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 -30v )
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 were edited during the summer of 2015; for example, the former fol. 004r is the new fol. 002r, old 004v = new 002v, etc.
- 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.