|Notation||Date||10th c. ineunte|
|Notes||Text and neume scribe as for Ante saecula mundi, Alma vera and Adam in saeculo on the same folio (fol. 207r/v): for a brief description, see Ante saecula et mundi. The extra space above the first line of text was used by the notator to make greater distinctions in notational disposition than is usual in St Gall notations. |
The neumes for Gratuletur omnis and Alma vera in the Naples manuscript are virtually identical, albeit that more significative letters and signs of lengthening were added to Gratuletur. One point of substantial difference occurs at the ninth and tenth syllables in the first line, where the notation for Alma vera indicates pes-virga (2a-1a) instead of the virga-pes combination used at this point in Gratuletur and in both notations at the repeat in line three. This departure may be due to the monosyllablic opening to the half-line in Alma vera. Proximity to the other melodies for Gratuletur given here rests both on the similar overall melodic structure (A, B, A'), and on the similar melodic profile for the first halves of both the A lines. A similar melodic contour may also be traced for the first half of the B lines, although the neumed versions are more ornate at this point.
The similarities between the three melodies given for Gratuletur omnis are strong for the opening half line (syllables 1-8). In the Naples and Klosterneuburg manuscripts this opening melodic contour is repeated for the first eight syllables of the third line and similar melodic contours are again traced. Elsewhere within the strophe correspondences in melodic contour are harder to identify.
|?1b, 1a, 1a, 2a, -1a, ?1a, 1a, 1b, ?1a, 2a?ii, 1b, 2b, 2a, -1a, 1b
2a?ii, 1a, -"2b", ?2b, -2a, 1a, -2b, 1b, "3c", ?1a, -2b, 1b, ?"2b", ?1a, 1b
-1d, 1a, 1a, 2aii, 1a, ?1a, 1b, 1b, ?1a, ?2a', ?1a, 2b, "3c", 1a, 1b
|Melody||The sequence of neumes for the first and third lines is identical in all but a few details, creating an overall melodic structure that may be summarized as A, B, A'. Lengthening is indicated at the ends of lines one and two, and at the caesuras of lines two and three. In the second and third lines, lengthening is also indicated on the fourth syllable, dividing the first half of the line into two units of four syllables.|
Stäblein, Monumenta monodica I, nr. 506; Schmid, Musica enchiriadis, p. 217
Transcription of the melody transmitted in Klosterneuburg 1000 is straightforward due to the two-line stave (f and c) and precise heighting of
the neumes in relation to the other letters written between the two lines as part of the stave (d and a). Stäblein regularises the spelling of the text and records liquescences only in the accompanying commentary (Monumenta monodica I, p. 569). His edition is also neutral with respect to rhythm in so far as it presents noteheads without stems.
Schmid reproduces the relevant diagram from the version of the Musica Enchiriadis transmitted in the so-called Bamberg organum treatise. The diagram features Daseian signs aligned vertically, from which strings are extended and on which are placed the syllables of the first line of Gratuletur omnis; the vertical alignment of syllables indicates simultaneously sounding pitches. A transcription of the pitches indicated in the Bamberg organum treatise into modern notation using stemless noteheads is provided
in Stäblein (Monumenta monodica I, 569).
Stäblein noted that the melody for Gratuletur omnis recorded in Klosterneuburg 1000, which was only ever transmitted East of the Rhine,
is identical in its opening half-line to the upper voice of the polyphonic hymn recorded in the Bamberg manuscript. The neumed version of
Gratletur omnis in Napoli IV. G. 68, which appears to have been unknown to Stäblein, is identical in its opening contour to the opening of the
melody recorded in both the Bamberg and Klosterneuburg manuscripts. This might be taken to mean that the later medieval melody can be traced back as far as the first quarter of the tenth century, when it was used for both Gratuletur omnis and Alma vera at St. Gall. Although this proposal is attractive in its simplicity, it needs to be tempered by recognition of the differences between the early and later medieval melodies at all points other than the first halves of the first and third lines. A more cautious conclusion would be that an opening melodic contour was associated with this text and remained in circulation East of the Rhine from at least the tenth through to the fourteenth century. There is no evidence to suggest that two further melodies identified by Stäblein for Gratuletur omnis in later hymnals (one transmitted in Italian sources, no. 758, the other a widely disseminated melody more commonly associated with Pange lingua, no. 56) were in use before the eleventh century. In view of the paucity of hymn notations before the earliest notated hymnals at the beginning of the eleventh century, this lack of evidence cannot be taken as a sign of the primacy of the melody recorded in Napoli IV. G. 68.
The Klosterneuburg manuscript assigns Gratuletur omnis to Lauds at Epiphany, a common position for this hymn in hymnals of the Middle
Ages. A shorter neumed version of Gratuletur omnis is assigned to the Mass for Epiphany with the rubric «ante episcopum» in Roma 123; for a discussion of the implications of this rubric, see the entry for Gloriam Deo. The melody recorded for Gratuletur omnis in this shortened version of the text is the one that Stäblein identified as transmitted only in Italian sources. The probability that this Italian melody entered into transmission before the mid eleventh century is high given its survival in later Italian manuscripts (for an alignment of the neumes of Roma 123 with a later version of the Italian melody that can be transcribed into modern notation, see Sevestre, Du versus au conduit II, p. 98).