 1b, Advent; 3r, Nicholas; 7v, Lucy; 14v, Great “O” Antiphons; 16v, Nativity; 21v, Stephen; 24r, John the Evangelist; 26r, Holy Innocents; 29v, Epiphany; 34v, Ferial Office; 38v, Fabian and Sebastian; 41r, Agnes; 43r, Conversion of Paul; 43v, Immaculate Conception; 46r, Purification of the Virgin; 49r, Agatha; 52r, Gregory; 53v, Benedict; 56v, Annunciation of Mary; 58v, Septuagesima; 61v, Sexagesima; 62r, Quinquagesima; 64r, Ash Wednesday; 64v, Lent; 77r, Passion Sunday; 80r, Palm Sunday; 85r, Maundy Thursday; 87v, Good Friday; 89v, Holy Saturday; 91v, Easter; 98v, Sundays after Easter; [images 211-270, interpolated material]; 106r, Philip, Jacob; 106v, Finding of the Cross; 109r, Alexander and Eventius; 109v, Ascension; 113r, Pentecost. Ff. 117r-237r: Summer Sanctorale. 117r, John the Baptist; 119v, John and Paul; 120v, Peter and Paul; 123r, Paul; 125v, Peter in Chains; 126v, Mary Magdalene; 130r, Afra; 133v, Laurence; 137r, Assumption of Mary; 139v, Beheading of John the Baptist; 140v, Nativity of Mary; 143v, Holy Cross Day; 144r, Maurice; 145r, Michael; 148r, Denis; 149v, Gallus; 152v, Ursula; 155v, All Saints; 157v, Martin; 160v, Brice; 160v, Othmar; 161r, Cecilia; 163r, Clement; 164r, Andrew; 166v, Common of Saints; 181v, Dedication of a Church; 184v, Trinity; 187v, Elizabeth of Hungary; 190r, Catherine; 193r, Summer Histories; 207r, Antiphons "ad Benedicite;" 208r, Sundays after Pentecost; 214r, Invitatory Tones; 219v, Office for the Dead; 225v, Chants “ad Mandatum;” 227v, Ferial Office; 233r, Common of Mary; 234r, Benedict; 237r.
Description: 

Karlsruhe Aug. LX presents several challenges to the researcher. It is written in six different hands and seven notational styles spanning five centuries. A brief overview is provided below:
1: late 12th-century Carolingian minuscule
2: an early 13th-century hand on ff. 261r-262v
3: a mid-13th-century Gothic minuscule (ff. 225v-230r--the added Offices of Elizabeth of Hungary and Catherine of Alexandria)
4: a mid-15th-century hand (the added material on ff. 104r-144)
5: 15th-century Gothic minuscule (ff. 133v-240v)
6: 15th-century Humanist hand (140v)

Karl Hain describes the characteristics of each hand in his Ein musikalischer Palimpsest, pp. 21-9; his discussion of the different notations, describing exactly where they are used in the manuscript, can be found on pp. 30-69. The seven types of notations he describes are the following:
1: a 12th-century South-German notation with red F-line and yellow C-line similar to the one found in Graz 807 (ff. 82v and 225v-227v)
2: German notation with red F-line and yellow C-line similar to the onle found in GB-Lbl-B. Add. 24680 and B-Br-2034 (ff. 219v-221r)
3: German notation on four-line staff (223r)
4: German notation (ff. 22r, 129v, 223v-224v, 231r, 233v)
5: Hufnagel notation on four-line staff, found anywhere when not otherwise specified
6: a 15th-century notation on five-line staff, found in the interpolated material (ff. 1r [211]-30v [270])
7: Square notation on red four-line staff (ff. 191r-193r)

Chants are often written in a haphazard manner: for example, the ending of the antiphon “O clavis David et sceptrum” (14v) is written four lines above where it is begun. This is especially prevalent among verses to responsories (e.g., see ff. 44v, 45r, 65v, 68v, 76r, 170r, 204r, 212v). An extreme example of this is the verse “Averte oculos meos ne videant,” which is begun on 103v but is continued on 142r.

The full texts of the Offices of Elizabeth of Hungary and Catherine of Alexandria can be found in Analecta hymnica, vol. 25, pp. 253-8, and vol. 26, pp. 212-5, respectively. The rhymed Office for Benedict appears full in Analecta hymnica, vol. 25, pp. 145-9.

Differentiae are not notated in Karlsruhe Aug. LX; instead, the mode and differentia of many of the antiphons are indicated by letters (a vowel followed by a consonant). Unfortunately, some of the differentiae appear to have been trimmed off.

Another challenging aspect of this manuscript concerns the multiple sets of folio numbers. The records here correspond to the folio numbering used by the Badische Landesbibliothek in their digital images (posted to the library website in 2015). The Cantus Database records are being edited during the summer of 2015; for example, the former fol. 004r is the new fol. 002r, old 004v = new 002v, etc.

Selected bibliography: 
  • Götz, Waltraud. Drei Heiligenoffizien in Reichenauer Überlieferung: Texte Und Musik Aus Dem Nachtragsfaszikel Der Handschrift Karlsruhe, Blb Aug. Perg. 60. Frankfurt Am Main: P. Lang, 2002.
  • Haggh, Barbara. Two Offices for St Elizabeth of Hungary: Introduction and Edition. Musicological Studies LXV/1. Ottawa: Institute of Mediaeval Music, 1995.
  • Hain, Karl. Ein musikalischer Palimpsest. Ph.D. diss., University of Freiburg, Switzerland, 1925.
  • Heckenbach, Willibrord. “Das mittelalterlichen Reimoffizium ‘Praeclarum late’ zu den Festen das Heiligen Benedict.” In Itinera Domini: Festschrift fuer Emmanuel von Severus OSB zum 80. Geburtstag, 189-210. Münster: Aschendorff, 1988.
  • Metzinger, Joseph P. et al., eds. The Zwiefalten Antiphoner: Karlsruhe, Badische Landesbibliothek, Aug. LX. With an introduction by Hartmut Moeller. Ottawa: Institute for Mediaeval Music, 1996.
  • Moeller, Hartmut. Antiphonarium: Karlsruhe, Badische Landesbibliothek, Aug. perg. 60. Codices illuminati medii aevi, 37. Munich: Edition Helga Lengenfelder, 1995. [A colour microfiche reproduction with an introduction that appears in English (with minor changes) in the work by Metzinger et al, referred to above.]
  • Omlin, Ephrem P. Die Sankt-Gallischen Tonarbuchstaben. Ph.D. diss., University of Freiburg, Switzerland, 1934.
Indexing notes: 
The index for D-KA Aug. LX was prepared at the Catholic University of America by Joseph P. Metzinger, Lila Collamore, Keith Falconer, and Richard Rice. Tonary letters were copied into the records from Omlin’s book by Charles Downey. Folio numbers were adjusted and full texts were entered in 2015 by Marina Gallagher at the University of Waterloo, with editorial assistance from Debra Lacoste.
Full source / fragment: 
Complete