The Epiphany Liturgy at Pistoia as an Expression of Episcopal Authority-Reference-Cited by-同舟云学术

The Epiphany Liturgy at Pistoia as an Expression of Episcopal Authority

Published:2024-02-01 Issue: Volume:37 Page:34-53
ISSN:0709-5201
Container-title:Florilegium
language:en
Short-container-title:Florilegium

Author:

Maiello James V.¹

Affiliation:

1. University of Manitoba, Winnipeg, Manitoba, Canada

Abstract

The plainchant repertory preserved in the twelfth-century choir books of the cathedral of San Zeno in Pistoia reflects both the regional importance of the institution during the central medieval period and its robust musical culture. Among the many items of interest to scholars, the High Mass for Epiphany in particular stands out for its extensive and idiosyncratic accretions. This liturgy merits close study for what it can tell us about chant transmission, trope composition, and other phenomena, but I will focus in this essay on its potential for use as an expression of episcopal authority in the cultural milieu of medieval Tuscany. Examining the Epiphany liturgy at San Zeno through the lens of the Investiture Controversy and the early communal period in Italy, I will characterize the High Mass as an expression of episcopal authority and as a symbol of independence from imperial and communal control. Drawing on a variety of methodological models, I argue that the bishop and the cathedral chapter used the theological themes associated with Epiphany in concert with the spectacle of such an important High Mass as performed in medieval Tuscany to craft a hermeneutic program that emphasized the dual authority—spiritual and temporal—of the bishop and set him in opposition to the Holy Roman emperor using an allegory of Christ and Herod.

Publisher

University of Toronto Press Inc. (UTPress)

Link

https://utpjournals.press/doi/pdf/10.3138/flor-2021-0001

Reference90 articles.

1. For the Most Reverend Dominick J. Lagonegro, auxiliary bishop emeritus of the Archdiocese of New York and titular bishop of Modruš. I am grateful to Luisa Nardini, David Watt, Susan Boynton, and the late Alejandro Planchart for their comments and suggestions on earlier versions of this paper.

2. The manuscripts extant in the Archivio capitolare at Pistoia reveal that the cathedral chapter maintained a substantial library in the eleventh and twelfth centuries, one that included, inter alia, liturgical books, patristic texts, theological works, sermons, and treatises on music. Manuscripts C. 119 and C. 120 are graduals, while C. 121 is a troper; I will refer to them hereafter as Pst 119, Pst 120, and Pst 121, respectively. For more on these sources, see James Vincent Maiello, “On the Manufacture and Dating of the Pistoia Choirbooks,” Plainsong & Medieval Music 19 (2010): 10–21; Lance Brunner, “Two Missing Fascicles of Pistoia C.121 Recovered,” in Cantus Planus (Budapest: Hungarian Academy of Sciences/Institute for Musicology, 1990), 1–19.

3. See Margot Fassler, Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris, 2nd ed. (Notre Dame, IN: University of Notre Dame Press, 2011); William Flynn, Medieval Music as Medieval Exegesis (Lanham, MD, and London: Scarecrow Press, 1999); Emma Hornby and Rebecca Maloy, Music and Meaning in Old Hispanic Lenten Chants: Psalmi, Threni and Easter Vigil Canticles (Woodbridge, Suffolk: Boydell Press, 2013); Emma Hornby, Medieval Liturgical Chant and Patristic Exegesis: Words and Music in the Second-Mode Tracts (Woodbridge, Suffolk: Boydell Press, 2009); Susan Boynton, Shaping a Monastic Identity Liturgy and History at the Imperial Abbey of Farfa, 1000–1125 (Ithaca, NY: Cornell University Press, 2006).

4. See Geoffrey Chew, "The Early Cyclic Mass as an Expression of Royal and Papal Supremacy," Music & Letters 53, no. 3(1972): 254-59

5. James Grier, "The Music Is the Message: Music in the Apostolic Liturgy of Saint Martial," Plainsong & Medieval Music 12, no. 1(2003): 1-14.