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• Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France by Yossi Maurey
• Robert Curry

Sequences and rhymed offices, the two great plainchant genres that reached their apogee in the late Middle Ages, remain underappreciated. They were consigned to [End Page 268] history by the Council of Trent. To be fair, though, having a ‘cultural encounter’ with the latter genre (also known as versified office or historia) is particularly challenging, for it unfolds across the full twenty-four-hour cycle of canonical hours. Far shorter, and as appealing as many a popular hymn, is the paired-versicle sequence that was sung at Mass following the Gradual. Their tunefulness is borne out by the few sequences that the Council permitted to remain in use, the best-known being Thomas of Celano’s Dies irae and Jacopone da Todi’s Stabat mater.

Yossi Maurey’s handsomely produced monograph is devoted to the sequences specially composed for two feast days that were of defining importance to Sainte-Chapelle, the exquisite royal chapel on Île-de-la-Cité, purpose-built to house Louis IX’s collection of relics. Most notable among the relics in its treasury were those associated with the Passion of Christ: the Crown of Thorns and pieces of the True Cross. Although the Feast of the Crown of Thorns (11 August) and the Feast of the Reception of Relics (30 September), celebrating its translation to Paris, were not unique to Sainte-Chapelle, only there were these feast days celebrated as annuale. And, accordingly, they were provided with elaborate liturgy befitting top-rank feast days with octave. It fell to liturgists to activate the full political potential of Sainte-Chapelle’s relics, ‘to weave them into a narrative that foregrounded and idealized France, Paris, the French king, and the Passion of Christ’ (p. 16). Whereas at neighbouring Notre Dame cathedral the liturgy in service of its Marian programme employed elaborate polyphonic music (florid organum and discant in up to four parts), at Sainte-Chapelle the locus of liturgical poetico-musical creativity was plainchant, syllabic settings of metrically rhymed poetry, crafted such that every word of text was clearly intelligible. The melodies themselves, however, were mostly borrowed. Maurey’s coverage of this characteristic, the predominance of contrafacta among the sequences under study, is of particular interest.

His study starts with a crisp introduction covering the historical and political significance of the relics; the interconnectedness of liturgy, architecture, and music at Sainte-Chapelle; manuscript affiliation and repertoire transmission; and the technique of contrafacture. He then proceeds to a detailed explication of the ten sequences apportioned to each of the two feast days (Parts 1 and 2). His presentation is a model of lucidity. With one’s visual imagination stirred by readily available illustrations of this famous sacral space, the reader who is prepared to sing will have everything at hand needed to appreciate the beauty of this music and the richness of its poetic imagery—textual exegesis, translations, music in modern notation, and comparative tables juxtaposing original and newly composed texts of the fifteen contrafacta. For reasons of space, one contrafactum by way of example must suffice: Verbum bonum et iocundum (the fifth sequence in the Crown of Thorns), which is set to the melody of Verbum bonum et suave (Marian sequence for the Annunciation and the Assumption). Maurey explains: ‘the Crown Verbum bonum hinges on a word associated not with the moment of Christ’s conception but with a moment associated with the final period of His life, [End Page 269] the Passion [not ‘Hail Mother’ but ‘Hail Crown’]. […] If Mary is the intercessor between the praying community and Christ, it is the Crown which serves that role in Verbum bonum et iocundum, mediating between Christ, the Franks, and the Kingdom of France along with its kings and queens’ (pp. 74–76). The Marian...

审阅者：

• 圣礼拜堂的礼拜仪式和序列：十三世纪法国的音乐、文物和神圣王权作者：尤西·莫雷 (Yossi Maurey)
• 罗伯特·库里

序列和韵律，这两种在中世纪晚期达到顶峰的伟大的朴素歌曲流派，仍然没有得到充分的重视。他们被特利特会议载入史册[完第268页] 。不过，公平地说，与后一种类型（也称为韵律办公室或历史）进行“文化邂逅”尤其具有挑战性，因为它是在整个二十四小时的规范时间周期中展开的。与许多流行的赞美诗一样吸引人的是在循序渐进式之后的弥撒中演唱的配对单曲序列。委员会允许继续使用的少数序列证明了它们的调性，其中最著名的是塞拉诺的托马斯的《Dies irae》和雅科波内·达托迪的《Stabat mater》。

尤西·莫雷 (Yossi Maurey) 制作精美的专着专门介绍了专门为两个节日而创作的序列，这两个节日对圣礼拜堂具有决定性的重要性。 圣礼拜堂是西岱岛的精致皇家教堂，专门为存放路易九世的文物收藏而建造。其宝库中最引人注目的文物是那些与基督受难有关的文物：荆棘王冠和真十字架的碎片。尽管荆棘王冠节（8 月 11 日）和圣物接收节（9 月 30 日）庆祝其迁往巴黎，并非圣礼拜堂所独有，但只有这些节日被作为一年一度的庆祝活动。因此，他们获得了与八度顶级节日相适应的精心礼拜仪式。礼拜仪式学家有责任充分发挥圣礼拜堂遗迹的政治潜力，“将它们编织成一个以法国、巴黎、法国国王和基督受难为前景和理想化的叙事”（第16页）。在邻近的巴黎圣母院，为圣母计划服务的礼拜仪式采用了复杂的复调音乐（华丽的奥尔加农音乐和最多四个部分的离散音乐），而在圣礼拜堂，礼拜仪式诗音乐创造力的核心是朴素的圣歌，韵律韵律的音节设置诗歌，精心设计，使文本中的每个单词都清晰易懂。然而，旋律本身大多是借来的。莫里（Maurey）对这一特征的报道，即反对事实的主导地位在正在研究的序列中，特别令人感兴趣。

他的研究首先以简洁的介绍开始，介绍了这些文物的历史和政治意义；圣礼拜堂礼拜仪式、建筑和音乐的相互联系；手稿隶属关系和曲目传输；以及构造技术。然后，他详细解释了分配给这两个节日的十个顺序（第 1 部分和第 2 部分）。他的演讲是清醒的典范。这个著名的神圣空间的现成插图激发了人们的视觉想象力，准备唱歌的读者将拥有欣赏这种音乐之美及其诗意意象的丰富性所需的一切——文本注释、翻译、音乐现代符号，以及将十五个文本的原始文本和新撰写的文本并列的比较表违背事实。由于篇幅原因，一个对比事实就足够了：Verbum bonum et iocundum（《荆棘王冠》中的第五个序列），它的旋律是Verbum bonum et suave（圣母领报和圣母升天的序列） 。莫雷解释说：“王冠的美好祝福取决于一个词，它与基督受孕的时刻无关，但与他生命的最后阶段相关，[结束第269页]激情[不是‘母亲万岁’而是‘皇冠万岁’” ']。[…]如果玛利亚是祈祷团体和基督之间的调解者，那么在《Verbum bonum et iocundum》中，王冠就扮演着这个角色。，在基督、法兰克人和法兰西王国及其国王和王后之间进行调解”（第 74-76 页）。玛丽安...