Durham University Library Archives & Special Collections Catalogue
Pieces in (1) all appear to be by different hands; (1b) by 2 12th century scribes.
Notation for (1a)-(1h) and (1j) is in campo aperto, (1i) and (1k) is on lines. (1h), (1i) and (1k) notation is incomplete, three-line red staves, added 13th century (?), for portions of (1i) and most of (1k).
Initials:
Type (iv) major coloured initials, f.30 to Puer (Christmas), f.79 to Spiritus (Pentecost).
Corrections
Small Tuckett binding, mid 19th century full brown calf over thick wooden boards with 2 clasps (Charles Tuckett, binder to the British Museum, rebound most of the Cosin Manuscripts in the 19th century). One hole from tackets prior to early binding (?), about 5 mm from the bottom edge of all leaves, close to the gutter; three similar holes, about 25 mm from the top of ff. 1-61 (11-51) and 72-80 (i.e. section (B)), close to the gutter.
Written in England, Christ Church Cathedral Priory, Canterbury, late 11th century and at Durham Priory by the early 12th century (possibly as part of Bishop William of St Calais' donation of books).
Episcopal Library ex-libris and shelf-numbers by Thomas Rud, f.1r.
Previously catalogued in Catalogi veteres, p. 140-1.
Eleven proses added to the main manuscript in the 12th century by different scribes once the manuscript had reached Durham.
Also occurs as item (17e).
Laid out as separate verses on f.7r but not on 7v.
A leaf is missing before f.9, the surviving text starts at the end of the Kyrie prosula "Clemens rector".
Incomplete at top of folio. Two lines only “nunc tibi o beate consolator te precamur omnes assidue eleyson. Kyrrie eleyson”.
A sequence of 14 Kyrie and Christe eleisons without other text.
f.15 and 16 have been transposed and are referred to in the manuscript now as 15(16) and 16(15).
The words “vt supra” are notated, but presumably refer back to (2Bc).
Chant of royal acclamation which, to judge by the saints invoked, was composed at Christ Church, Canterbury. Invokes Peter, Clement, Sixtus, Edmund, Ermengild, Oswald, Augustine, Dunstan, Alphege, Mary, Felicitas, Perpetua, Maurice, George, Sebastian.
A later addition on an originally blank section. Square notation on a four line staff.
A later addition on an originally blank section. Writing exercises by Thomas Horsley and Christopher Skepper.
Signa te Signa temere me tangis et angis
Roma tibi subito motibus ibit amor.
Veruex cum puero puer vnus sponsa maritus
Cultello, limpha, funo, dolore cadit.
Christoferus Skepper
Missing some text at start, would have begun “Dirige me”. Sung propers de tempore, Advent - 23rd Sunday after octave of Pentecost, beginning in Advent 1 offertory first versus, through loss of one leaf (stub) before f.22, and one quire between f.71 and 72 (Good Friday to Friday of the octave). The elements for Sundays 1-23 after the octave of Pentecost are as the Bec missal, including both alleluia-verses at Sunday 14, but with the differences in post-Pentecost alleluias as reported Bec, pp. xi-xiii, from MS D (Harley 5289), a 14th century missal from Durham Cathedral Priory (apart from Sunday 23 partly erased). The verses are to the alleluia on Sunday 8, “Replebimur in bonis domus tue ... mirabile in equitate”; and to the offertory on Sundays 7, “Et nunc sequimur in toto corde ... secundum multitudinem misericordie tue. Quia non”; 17, “Adhuc me loquente ... delicta populi mei Israel. V. Audiui uocem dicentem et Michael uenit in adiutorium meum. Super”. 18, “Sanctificauit Moyses altare ... in conspectu filiorum Israel. V. Locutus est dominus ad Moysen dicens Ascende ad me in montem ... faciam secundum uerbum. V. Orauit Moyses dominum et dixit Si inueni gratiam ... Moyses fecit sacrificium”; 20, “Vtinam appenderentur ... grauior appareret. V. Que est enim que est enim que est enim fortitudo mea ... ut patienter agam. V. Nunquid fortitudo lapidum ... caro mea enea est. V. Quoniam quoniam quoniam non reuertetur oculus meus ... ut uideat bona. Perdiditque.” 22, “Recordare quod steterim ... indignationem tuam ab eis. V. Qui regis Israel intende ... ut ouem Ioseph. Nos autem.”; 23, text erased. Music erased for almost all the pieces Advent 1 communion - Advent 3 Saturday gradual (f.22r-25v), also individual pieces on f.26v, 32v, 51v, 56v, 59v, 74v-76v, 84v, 93v. Red stave-lines inserted in spaces, f.22r, 51v, 56v, 75r-76v, 84v; music added, 12th century (?), Easter 4 - vigil of Ascension (f.75r-76v), also a little, 14th-15th century (?), f.22r.
Sung propers of Trinity, including sequence. Bec, 244-45, but here with four alleluias: “Benedictus es ... laudabilis in secula” , “Benedicamus patrem ... spiritu in secula”, “Libera nos salua nos ... trinitas” (Bec, 95), “Deus pater deus filius ... unus est deus”; “Alleluia. Benedicta sit beata trinitas ... iudice premia” (as Analecta hymnica liii, 143); and two offertory verses: “Benedicamus patrem et filium ... exaltemus eum in secula”, “Benedictus es qui intueris abyssos ... exaltatus in secula. Quia fe”.
Antiphon for dedication of a church, with propers of mass.
Antiphon for consecration of cemetery, with antiphon “Domine qui Moysi locutus es dicens solue calciamentum”
Antiphon for blessing a pavement
Antiphon for consecration of signs [of the cross].
Added by contemporary scribes, with well-drawn diastematic Anglo-Norman neums.
Sung propers de sanctis, from vigil of John the Baptist introit - octave of Assumption of B.V.M. alleluia, (23 June - 22 Aug., Bec, 155-185). Starting and ending imperfectly: the preceding portion must have occupied at least 10 leaves, and the following portion with the Commune Sanctorum etc. 8-10. Texts as Bec, except for John the Baptist “prima missa” the Alleluia is “Fuit homo” (cues only) and “maior [missa]” begins “De uentris matris mee ...”
f.113v is blank.
Analecta hymnica medii aevi 
, ed. Dreves, G. M. (Leipzig: R. Reisland, 1886-1920)
Catalogi veteres librorum Ecclesiae cathedralis dunelm. Catalogues of the library of Durham cathedral, at various periods, from the conquest to the dissolution, including catalogues of the library of the abbey of Hulne, and of the mss. , Surtees Society 7, (London: J.B. Nichols and Son, [1838]).
The Bec missal , ed. Hughes, A. Henry Bradshaw Society 94 (Leighton Buzzard: Faith Press, 1963)
Corpus antiphonalium officii , ed. Hesbert, R.-J. (Rome: Herder, 1963-1979)
Corpus troporum. VII, Tropes de l'ordinaire de la messe. Tropes du Sanctus ed. G. Iversen (Stockholm: Almqvist & Wiksell, 1990).
Cowdrey, H. E. J., "The Anglo-Norman Laudes regiae", Viator 12 (1981), 37-78
Frere, W. H., The Winchester troper, from mss. of the Xth and XIth centuries: with other documents illustrating the history of tropes in England and France Henry Bradshaw Society 8, (London: Harrison & Sons, 1894)
Gameson, Richard, "The divine service in the aftermath of the Norman conquest", in Gameson, Richard, ed., Treasures of Durham University Library , 34-35 (London: Third Millennium, 2007)
Hartzell, K. D., "An unknown English Benedictine gradual of the eleventh century", Anglo-Saxon England 4 (1975), 131-44
Hartzell, K. D., Catalogue of manuscripts written or owned in England up to 1200 containing music , (Woodbridge: Boydell, 2006)
Mynors, R., Durham Cathedral
manuscripts to the end of the twelfth century. Ten plates in
colour and forty-seven in monochrome. With an introduction
[including a list of all known Durham manuscripts before
1200] ,
(Durham: 1939)
Planchart, A. E., The repertory of tropes at Winchester , (Princeton: Princeton University Press, 1977).