On page Av there is the main part of the Sono "Refugium meum deus meus", followed by the Laudes "Laudate dominum a terra montes" and by a lecture from the Lamentation of Jeremias (III, 1-3) for the Dom. de Passione.
On page Br there is a lecture from the Gospel of St. John (6: 66-70), followed by the incipit of the Laudes "Cantabo domino" and of the Sacrificium "In simplicitate", and then by a Missa with its first two orationes for the Fer. 6 de Passione.
Dom. de Passione
Fer. 6 de Passione
Condition of document:
The side Av - Br is readable while Bv - Ar is badly damaged( because it served as book cover). The borders of the bifolium are uneven and trimmed. There is a big tear at the bottom corner of folio A.
The original foliation is lost.
407 x 270 mm
Type of script:
Type of notation:
Inscriptions and marks:
The number "1" written by pen corresponds to the number of the catalog of the exhibition "Pergaminhos Que Foram Parte de Missais, Leccionários e Antifonários em uso na Diocese…" that took place in the Museu de Lamego in 1976. The fragment has been identified for the first time as part of a Visigothic book by a monk of the abbey of San Girolamo in Rome in 1977.
This fragment, although probably part of a book copied elsewhere, is a witness to the adoption of the Hispanic rite in northern Portugal. It is dated by Ferreira to the second half of the tenth century / eleventh century (Três fragmentos de Lamego", p. 64).
The palaeographical similarity between the Lamego fragment and the notation of the Léon Antiphoner is the main argument that supports the dating of the fragment to the tenth century. In spite of the lack of elegance and refinement in the notation of the Lamego fragment, the scribe who wrote the music here shared the same neumatic alphabet of the scribe who notated the same chants in the Leon Antiphoner. Both scribes used similar graphical varieties for basic neume shapes and the same kind of graphical elements placed near the notation (with the purpose of adding musical information).
The palaeographical examination of the fragment allowed its attribution to the so called 'Leon tradition', along with León, Archivo de la Catedral (E-L) Ms. 8, Santiago de Compostela, Biblioteca Universitaria (E-SCu) Ms 609 (Res. 1), Salamanca, Biblioteca General Universitaria (E-SAu) Ms. 2668. On the 'Leon tradition' see RANDEL, The Responsorial Psalm Tones for the Mozarabic Office, Princeton: Princeton University Press, 1969, pp. 10-52.
FERREIRA Manuel Pedro, "Three Fragments from Lamego", Revista de Musicología, XVI, pp. 457-76. Portuguese translation, and notes: "Três fragmentos de Lamego", in Aspectos da Música Medieval no Ocidente Peninsular, Volume II - Música Eclesiástica, Lisboa: IN-CM / Gulbenkian, 2010 [Estudos Musicológicos 34], pp. 58-81 (with transcriptions of the text readable on the fragment side Av-Br, and color plates I, II, III, IV).
FERREIRA, Manuel Pedro, Antologia de Música em Portugal na Idade Média e no Renascimento, Lisboa: CESEM / Arte das Musas, 2008, vol. I, pp. 11-12 & Plate III.
HORNBY E. and MALOY R., "Melodic dialects in Old Hispanic chant", Plainsong and Medieval Music, 2016, pp. 37-72.
RANDEL, The Responsorial Psalm Tones for the Mozarabic Office, Princeton: Princeton University Press, 1969.