Codex Calixtinus
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The Codex Calixtinus (Latin, Codex Calixtinus; fl. c. 1140-1181) is the proper name of a mid-century XII illuminated manuscript containing the oldest text of the Liber Sancti Iacobi (c. 1140-1160).
It contains sermons, hymns, miracles, accounts of the translation of the Apostle, liturgical texts and musical pieces related to the Apostle Santiago. His fourth book narrates the discovery of the tomb by Charlemagne. The fifth constitutes a kind of guide for pilgrims who followed the Camino de Santiago on their trip to Santiago de Compostela, with advice, descriptions of the route and works of art, as well as the local customs of the people who lived along it. along the Way.
This document is kept in the Cathedral of Santiago de Compostela, in the Spanish province of La Coruña.
Liber Sancti Iacobi
Although the Liber Sancti Iacobi is sometimes referred to as Codex Calixtinus, the two concepts are not identical. The Liber Sancti Iacobi represents the contents of the book, from which several manuscripts were copied over the centuries (binding unit that has sometimes been given different names own) and with a heterogeneous and variable content. The oldest and most notable codex or manuscript with the Liber Sancti Iacobi is known by the proper name of Codex Calixtinus (c. 1140) and is the one kept in the cathedral of Santiago de Compostela.
The compilation that we know as Liber Sancti Iacobi was written at various times and independently and could already be configured around the year 1140.
History
The Códice Calixtino was copied by at least four hands, two of them very similar. The main author is known as Scriptor I. The authorship of Aymeric Picaud, a French priest of the XII century, is today controversial. The work is probably due to the cathedral or episcopal school of Santiago which welcomed, in the XII century, teachers and students from several countries.
The original manuscript consisted of 27 notebooks: the first was a quinion and the rest were quaternions. Already in ancient times there were changes in some notebooks that altered the structure of the codex. Later, around the XV century, page 220 was lost, originally blank and belonging to the last notebook. A page must also have been lost, also blank, that preceded the current page 1. If this were true, the manuscript had, as usual, the first and last blank pages serving as endpapers.
Later, perhaps during the binding at the end of the XII century, a second codex was added to the primitive structure of the codex. appendix (Appendix II).
Book IV was separated from the manuscript in 1609, which led to the mistreatment of notebooks 20, 21 and 24. Both volumes were bound separately by Alonso Rodríguez León. Finally, book IV was added again during the 1966 restoration, which required several adjustments to the manuscript. In the same restoration, the leaves that were larger and stood out from the rest were trimmed.
The marginal annotations that the canons of Compostela left in the manuscript show that the codex was used and read without interruption, at least until the middle of the century XVI. However, it seems that at the beginning of the XVII century the manuscript lost its interest, falling into oblivion for many years.
In the second half of the XIX century, the manuscript was rediscovered by the archivist canon of Compostela Cathedral, Antonio Lopez Ferreiro. However, it was made publicly known by the Jesuit Fidel Fita and Aureliano Fernández Guerra. In 1879, they moved to Santiago on a study trip and pilgrimage. The following year, in 1880, they published a book about their trip to Santiago (Recuerdos de un viaje a Santiago de Galicia), dedicating chapters X and later to the description and study of the Codex Calixtinus. The book included a photograph of the hymn Dum Paterfamilias and a transcription of its text, as well as several verses from the hymn Ad honorem Regis summi. In 1882, Fr. Fidel Fita published the last book of the Codex - then book IV - in Paris.
Theft and recovery
On July 5, 2011, the archivists of the Santiago de Compostela Cathedral found the work missing and reported the theft to the authorities. The codex was stolen from an armored chamber where the most valuable works in the archive are deposited. Investigations revealed that the theft had occurred the previous week.
The security system of the text was very rigorous, which had allowed it to be kept safe for 800 years. The key to the safe, however, was guarded in a more lax way: the keys were found placed in the lock of the box that guarded what is considered the greatest jewel of the Compostela temple.
During the following months, the National Police investigated the canons, investigators, musicians, and maintenance and cleaning employees, assuming the desire to harm the dean as the most probable motive, after verifying the internal confrontation between the canons, and ruling out in principle to an organized gang or a robbery for hire.[update]
On July 4, 2012, the codex was recovered by the Historical Heritage Brigade of the National Police; it had been stolen by the main suspect, an electrician who had worked in the cathedral, who also had in his possession other documents and objects from the temple, including several facsimiles of the Calixtino codex itself and a large sum of cash that had been stolen for years from the collections of the cathedral itself.
Structure
The Codex Calixtinus consists of five books and two appendices, with a total of 225 sheets of parchment written on both sides, measuring 295 x 214 mm. With few exceptions, the text is always in one column, with 34 lines per page.
The structure of the codex is as follows:
Folio Ancient Numeration Book Latin title Description f. 1 - 2v Letter from Pope Calixto II f. 2v - 139 Book I Liturgy Anthology Book of Liturgy f. 139v - 155v Book II De miraculi sancti Jacobi Book of Miracles f. 156 - 162v Book III Liber de translatione corporis sancti Jacobi ad Compostellam Body transfer to Santiago f. 163 - 191 f. 1 - 29
(separated volume)Book IV L'History Karoli Magni et Rotholandi Conquests of Carlomagno f. 192 - 213v f. 163 - 184v Book V Iter pro peregrinis ad Compostellam Guide to the Pilgrim f. 214 - 219v f. 185 - 190v Appendix I Contains polyphonic works f. 220 f. 191 (disappeared) f. 221 - 225 f. 192 - 196 Appendix II It is after the original writing of the manuscript
The first book is liturgical in nature, the second hagiographic, the third and fourth of a historical nature and the fifth, which reached a greatest celebrity, is a kind of Pilgrim's Guide.
Letter of Pope Callistus II
It constitutes the beginning of the codex, occupying its first two pages. The author claims to be Pope Calixto II and recounts how he collected numerous testimonies of miracles performed by the Apostle Santiago & # 34; touring the cruel lands and provinces for 14 years & # 34;. He also explains how the manuscript survived all possible dangers, from fire to flood. The letter is addressed to "the most holy assembly of the Basilica of Cluny" and "Diego Gelmírez, Archbishop of Compostela".
It is believed that the copyists included this letter at the beginning of the manuscript to give more importance to their work, leaving the direct intervention of the pope, who had already died in 1124, completely ruled out.
Content:
Folio Contents 1 Prologue 1-2v Letter from Pope Calixto
Book I — Book of Liturgies
(Liturgical Anthology)
It makes up almost half of the entire manuscript and forms the core of the Liber. Contains the following elements:
- 17 sermons for the fiestas of Santiago
- 2 accounts of the martyrdom of the Apostle James
- 2 trades: the eve of the feast of Santiago (24 July) and the feast of Santiago (25 July and 30 December).
- 2 Masses for the same days: Mass of the Vigil of Santiago (24 July) and Mass of the feast of Santiago (25 July).
- Instructions for Masses of each of the days of the eighth of the holidays of July
- A Mass for the Feast of Miracles (3 October)
- A Mass for the Feast of Traslation (December 30) and extra pieces for the eighth of it.
Both the offices and the masses have musical notation.
At the end of Book I is a Gregorian supplement, also with musical notation, which includes:
- 2 Benedicamus Domino
- 4 conductus
- One Farce Mass attributed to Fulbert de Chartres for use in any of the festivities of Santiago (25 July and 30 December). It is enriched with tropos and would contain elements of staging for a theatrical representation of the mass.
The existence of two different festivities dedicated to the Apostle Santiago, July 25 and December 30, is explained by the introduction of the Roman rite to replace the Hispanic rite at the end of the century XI. Since its founding in the IX century, the Church of Santiago adopted the liturgical practice in force at that time in the Hispanic church. In the liturgical calendar of the Asturian-Leonese church, a single festival dedicated to Santiago el Mayor was celebrated on December 30, the day for which a specific liturgy had been developed. However, in the Roman calendar, the feast of Santiago was celebrated on July 25. With the implementation of the new rite, the Compostela church accepted the implementation of the Roman calendar with the feast of Santiago on July 25, as long as the feast of December 30 was also preserved. Thus, July 25 was left for the celebration of the passion of Santiago, as in the rest of the West, and December 30 for the celebration of the vocation and the Transfer of the body of the apostle to Santiago.
Between both festivals, the festival of the miracles of Santiago is implanted later, on October 3rd. The festival is attributed to the initiative of San Anselmo and would later be moved to October 5.
It should be noted that the Office of matins for the Santiago festivities on July 25 and December 30 is monastic and not canonical, that is, it consists of 12 (13) antiphons and 12 responsories instead of 9 antiphons and 9 responsories, so perhaps it was prepared for the old monastic community of Compostela instead of for the Cathedral (See later, in the musical notation section, the possibility that the musical part was prepared by the Benedictine monks of Vézelay).
Content:
Folio Chapter Contents 2v-3v Contents Index of 31 chapters Sermons and passions 4-6v Chapter I Sermon de Beda the venerable, priest, for the vigil (24 July): Quoniam beati Jacobi vigils 6v-18 Chapter II Exhibition of Pope Calixto for vigil (24 July): Vigiliae noctis sacratissimae 18 Chapter III 12 Blessings of Pope Calixto to the lessons of Santiago: Adsit nobis gratia Dei 18-19v Chapter IV Prologue of Calixto and minor passion of Santiago (25 July): Gaio quatuor annis 19v-24v Chapter V Sermon of Pope Calixto in the passion of Santiago (25 July): Celebritatis sacratissime 24v-31 Chapter VI Second sermon of the same Pope Calixto for July 25th: Spiritali igitur jocunditate 31-44v Chapter VII Exhibition of the same Pope Calixto for July 25: Adest nobis, Dilectissimi fratres 44v-47v Chapter VIII Homily of Beda el Venerable for 25 July: Dominus conditor ac redemptor noster 47v-53 Chapter IX Calixto prologue and Santiago's greatest passion: Post Ascensionem Dominicam ad jealousy apostolus Domini nostri lhesu Christi 53-55v Chapter X Exhibition of San Jerónimo on 26 July, second day of the eighth of Santiago: Apostolica sollempnia veneranda 55v-57 Chapter XI Exhibition of the same San Jerónimo for the 27th of July, the third day of the eighth of Santiago: Quare Petrus et Jacobus 57-64 Chapter XII Exhibition of Pope Calixto on July 28, fourth day of the octave of Santiago: Preclara sollempnia 64-65 Chapter XIII Exhibition of San Jerónimo on 29 July, fifth day of the eighth of Santiago: In presenti capitula ostenditur 65v-67 Chapter XIV Homily of Pope Gregory for July 30, sixth day of the eighth of Santiago: Quia natalem beati lacobi apostoli et martiris 67-71v Chapter XV Sermon of Saint Maximus, Bishop, for the 31st of July, the seventh day of the eighth of James: Exultemus in Domino, Dilectissimi, et congruis honoribus 72-74 Chapter XVI Exhibitions of the saints Jerome and Maximum for the 31st of July, the seventh day of the eighth of Santiago: Sollempnitatem hodiernam 74-93v Chapter XVII Sermon of Pope Calixto for December 30: Veneranda dies 93v-95 Chapter XVIII Homily of Pope Gregory for December 30: Audistis, fratres karissimi, quia 95-98 Chapter XIX Exhibition of Pope Calixto for December 30: Sollempnia sacra presentia 98-101 Chapter XX. Exhibitions of the saints Jerome, Augustine, Gregory and Calixto for January 5: Festivitatem electionis et translationis Offices (with musical notation) 101 Chapter XXI Chapters of Pope Calixto on the vigil of Santiago and the day of his passion (24 and 25 July): Iacobus Dei et Domini nostri Ihesu Christi servus 101v-103v Chapter XXII Office of the vigil (24 July), by Calixto 103v-114 Chapter XXIII Office of 25 July and 30 December, by Calixto Masses (with musical notation) 114-116v Chapter XXIV Mass of Pope Calixto to sing in the vigil of Santiago (24 July) at the time of nona, with his accessories. 116v-118 Chapter XXV Versos (17 different) of Pope Calixto to sing in the procession of Santiago in his two solemnities (25 July and 30 December) 118-122v Chapter XXVI Mass of the same Pope Calixto to recite it on the day of the passion of Santiago (25 July), with his accessories. 122v Chapter XXVII Mass of the same Pope Calixto to sing it assiduously in all Masses by the pilgrims of Santiago. Chapter XXVIII Seven Masses of the same Pope Calixto to sing them successively every day of the eighth of the feast of Santiago: 122v-124 Mass for 26 July (second day of the eighth) 124-127v Masses for 27, 28, 29, 30, 31 July and 1 August 128 (set) Mass for the Feast of Miracles (3 October) 129 Chapter XXIX Chapters of the same Pope Calixto to recite them in the translation of Santiago (December 30) 129v-130r Chapter XXX Mass of Pope Calixto to sing it in the festive of the translation of Santiago (Mises of December 30 and January 5). Gregorian supplement (with musical notation) 130-131 Benedicamus sancti Iacobi: Exultet celi curia 131-132v 4 conductus of Santiago 132v-139 Chapter XXXI Mass farce from Santiago, which you can sing at the festivities of 25 July and 30 December 139 Benedicamus sancti Iacobi: Regi perennis glorie d'un docteur galicien
Book II — Book of Miracles
(De miraculi sancti Jacobi)
Contains a collection of 22 miracles attributed to the Apostle Santiago and performed in various regions of Europe. In its content, it is very similar to the other collections of miracles collected through the XI and XII centuries. . It occupies 16 pages (f. 139v - 155v) and is, in terms of size, the second smallest book. Before the Miracles includes a short prologue -supposedly written by Pope Callixtus II- and an index. As cited in the codex, the 22 miracles were recorded by Pope Callistus II (18), Anselm of Canterbury (2), Venerable Bede (1) and the teacher Huberto (1).
The miracles are as follows:
Folio Chapter Contents 139v-140 Prologue Argument of Pope Calixto 140-141 Contents Index of the 22 chapters of miracles 141-155v Narration of the 22 Miracles: Chapter I Of the twenty men who freed the Apostle from the captivity of the Moabites. (Papa Calixto) Chapter II From the man to whom the mention of a sin was deleted by divine disposition on the altar of James. (Beda the Venerable) Chapter III From the child the Apostle rose from the dead on the Mounts of Oca. (Papa Calixto) Chapter IV Of the thirty lorense and the dead whom the Apostle took in one night from the ports of Cize to his monastery. (Maestro Huberto, Canon of Besançon) Chapter V From the pilgrim hanging to whom James saved from death, although he was on the path thirty-six days. (Papa Calixto) Chapter VI From the poetic to whom the Apostle helped an angel in the figure of an ass. (Papa Calixto) Chapter VII From the frison sailor, whom he clothed with his helmet and shield brought the Apostle from the depths of the sea. (Papa Calixto) Chapter VIII From the bishop who, saved from the danger of the sea, composed a responsorio to Santiago. (Papa Calixto) Chapter IX From the soldier of Tabaria whom the Apostle gave power to overcome the Turks and freed him from a disease and the danger of the sea. (Papa Calixto) Chapter X From the fallen pilgrim to the sea whom the Apostle took to the port holding him for three days. (Papa Calixto) Chapter XI From Bernard, whom the Apostle miraculously drew from prison. (Papa Calixto) Chapter XII From the gentleman to whom the Apostle delivered from a disease by the touch of a shell. (Papa Calixto) Chapter XIII From the Knight Dalmacio, to whom the Apostle gave justice thanks to the pilgrim Raimberto. (Papa Calixto) Chapter XIV From the negotiator to whom the Apostle delivered from prison. (Papa Calixto) Chapter XV From the gentleman whom James saved in the war, when his companions were already dead or made prisoners. (Papa Calixto) Chapter XVI From the knight who in agony of death and oppressed by demons, the Apostle released through the staff of a beggar and a young woman's saquito. (San Anselmo, Archbishop of Cantébury) Chapter XVII From the pilgrim who, for the sake of the Apostle, was killed by the devil's instigation, and that James returned him from death to life, with the help of God's holy mother. (San Anselmo, Archbishop of Cantébury) Chapter XVIII From the count of Saint Gil, whom the Apostle opened the iron doors of his oratory. (Papa Calixto) Chapter XIX From Stephen, Greek bishop, whom James appeared and revealed unknown future things. (Papa Calixto) Chapter XX. Of William, a captive gentleman, whom a count struck with his sword in the bare neck without being able to hurt. (Papa Calixto) Chapter XXI From the crippled, to whom the holy Apostle appeared in his basilica and immediately returned his health. (Papa Calixto) Chapter XXII From the man who was sold 13 times and many others released by the Apostle. (Papa Calixto)
Book III — Transfer of the body to Santiago
(Liber de translatione corporis sancti Jacobi ad Compostellam)
It is the shortest book with only 6 pages (f. 156 - 162v). It also begins with a prologue and a summary and is followed by four chapters. It tells us about the evangelization of Spain by the Apostle Santiago and the subsequent "translation" of his body from Jerusalem to Galicia and, finally, to his burial place. He also tells us about the custom of the first pilgrims to collect seashells on the Galician coast.
Contains the following chapters:
Folio Chapter Contents 155v-156 Contents Index of the 4 chapters 156. Prologue The prologue of the blessed Pope Calixto begins on the great translation of Santiago. 156v-159 Chapter I The translation of the Apostle James, brother of the Apostle and evangelist St. John, which is celebrated on the thirtieth day of December, began in what way he was taken from Jerusalem to Galicia. 159-160 Chapter II The letter of Pope San Leon begins about the transfer of James Apostle, which is celebrated on the thirtieth day of December. 160-162 Chapter III Calixto, Pope, about the three solemnities of Santiago. 162 Chapter IV About Santiago's shells. 162-162v Miniatures (apparitions from Santiago to Carlomagna, chronic scenes: exit to Spain, return to Aix la Chapelle)
Book IV — Charlemagne's Conquests
(L'Historia Karoli Magni et Rotholandi)
It is the second largest book, occupying 28 pages (f. 163 - 191). It consists of 26 chapters. In 1609, this book was torn from the manuscript, forming a new volume entitled "Historia Turpini". Finally, it was added back to the Codex Calixtinus during its restoration, in 1966.
It is written in prose by an anonymous cleric of French origin, probably in the first half of the 12th century. Following the custom of the Middle Ages, he attributes the authorship of his text to Turpin (748-794), a former monk and treasurer of Saint-Denis, who became Archbishop of Reims and is even listed among the "Twelve Peers" 3. 4; of Charlemagne in the Song of Roland. For this reason, the book is known to historians as "Pseudo Turpin".
It focuses on the chronicle of Archbishop Turpín and tells of the entry of Charlemagne into the Peninsula, the defeat of Roncesvalles and the death of Roldán. It says that Santiago appeared to Charlemagne in a dream, encouraged him to free his tomb from the Muslims and also indicated the direction to follow: a path of stars.
Contains the following chapters:
Folio Chapter Contents 163 [1] Prologue Letter from Turpin 163v-164 [1v-2] Contents Index of the 26 chapters 164-165 [2-3] Chapter I From the apparition of the Apostle to Charlemagne 165 [3] Chapter II From the walls of Pamplona, collapsed by themselves 165v-166 [3v-4] Chapter III From the names of the cities of Spain conquered 166-166v [4-4v] Chapter IV From the idol Mohammed 166v [4v] Chapter V Of the churches that Carlomagno made 166v [4v] Chapter VI From Aigola 167 [5] Chapter VII From the example of the alms of the dead 167v-168 [5v-6] Chapter VIII From the battle of Sahagun, in which the spears flourished 168-169 [6-7] Chapter IX From the city of Agen 169-169v [7-7v] Chapter X From the city of Saintes, where the spears flourished 169v-170v [7v-8v] Chapter XI Of the soldiers of the armies of Charlemagne 170v-171v [8v-9v] Chapter XII From the controversy between Carlomagno and Aigolando 171v-172v [9v-10v] Chapter XIII Of the poor 172v-173 [10v-11] Chapter XIV Of the death of King Aigolando 173 [11] Chapter XV Of the Christians who returned back in search of illicit booties 173-173v [11-11v] Chapter XVI From the battle with Furre 173v-176v [11v-14v] Chapter XVII From the battle with the giant Ferragut and the excellent controversy of Rolando 176v-177v [14v-15v] Chapter XVIII From the battle of the masks 177v-178v [15v-16v] Chapter XIX From the Council of Charlemagne 178v-179 [16v-17] Chapter XX. From the person and strength of Charlemagne 179-185v [17-23v] Chapter XXI From the battle of Roncesvalles, and the death of Rolando and other fighters 185v-188v [23v-26v] Chapter XXII Of the death of Carlomagno 188-189 [26v-27] Chapter XXIII From the miracle that God was told to do through Rolando in the city of Gratianopolis (Grenoble ?) 189v-190 [27v-28] Chapter XXIV From the death of Turpin and the discovery of his body (Calixto, pope) 190-190v [28-28v] Chapter XXV De Almanzor de Córdoba (Calixto, papa) 190v-191v [28v-29v] Chapter XXVI From the Spanish Crusade (Carta del Papa Calixto)
Book V — The Pilgrim's Guide
(Iter pro peregrinis ad Compostellam)
It is a kind of Pilgrim's Guide to Santiago, presenting those places that should be visited along the route and warning the traveler of the dangers he would encounter along the way. Describes the city of Santiago and its cathedral in great detail.
The chapters of the book are as follows:
Folio Chapter Contents 192 [163] Argument of the Holy Father Calixto and index of the 11 chapters 192-192v [163-163v] Chapter I From the roads of Santiago 192v [163v] Chapter II From the journeys of Santiago (Calixto, Papa) 192v-193v [163v-164v] Chapter III From the names of the villages of the Camino de Santiago 193v [164v] Chapter IV Of the three hospices of the world 193v [164v] Chapter V Of the names of some who repaired the way to Santiago. (By Aimerico) 193v-194v [164v-165v] Chapter VI Of the good and bad rivers that are on the way to Santiago. (Calixto, Papa) 194v-197v [165v-168v] Chapter VII Of the names of the lands and the particularities of the people who are in the Camino de Santiago 197v-207 [168v-178] Chapter VIII Of the bodies of the saints who rest on the way and who must be visited by the pilgrims. The martyrdom of St. Eutropio, Bishop of Saintes and martyr 207-212v [178-183v] Chapter IX The character of the city and the Basilica of Santiago, an apostle of Galicia. (Calixto, Papa, and Aimerico, Chancellor)
Apartaments:
- From the churches of the village
- From the measure of the church
- Of the windows
- Of the porches
- From the source of Santiago
- From the paradise of the city
- From the northern gate
- From the southern gate
- From the Western Gate
- From the Towers of the Cathedral
- From the altars of the cathedral
- From the body and altar of Santiago
- From the silver front
- From the altar of the Apostle
- Of the three lamps
- Of the dignity of the church of Santiago and its canons
- From the singers of the church and the beginning and end of his work
- From the Dignity of the Church of Santiago
212v-213 [183v-184] Chapter X From the number of canons of Santiago 213-213v [184-184v] Chapter XI From how the pilgrims of Santiago should be welcomed 213v [184v] End of the Fifth Book of the Apostle James
Appendix I — Polyphonic Works
It is a booklet of 6 pages (214-219v or 185-190v in the old numbering) with 22 polyphonic compositions. It was probably written shortly after the body of the codex, but before 1180. From a musical point of view it is the most important part of the manuscript (See the music section for more information).
Appendix II
This appendix was incorporated into the manuscript at a time after the original writing of the manuscript, possibly in the binding made at the end of the 12th century. It consists of five pages (f. 221-225 or 192-196 in the old numbering): a bifolio with a false Bull of Innocent II and several loose pages. They are copied by different scribes and contain different texts, highlighting some miracles attributed to Santiago. It also contains the hymn of the pilgrims of Santiago Dum pater familias.
In the Bull of Innocent II, on folio 221, it is implied that the person in charge and author of the codex is the Cluniac monk Aymeric Picaud, companion of Pontiff Calixto II on his pilgrimage to Santiago in the year 1109. According to the document, around 1140, Aymeric deposited the codex in the Cathedral of Santiago, which would be the first copy of the Liber. All this is questioned by historians, since, among other reasons, the bifolio that contains the bull was not part of the original codex, but was added later, as has already been said.
The content of the appendix is as follows:
Folio Contents 221 [192] Bull of Inocencio II 221 [192v] Miracle of Brun de Vézelay (1139) written by Alberic, Abbot of Vézelay, bishop of Ostia and legacy of Rome 221v [192v] Alleluia in Greek, with musical notation 222 [193] Hymn Dum pater families, with musical notation (Canto de los pilgrims) 222-222v [193-193v] Hymn Signa sunt nobis sacra (See comments on the list of musical works) 223 [194] Miracle of James, of the resurrected child, year 1164 223 [194] Another miracle: Miracle of Santiago, of the crooked figure of the son of a Viscount, known in the lands of Poitiers 223v [194v] Miracle of Santiago, of the liberation of Christians and of the flight of the Saracens of Portugal (1190), in three readings for the maitines of the feast of 3 October 224 [195] Prayer of Master G (Gocelin or Gautier ?) 224-224v [195-195v] 6 readings for the trade, according to Pope Leo and Master Panicha, about the translation of Santiago 224v [195v] Apparition of Santiago to the monk Oldierus of Clairvaux: Telle est ta justice 224v-225 [195v-196] Miracle of Santiago, of a tullide healed at the time of the feast of translation (30 December) (two versions) 225 [196] Vision of a certain Fouques, Montreuil, pilgrim twelve and thirteen times to Santiago 225v [196v] Copy of the hymn Signa sunt nobis sacra
Music
Three parts of the Calixtinus include music:
- Book I (of the Liturgy). As indicated above, it includes the music of trades and mass, as well as a Gregorian supplement. One of the pieces is polyphonic, the rest monodic.
- Appendix I, which contains 21 polyphonic pieces: 7 Benedicamus, 4 responsors, 5 conductus, 2 Kyries, 1 Gradual, 1 prose and 1 Hallelujah.
- Appendix II, with the hymn Dum pater families.
General characteristics
The 22 polyphonic works of the Calixtinus belong to the first stage of European polyphony, a period known as ars antiqua. For many years they were associated with the compositions belonging to the School of San Marcial de Limoges. However, the compositions of Calixtinus are more elaborate than in the repertoire of Saint Martial, and today they are considered related to the experiments that were being developed in Paris, in the new Notre Dame Cathedral, during the years 1165-1180 and that would culminate shortly after with the compositions of the so-called School of Notre Dame de Paris.
All the pieces are for two voices, except the Congaudeant catholici which is for three. The musical forms represented are typical of ars antiqua:
- the conductus: appears mainly in the trophies of Benedicamus Domino, kyries and other liturgical pieces such as prose, sequences, etc. Them conducti of Benedicamus are the most numerous. La Main voice is the troop of the polyphonic piece, while the organal voice is a melody more or less adorned in the acute record. These polyphonic troupes sometimes have re-sponsorial form, including after each estropha a brief refrain, as is the case with the Congaudeant catholici.
- the organum: appears in certain liturgical pieces as responsors, gradual, alleluia and Benedicamus. It usually consists of a monodic Gregorian melody (Main voice), to which, at a given moment, a second voice is added (organal voice) that develops a long and adorned melody. This second voice may be at the beginning, in the middle or towards the end of the composition, but usually ends with the monodic melody. Compared to organa from the Notre Dame School in Paris, which would appear soon after, are easier and more condensed, without disfigureing the Main voice. La organal voice It's not as melismatic as the organa Parisian school.
There are also some pieces, like the Kyrie Cunctipotens Genitor, whose shape is intermediate between the conductus and the organum: they have a trope like main voice, as in a conductus, and the organal voice develops long melismas, as in an organum.
The Codex Calixtinus is the first manuscript (along with ms. London, British Library, Egerton 2615, from Beauvais) to use the term " conductus" for a musical composition. In addition, except for some compositions found in some Catalan monasteries, it contains the oldest polyphonic pieces that have been preserved in the Iberian Peninsula.
The hymn "Congaudeant catholici", which is the only known work for 3 voices in the entire century XII, it is believed that it was originally composed for 2 voices (upper and lower) and a third voice was later inserted between the two. This hypothesis is based on the fact that the middle voice was copied in red ink instead of black ink as in the rest of the manuscript and was also copied in the tetragram of the lower voice. The same copyist who copied this voice also added a second voice in red ink to two conductus of the Gregorian supplement to Book I: "Iacobe sancte tuum" (f. 131) and "In hac die laudes cum gaudio" (f. 131v). The first of these two pieces appears repeated in the polyphonic appendix (f. 215v). There are also 7 other compositions in Book I for one voice that appear again in the polyphonic appendix for two voices, although in several cases the agreement is only partial: "Dum esset salvator in monte" (f. 107v, 216v), "Huic Iacobo" (f. 109v, 217), "Iacobe virginei" (f. 110, 217), "O adiutor omnium seculorum" (f. 110v, 217-217v), "Misit Herodes" (f. 118v, 218) and "Alleluia. Vocavit Ihesus Iacobum" (f. 119, 218v), "Regi perennis glorie" (f. 139, 216).
Notation
The "Dum pater familias" is the only composition in the codex in Aquitanian dotted notation "in campo aperto", which is the notation that was preferably used in Spain after the suppression of Hispanic chant. The rest of the works are in Lorraine notation, with great similarities with the notation of the manuscripts of the Nevers region, in Burgundy. For this reason, some specialists maintain that the musical part of the codex is due to the Benedictine monks of Vézelay, which was one of the starting points of the Camino de Santiago. The hymn "Dum pater familias", added to the end of the codex, would therefore be the only composition that could have been copied around Santiago. Furthermore, the last of the Benedicamus of the Gregorian supplement to Book I, "Regi perennis glorie", is attributed to a certain doctor from Galicia (Quodam Doctore Galleciano) not identified.
Authorship
In the heading of the compositions in the polyphonic appendix and of some of the pieces for a single voice in Book I, the supposed author appears in red ink. In general, these supposed authors are bishops and famous people from Paris and other churches, which is why some researchers believe that this attribution should not be taken into account since they would appear with the intention of giving prestige and authority to the works. However, other modern investigations maintain that some of these attributions, such as that of Albertus Parisiensis, could be plausible, since the polyphonic works were due to composers linked to the Notre Dame Cathedral in Paris.
In total there are 16 characters to whom works are attributed:
- Ato episcopus Trecensis. It corresponds to Aton, bishop of Troyes, who in 1145 retired to the Abbey of Cluny. It is attributed 7 compositions in the polyphonic appendix.
- Magister Goslenus episcopus Suessionis. Master Goslenus, Bishop of Soissons. He died in 1152. It is attributed 2 works in the polyphonic appendix.
- Magister Albericus archiepiscopus Bituricensis. Master Alberico (Aubry), Archbishop of Bourges, in Berry. He died in 1141. It is attributed 1 work in the polyphonic appendix.
- Fulbertus episcopus Karnotensis. Fulbertus, Bishop of Chartres. It is attributed 1 work in the polyphonic appendix and 6 monodic works in Book I.
- Magister Albertus Parisiensis. Master Albert de Paris. It is Albertus Stampensis (Etampes), canon of the Cathedral of Notre Dame in Paris and cantor from 1146 until his death in 1177. It is attributed 1 work in the polyphonic appendix: the famous composition "Congaudeant catholici".
- Magister Airardus Viziliacensis. Master Airardus of Vézelay. It is attributed 1 work in the polyphonic appendix.
- Magister Gauterius de Castello Rainardi. Master Gauterius of Rainardi Castle. It is attributed 3 works in the polyphonic appendix.
- Magister Iohannes Legalis. Master Johannes Legalis. It is attributed 1 work in the polyphonic appendix.
- Magister Droardus Trecensis. Master Droardus of Troyes. It is attributed 2 works in the polyphonic appendix.
- Aimericus Picaudi, presbiter de Partiniaco. Aymeric Picaud, Presbyter of Parthenay, in Poitou. It is attributed 1 work in the polyphonic appendix.
- Antiquo episcopo Boneventinus. Former bishop of Benevento. It is attributed 1 work in the polyphonic appendix and 1 monodic work in Book I.
- Guillelmo patriarcha Iherosolomiteno. He is credited with 3 monodic works in Book I.
- Magistro Anselmo I. He is attributed 1 monodic work in Book I.
- Magistro Rotberto cardinali Romano. He is attributed 1 monodic work in Book I.
- Fortunato Pictavensi episcopo. He is attributed 1 monodic work in Book I.
- Quodam Doctore Galleciano. A certain cherry doctor. Not identified. He is attributed 1 monodic work in Book I.
Modern musical transcriptions
Since the first musical transcriptions in the late 19th century, the transcription of the Calixtinus polyphony has been difficult and controversial.. This is due to the fact that the polyphony is in Lorraine notation, which was used in the north of France for Gregorian monodic chant, for which it does not express any particular rhythmic value, only the free rhythm of Gregorian chant. But on the other hand, the polyphony necessarily had to have a certain rhythm that would allow the two voices (3 in the Congaudeant catholici) to sing together harmonically.
The first transcription in modern musical notation was made, in 1882, by the cantor of the Monasterio de las Descalzas Reales in Madrid, José Flores Laguna, who transcribed the hymns Dum Paterfamilias and Ad honorem Regis summi. On the festival of Santiago on July 25 of the same year, both hymns were sung in the Cathedral of Santiago, for the first time since medieval times. This first transcription already caused an intense controversy that lasted more than 20 years, in terms of the melodic line and, above all, in terms of rhythm, in which Francisco Asenjo Barbieri, among others, intervened. Later, the Benedictine monk of Solesmes Abbey, Joseph Pothier, made a new transcription of the Dum Paterfamilias, following the Solesmes rhythmic system, as was to be expected. In 1895, the priest Federico Olmeda published his "Exámen Crítico Musical del Códice del Papa Calisto II", including at the end of the work some fold-outs with brief transcriptions of musical fragments.
In 1924, the musicologist Friedrich Ludwig made the first transcriptions of polyphonic works from the Calixtinus, transcribing several organa in various rhythmic systems. In 1931, Peter Wagner, a professor at the University of Friborg in Switzerland, made the first complete transcription of all the musical works of the Calixtinus and in 1944, commissioned by the Institute of Galician Studies, the Benedictine monk from the Silos Monastery, Germán Prado, He makes another complete transcription, accompanying it with a facsimile with the pages of the manuscript that contain music. Both transcriptions, Wagner's and Prado's, are carried out following the Gregorian Solesmes system, transcribing the original neumes of the codex in square notation, without considering rhythmic or interpretive problems.
As of 1950, numerous studies appeared that proposed new transcription systems, including those by Willi Apel, Walther Krüger, Johann Schubert, Bruno Stäblein, Theodore Karp, Heinrich Husmann, Paul Helmer, Hendrik van der Werf, etc Among the Spanish musicologists, the transcriptions of the polyphony by Higinio Anglés, published in 1962 and by José López Calo, in 1981, stand out.
The works
The following are the musical works in the manuscript. The codes in the "Concordances" with other manuscripts and fragments specified below. The ones in the "Recordings" are specified in the "Discography" section.
Book I — Book of Liturgies
| N.o | Folio | Work | Voices | Musical shape | Concord. | Recordings | Comments |
|---|---|---|---|---|---|---|---|
| Office of the Vigil of Santiago (24 July) (VIII Kalendas Augusti. Vigilia Sancti Iacobi. Responsoria Beati Iacobi a domno Papa Calixto ex evangeliis edita) (Day 24 July. Vigil of Santiago. Responsors of James brought out of the Gospels by Pope Calixto) | |||||||
| Maitines | |||||||
| 1 | 101v | Regem regum Dominum... his sacris | 1 | guest | AN4, ULT | mode 2 | |
| 2 | 101v | Psallat chorus celestium letetur plebs | 1 | hymn | AN4, ULT, LFL, LES, SGH, BEC*, MON | modes 7 and 8 Hymnus S. Iacobi a domno Fulbertus Karnotensy episcopo editus | |
| 3 | 101v | O venerande Christi apostole Iacobe | 1 | antiphon | ULT, LES, SGH, MON | modes 1 and 2 - tonus 1 | |
| 4 | 102. | Imposuit Redemptor Simoni | 1 | Responsorio | ULT | mode 1 - tonus 1 | |
| 5 | 102. | Vocavit Ihesus Iacobum et Iohannem | 1 | Responsorio | ULT | mode 2 - tonus 2 | |
| 6 | 102. | Clementissime Deus qui nos ad beati Iacobi | 1 | Responsorio | ULT | mode 7 - tonus 7 | |
| Laudes (In Laudibus) | |||||||
| 7 | 102v | Imposuit Ihesus Simoni nonem | 1 | antiphon | ULT | mode 1 - tonus 1 | |
| 8 | 102v | Vocavit Ihesus Iacobum et Iohannem | 1 | antiphon | ULT | mode 2 - tonus 2 | |
| 9 | 102v | Sicut enim tonitrui vocals | 1 | antiphon | ULT | mode 3 - tonus 3 | |
| 10 | 102v | Recte filii tonitrui cognominantur | 1 | antiphon | ULT | mode 4 - tonus 4 | |
| 11 | 102v | Iacobus et Iohannes tonitrum cloud | 1 | antiphon | ULT | mode 5 - tonus 5 | |
| 12 | 103 | Iacobus fuet magnus (Sanctissime or Iacobe) | 1 | verse | ULT | Hymnus sancti Iacobi domno Fulberto Karnotensi episcopo editus. Sanctissime or Iacobe It's probably a divisio of Psallat chorus celestium | |
| 13 | 103 | Ascendens Ihesus in montem | 1 | antiphon | ULT | mode 8 - tonus 8 | |
| Tercia (Ad Terciam) | |||||||
| 14 | 103, 104v | Ora pro nobis beate Iacobe | 1 | Responsorio | ULT | mode 6 | |
| Sixth (Ad Sixthm) | |||||||
| 15 | 103 | Occidit autem Herod | 1 | verse | ULT | Officium stellae. Stella fulgore nimio rutilat | |
| Office of the Fiesta de Santiago (25 July) (Responsoria evangelica Beati Iacobi apostoli a Beato Calixto papa edita, cum suis antifonis et ymnis diebus festis, passions scilicet et translationis eiusdem Sancti Iacobi cantanda. VIII Kalendas Augusti. Passio Sancti Iacobi et III Kalendas Ianuarii translatio et electroio eiusdem colitur) | |||||||
| Vespers (Ad Vaves) | |||||||
| 16 | 103v | Ad sepulcrum beati Iacobi | 1 | antiphon | AN4, ULT, HER, ORG | mode 1 and 2 - tonus 1 | |
| 17 | 103v | O quanta sanctitate et grace beatus Iacobus | 1 | antiphon | ULT, ORG | mode 2 - tonus 2 | |
| 18 | 104 | Gaudeat plebs Gallecianorum | 1 | antiphon | ULT, ORG | mode 3 - tonus 3 | |
| 19 | 104 | Sanctissime apostole Iacobe | 1 | antiphon | ULT, ORG | mode 4 - tonus 4 | |
| 20 | 104 | Iacobe servorum spes et medicina | 1 | antiphon | ULT, ORG | mode 5 - tonus 5 melody Gregorian | |
| 21 | 104v | Felix per omnes Dei plebs ecclesias | 1 | hymn | ULT, ORG | modes 3 and 4 (2 different melodies) Ymnus sancti Iacobi a domno Guillelmo patriarcha Iherosolomitano editus, ad Vperos et ad Laudes cantandus It's a contrafactum of the hymn Felix per omnes festum mundi cardines. It carries two melodies that are also in other sources | |
| 104v | Ora pro nobis | 1 | verse | ||||
| 22 | 105 | Honorabilem eximii patroni nostri | 1 | antiphon | ULT | Hossanna. Sanctus mode 8 - tonus 8 | |
| Complete (Ad Completorium) | |||||||
| 23 | 105 | Alleluia. Iacobe sanctissime | 1 | Hallelujah | ULT, LES | mode 5 trans. - tonus 5 | |
| 24 | 105 | Alma perpetui luminis | 1 | antiphon | ULT, MON | mode 6 trans. - tonus 6 | |
| Maitines (Ad Invitatorium) | |||||||
| 25 | 105v | Venite omnes christicole ad adorandum... qui apostolum | 1 | guest | GAL, AN4, ULT, GAL | modes 1 and 2 - tonus 2 | |
| 26 | 105v | Iocundetur et letetur augmentum | 1 | hymn | LI1, CAT | SEQ, WEL, ULT, AUR, ROS, LES | mode 1 Ymnus sancti Iacobi a domno Guillelmo patriarcha Iherosolimitano editus, post Venite cantandus (Himno to James, composed by Mr. Guillelmo, Patriarch of Jerusalem, to be sung after the Venite) |
| 27 | 105v | Iesus Dominus vidit duos fratres | 1 | antiphon | ULT | mode 1 (end Fa)- tonus 1 | |
| 28 | 106 | Venite post me dixit Ihesus Iacobo | 1 | antiphon | ULT | mode 2 - tonus 2 | |
| 29 | 106 | Iacobus et Iohannes statim relictis retibus | 1 | antiphon | ULT | mode 3 - tonus 3 | |
| 30 | 106 | Iesus vocavit Iacobum Zebedei | 1 | antiphon | ULT | mode 4 - tonus 4 | |
| 31 | 106 | Eduxit Ihesus beatum Iacobum | 1 | antiphon | ULT | mode 5 - tonus 5 | |
| 32 | 106 | Dixerunt Iacobus et Iohannes ad Ihesum | 1 | antiphon | ULT | mode 6 - tonus 6 | |
| 33 | 106v | Iesus autem ait Iacobo et Iohanni | 1 | antiphon | ULT, KRA | mode 7 - tonus 7 | |
| 34 | 106v | Iam vos delectat locus celsitudinis | 1 | antiphon | ULT | mode 8 - tonus 8 | |
| 35 | 106v | Herod rex misit manus | 1 | antiphon | ULT | mode 1 - tonus 1 | |
| 36 | 106v | Videns heroes quia de Iacobi nece | 1 | antiphon | ULT | mode 2 - tonus 2 | |
| 37 | 106v | Regis vero facinus in apostolo perpetratum | 1 | antiphon | ULT | mode 3 - tonus 3 | |
| 38 | 107 | Statim percussit Herodem angelus | 1 | antiphon | ULT | mode 4 - tonus 4 | |
| 39 | 107 | Iacobe magne supplantator nomine | 1 | antiphon | ULT | mode 5 - tonus 5 | |
| 40 | 107 | Salvator progressus pusillum | 1 | Responsorio | ULT | mode 1 - tonus 1 | |
| 41 | 107v | Dum esset salvator in monte | 1 | Responsorio | ULT | mode 2 - tonus 2 There is a two voice version in f. 216v. | |
| 42 | 107v | Acres ad salvatorem Iacobus et Iohannes | 1 | Responsorio | ULT | mode 3 - tonus 3 | |
| 43 | 108 | Cum vidissent autem Iacobus et Iohannes | 1 | Responsorio | SEQ, ULT | mode 4 - tonus 4 | |
| 44 | 108v | Iam locum celsitudeinis querebant Iacobus et Iohannes | 1 | Responsorio | ULT | mode 5 - tonus 5 | |
| 45 | 108v | Confestim autem percussit Herodem angelus Domini | 1 | Responsorio | ULT | mode 6 - tonus 6 | |
| 46 | 109 | Hic est Iacobus Dilectus Christi | 1 | Responsorio | ULT | mode 7 - tonus 7 | |
| 47 | 109v | Misit herodes rex manus | 1 | Responsorio | ULT, FOR, SGH | mode 8 - tonus 8 | |
| 48 | 109v | Huic Iacobo condoluit Dominus | 1 | Responsorio | ULT | mode 1 - tonus 1 There is a two voice version in f. 217. | |
| 49 | 110 | Cum appropinquaret beatus Iacobus | 1 | Responsorio | ULT | mode 8 - tonus 7 | |
| 50 | 110 | Iacobe virginei frater Precioe | 1 | Responsorio | ULT | mode 8 - tonus 8 There is a two voice version in f. 217. | |
| 51 | 110v | O adiutor omnium seculorum | 1 | Responsorio | FOR, ULT, ALF | modes 2 and 1 - tonus There is a two voice version in f. 217v. | |
| Laudes (In Laudibus) | |||||||
| 52 | 111 | Inmisit, restless, Herod | 1 | antiphon | ULT, KRA | modes 1 and 2 - tonus 1 | |
| 53 | 111 | His qui obtulerat Iacobum iudicii | 1 | antiphon | ULT | mode 2 - tonus 2 | |
| 54 | 111 | Ducti sunt inquit ambo pariter | 1 | antiphon | ULT | mode 3 - tonus 3 | |
| 55 | 111v | Cum ducerentur in via | 1 | antiphon | ULT | mode 4 - tonus 4 | |
| 56 | 111v | At Iacobus parum per deliberan | 1 | antiphon | ULT | mode 5 - tonus 5 | |
| 57 | 111v | Ora pro nobis beate Iacobe | 1 | Responsorio | ULT, LES | mode 6 | |
| 58 | 111v | Apostole Christi Iacobe eterni regis | 1 | antiphon | ULT | mode 1 - tonus 1 | |
| Tercia (Ad Terciam) | |||||||
| 59 | 112 | Ora pro nobis beate Iacobe alleluia | 1 | Responsorio | ULT | mode 6 | |
| 60 | 112 | Iacobe servorum spes et medicina... alleluia | 1 | Responsorio | AN4, ULT, AUR, LES | mode 6, solemn tone | |
| Sixth (Ad Sixthm) | |||||||
| 61 | 112 | Imposuit Iesus Iacobo et Iohanni, alleluia | 1 | verse | ULT | mode 6 | |
| 62 | 112 | Iacobe pastor inclite... Alleluia | 1 | Responsorio | ULT, AUR | mode 6, solemn tone melody Gregorian | |
| Vespers (Ad Vaves) | |||||||
| 63 | 112v | O lux et decus Hispaniae | 1 | antiphon | GAL, ULT, ROS, GAL, ORG | mode 3 - tonus 3 | |
| Mass of the vigil of Santiago (24 July) (Missa in vigilia Sancti Iacobi a domno papa Calixto edita in Vigilia sancti Iacobi Zebedel circa nonam cantanda sicut in diem Pentecostes. Kyrie eleison. Christes audi nos. Pater of celis. Sequatur. Hac in die fontes debeant benedici) (Misa composed by Pope Calixto, who is to sing at the Vigil of Santiago, the son of Zebedee, at the time of Nona. Like the Vigil of Pentecost, sit down after Kyrie eleison, Christe audi nos, Pater of celis. On that day the batteries must be blessed) | |||||||
| 64 | 114 | Iacobus et Iohannes dixerunt ad Ihesum | 1 | introit | ULT | mode 8 | |
| 65 | 114v | Vocavit Ihesus ad se Iacobum | 1 | tract | ULT | mode 8 | |
| 66 | 115 | Nimis honorati sunt amici tui | 1 | gradually responsored | ULT | mode 2 trans. | |
| 67 | 115v | Iacobus in vita sua | 1 | tract | ULT | mode 8 | |
| 68 | 115v | Certe dum filii Zebedei | 1 | of the | ULT | mode 8 | |
| 69 | 116 | Ego vos elegi de mundo | 1 | communion | ALF, ULT, SGH | mode 1 | |
| Versus Calixti Pape cantandi ad processionem Sancti Iacobei in solempnitate passionis ipsius et translacionis eiusdem | |||||||
| 70 | 116v | Salve festa dies Iacobi veneranda tropheo | 1 | hymn | AN4, ULT, AUR, ALF, FEU, KRA | mode 4 It's a contrafactum of the hymn Salve festa dies toto venerabilis evo. Melody is also found in other sources | |
| Mass of the feast of Santiago (25 July) (VIII Kalendas augusti. Missa Sancti Iacobi a domno Papa Calixto edita) | |||||||
| 71 | 118 | Iesus vocavit Iacobum Zebedei | 1 | introit | ALF, ULT, KRA | mode 7 | |
| 72 | 118v | Misit herodes rex manus ut affigeret | 1 | gradually responsored | ULT | modes 6 and 5 There is a two voice version in f. 218. | |
| 73 | 118v | Alleluia. Sanctissime apostole Iacobe | 1 | Hallelujah | ALF, ULT | modes 7 and 8 | |
| 74 | 118v | Alleluia. Hic Iacobus valde venerandus est | 1 | antiphon | ULT | mode 8 | |
| 75 | 119 | Vocavit Ihesus Iacobum Zebedii | 1 | Hallelujah | HIL, ULT, AUR, KRA | mode 1 There is a two voice version in f. 218v. | |
| 76 | 119 | Alleluia. Gratulemur et laetemur summa cum laetitia | 1 | sequence | NAR, HUS, MON, TOR, AQ1 | DIS, AN4, ULT, KRA, BEC* | modes 7 and 8 Prosa sancti Iacobi. Latinis, Grecis et Ebraicis verbis, a domno Papa Calixto abbreviata |
| 77 | 121 | Ascendens Ihesus in montem vocavit ad se Iacobum | 1 | of the | AN4, ULT, KRA | modes 1 and 2 | |
| Prosists, Tropos and Conduct | |||||||
| 78 | 123 | Clemens servulorum genitus tuorum | 1 | prosa | SIL, DIS, AN4, ULT | mode 7 Prosa S. Iacobi crebro cantanda a domno Guilelmo patriarcha Iherosolimitano edita | |
| 79 | 130 | Exultet celi curia. Fulget dies | 1 | Troop | CUX, PAL, CAT, WOR, PAR, SEN, PU1, PU2 | SEQ, ALF, RON, ULT, AUR, ROS, LES | mode 8 Benedicamus Domino Benedicamus sancti Iacobi a magistro Anselmo I editum (Benedicamus a Santiago composed of Master Anselmo I) |
| 80 | 131 | Iacobe sancte tuum repetito tempore festum | 2 | conductus | AN4, ULT | Conductum sancti Iacobi ab antiquo episcopo Boneventino editum. It was originally a monodic conductus that was added a second voice in red ink. The piece appears repeated in the polyphonic appendix at f. 215v. | |
| 81 | 131 | Lector lege et de rege qui regit omne, dic: Iube domne | 1 | sequence | PAL | ULT | (exhort reading) |
| 82 | 131v | In hac die laudes cum gaudio | 2 | conductus | SEQ, AN4, ULT, AUR | Conductum sancti Iacobi a domno Fulberto Karnotensi episcopo editum (Fulbert, Bishop of Chartres). It was originally a monodic conductus that was added a second voice in red ink. | |
| 83 | 131v | Lector lege et de rege qui regit omne, dic: Iube domne | 1 | sequence | PAL | ULT | (exhort reading) |
| 84 | 132 | Resonet nostra Domina caterva | 1 | conductus | CAM, ULT, LES, ORG | mode 1 Conductum sancti Iacobi a magistro Rotberto cardinali Romano editum | |
| 85 | 132 | Lector lege et de rege qui regit omne, dic: Iube domne | 1 | sequence | PAL | ULT | (exhort reading) |
| 86 | 132 | Salve festa dies veneranda per omnia fies | 1 | conductus | ULT, FEU, HER, LES | mode 8 Conductum sancti Iacobi a sancto Fortunato Pictavensi episcopo editum | |
| Farce Mass (Farsa oficii Misse S. Iacobi. a domno Fulberto Karnotensi episcopo, illustri viro, composita: in utroque festo eiusdem apostoli cantanda quibus placebit) | |||||||
| 87 | 133 | Ecce adest nune Iacobus vocavit1 [+ Qualis sit iste Iacobus2] [+ Hic est reuera Iacobus3] [+ Alleluia, in glory sit Deo laus per omnia4] | 1 | Troop | FEU, ALF, KRA4, SIL, WEL, ULT, SGH | modes 7 and 8 | |
| 88 | 133v | Reges terrae et omnes populi | 1 | introit | ULT, FEU, KRA | mode 7 From the Introito Ihesus vocavit | |
| 89 | 134 | Rex immense pater foot eleyson1 Rex cunctorum seculorum eleison2 | 1 | Troop | FOR1, ODH1, DIS1ALF1, ULT1, AUR1ROS1, FEU1, KRA2, LES2, SGH1 | modes 7 and 8 Kyrie trop Melody is also found in other sources. Between the main text starting with Rex inmense pater and the tetragram is added, in smaller letter, a second alternative text beginning with Rex cunctorum seculorum... | |
| 90 | 134 | Qui vocasti supra mare | 1 | Troop | ULT, FEU, ALF, KRA, SGH | mode 4 Glory ruined Versus Fulberti episcopi Karnotensis de S. Iacobo Melody is also found in other sources | |
| 91 | 135v | Cantemus Domino cantica glorie | 1 | Troop | POL, ULT, FEU, ALF | modes 7 and 8 Farsa of the Epistle of Santiago Farsa lectionis de Missa S, Iacobi edita a domno Fulberto Karnotensi episcopo, illustri viro | |
| 92 | 138-138v | Sanctus. Osanna salvifies | 1 | Troop | MOI, MTC, MIL, VI1, GER, AQ1, NAR, HUS, MON, TOR, VI2, E17, TOL | FEU, ALF, ULT, KRA(?), LES, SGH | mode 4 The concordances with other manuscripts indicate that it was a very widespread troupe in southern France (Narbonne and Moissac) and Spain (Catalonia and Aragon) |
| 93 | 139 | Agnus Dei. Qui pius ac mitis is | 1 | Troop | AUX, ALB, LON | FEU, AN4, ALF, ULT, AUR, KRA, LES, SGH | modes 7 and 8 Agnus Fulberti episcopi Karnotensis |
| 94 | 139 | Regi perennis glorie sit canticum letitie | 1 | Troop | SIL, FOR, WEL, ULT, LES | modes 7 and 8 Benedicamus Benedicamus Sancti Iacobi a quodam Doctore Galleciano There is a two voice version in f. 216. |
Appendix I — Polyphonic Works
| N.o | Folio | Work | Voices | Musical shape | Concord. | Recordings | Comments |
|---|---|---|---|---|---|---|---|
| Organa, Conducti, Discantus et Hymni | |||||||
| 95 | 214 [185] | Nostra phalanx plaudat leta | 2 | conductus | STU, FOR, SEQ, LON, MUS, VEN, ABS, AN4, RON, ULT, LES | Attributed to Ato episcopus Trecensis (Ato, bishop of Troyes) | |
| 96 | 214 [185] | Congaudeant catholici | 3 | conductus (Benedicamus) | NYM, SIL, SFM, PRO, UNI, FOR, FRU, SEQ, LON, FEU, MUS, VEN, DIS, ABS, VIL, AN4, VOI, VOC, WIT, ALF, CUL*, ULT, HER, ROS, AUG, LES, ORG, KRA, FEU, SGH, MON, OBS | It is the only known work for 3 voices in the centuryXII. It is believed that this hymn was originally composed for 2 voices (superior and lower) and then a third voice was inserted between the two. Attributed to Magister Albertus Parisiensis (Maestro Albert de Paris) | |
| 97 | 214v [185v] | Gratulantes celebramus festum | 2 | conductus (Benedicamus) | CUX, PAL | UNI, POL, SEQ, ODH, MUS, VEN, VIL, PAN, AN4, WEL, AMA, COD, ULT, AUR, ABE, ROS, SGH | He's a Benedicamus in discreet. Attributed to Magister Goslenus episcopus Suessionis (Maestro Goslenus, Bishop of Soissons) |
| 98 | 215 [186] | Ad superni regis decus | 2 | conductus (Benedicamus) | LI1, LI2, CUX | FOR, SEQ, VEN, DIS, AN4, AMA, ULT, ROS, BEC* | Attributed to Magister Albericus archiepiscopus Bituricensis (Alberico Master, Archbishop of Berry) |
| 99 | 215v [186v] | Annua gaudia | 2 | conductus | NYM, UNI, SEQ, LON, VEN, FLO, FON, PMR, COD, ULT, LFL, ROS, LES, SGH | Attributed to Magister Airardus Viziliacensis (Maestro Airardus de Vézelay) | |
| 100 | 215v [186v] | Iacobe sancte tuum | 2 | conductus | SEQ, VEN, VIL, FON, ULT, SGH | Repeated in Book I (f. 131). Conductum sancti Iacobi at antiquo episcopo Boneventinus editum (Conductus to Santiago, written by the former bishop of Benevento). The piece appears repeated in the Gregorian supplement at f. 131. | |
| 101 | 216 [187] | Regi perhennis glorie | 2 | organum / conductus | SEQ, LON, VEN, PLA, PMR, ULT, BEC* | Attributed to Magister Gauterius de Castello Rainardi decantum fecit (Maestro Gauterius of Rainardi Castle) The same piece to a single voice is in folio 139. | |
| 102. | 216v [187v] | Vox nostra resonet | 2 | organum (Benedicamus) | FOR, SEQ, ODH, MUS, VEN, AN4, FON, ALF, ULT, AUR, SPI, ROS, LES, KRA, OOT | Attributed to Magister Iohannes Legalis (Master Johannes Legalis) | |
| 103 | 216v [187v] | Dum esset salvator in monteSicut enim vox tonitrui | 2 | organum (responsorship) | SEQ, VEN, ITI, ULT, ORG | Attributed to Magister Ato episcopus Trecensis (Master Ato, bishop of Troyes). The work also exists in a single voice in f. 107v. | |
| 104 | 217 [188] | Huic IacoboTristis est anima | 2 | organum (responsorship) | SEQ, VEN, ULT | Attributed to Magister Ato episcopus Trecensis (Master Ato, bishop of Troyes). The work also exists in a single voice in f. 109v. | |
| 105 | 217 [188] | Iacobe virgineiYour prece continues | 2 | conductus (responsorship) | SEQ, VEN, ULT | Attributed to Magister Ato episcopus Trecensis (Master Ato, bishop of Troyes). The work also exists in a single voice in f. 110. | |
| 106 | 217-217v [188-188v] | O adiutor omnium seculorumQui subvenis periclitantibus | 2 | organum (responsorship) | SEQ, VEN, ULT, SIL, AN4, ALF, COD, HER, ROS, LES | Idem Ato, that is, attributed to the same author of the previous: Magister Ato episcopus Trecensis (Master Ato, bishop of Troyes). The tenor belongs to the Responsorio "O adiutor" of the same responsorio of folio 110v. | |
| 107 | 217v [188v] | Portum in the last | 2 | prosa | FOR, SEQ, VEN, PAN, AN4, ALF, COD, ULT, FRA, LES | Prosa. Idem Ato, that is, attributed to the same author of the previous: Magister Ato episcopus Trecensis (Master Ato, Bishop of Troyes) | |
| 108 | 218 [189] | Rex immense pater foot eleyson | 2 | organum (Kyrie) | PCA, SEQ, ODH, VEN, VIL, ULT | Attributed to Fulbertus episcopus Karnotensis (Fulbert, Bishop of Chartres) | |
| 109 | 218 [189] | Misit HerodOccidit autem | 2 | organum (Gradual) | SEQ, VEN, ULT, FEU | Attributed to Ato prefatus (Ato, bishop of Troyes). The work also exists in a single voice in f. 110v. | |
| 110 | 218v [189v] | Alleluia. Vocavit Ihesus Iacobum | 2 | organum (Hallelujah) | NYM, FOR, SEQ, VEN, ULT, FEU, SGH | Attributed to Magister Goslenus episcopus Suessionis (Maestro Goslenus, Bishop of Soissons) The work also exists in one voice in f. 119. | |
| 111 | 219 [190] | Cunctipotens genitor Deus (Rex virginum amator Deus... eleyson) | 2 | organum (Kyrie) | HUE | FOR, SEQ, VEN, DIS, AN4, WEL, AMA, EWI, ULT | Kyrie IV tenor Attributed to Gauterius prefatus (The Gauterius mentioned above) |
| 112 | 219 [190] | Benedicamus Domino (I) | 2 | organum (Benedicamus) | HUE | FOR, SEQ, VEN, AN4, ITI, AMA, ULT | No troops. Tenor of the Benedicamus of I Vesperas in the great solemnities Attributed to Gauterius prefatus (The Gauterius mentioned above) |
| 113 | 219v [190v] | Benedicamus Domino (II) | 2 | organum (Benedicamus) | FOR, SEQ, VEN, ULT | Benedicamus Tenor of II Vespers "In festis Sanctorum" Attributed to Magister Droardus Trecensis (Master Droardus of Troyes) | |
| 114 | 219v [190v] | Benedicamus Domino (III) | 2 | organum (Benedicamus) | FOR, SEQ, VEN, ULT | The tenor is the Benedicamus of the fairs Attribution: Idem Droardus (By Droardus equally) | |
| 115 | 219v [190v] | Ad honorem regis summi | 2 | prosa / conductus | SIL, POL, FOR, VIL, ITI, CHI, ULT, HER, SGH, BEC* | modes 5 and 6 Attribution: Aimericus Picaudi, presbiter de Partiniaco |
Appendix II
| N.o | Folio | Work | Voices | Musical shape | Concord. | Recordings | Comments |
|---|---|---|---|---|---|---|---|
| 116 | 221v [192v] | Alleluia. Efonissen Ysus Iacobon. Alleluia. Vocavit Ihesus Iacobum | 1 | Hallelujah | SIL, HIL, ULT, LES, KRA | mode 1 Alleluia in Greek | |
| 117 | 222 [193] | Dum pater families | 1 | prosa | SIL, VAL, STU, UCC, FOR, FRU, SEQ, LON, ODH, MUS, PLA, VIL, ALT, WEL, CHI, CAM, PMR, AMA, COD ULT, AUR, HER, PEL, AUG, LES, SGH, HOS, OOT, MON, CAC | mode 1 Iacobo healing Ultreia, or hymn of the pilgrims of Santiago. It is a non-liturgical composition with Latin, German and Flemish exclamations. | |
| - | 222v;225 [193v; 196] | Signa sunt nobis sacra | hymn | The codex does not include musical notation, as it is a new text for a well-known melody. The manuscript indicates: "cantus sicut: Iste confessor, vel: Ut queant laxis resonare fibris". In fact, these two hymns were interpreted with many melodies, so it is not known which part of the Calixtinus was interpreted. |
- (*) Instrumental version
Concordances with other manuscripts
Several of the melodies of the Calixtinus, especially those of the office and the mass, are identical or at least based on Gregorian melodies and others present concordances with other repertoires. These concordances are almost always partial, since many times the texts are changed to dedicate them to Santiago and the melodies are altered to adapt them to these new texts, producing more or less significant variants with respect to the original. The most important concordances are generally from the same period in which the codex was created, which is plausible given the cultural mobility of the time, fostered by pilgrimages. Most of the pieces that we find in the Calixtinus that are reworkings of others that we find in other sources, come from two geographical centers:
- the south-eastern area of France and the Crown of Aragon, from Le Puy to Tortosa and Huesca.
- from Worcester to Sens
| Code | Acronym of the manuscript | Manuscript | Proceedings | Date | New Americans |
|---|---|---|---|---|---|
| LI1 | F: Pn 1139 | Limoges? | c. 1100 |
| |
| LI2 | F: Pn 3719 | Limoges? | centuryXII |
| |
| CUX | GB: 36881 | San Miguel de Cuxá? | centuryXII - 4/4 |
| |
| PAL | E: Mn 289 | Palermo | c. 1140 |
| |
| CAT | E: Mn 19421 | Catania | c. 1160 |
| |
| WOR | GB: Wo 160 | Worcester | c. 1230 |
| |
| PAR | I: FI Pl. 29 | Paris | c. 1250 |
| |
| SEN | F: SE 46 | Sens | centuryXIII - 1/4 |
| |
| PU1 | F: LP A V 7 009 | Le Puy | c. 1553 |
| |
| PU2 | F: G 4413 | Le Puy | centuryXVI - 4/4 |
| |
| MOI | F: Pn 1871 | Moissac | XI - XII |
| |
| MTC | I: Rvat Urb 602 | Montecassino | XI - XII |
| |
| MIL | E: Mah Aemil 51 | San Millán | XI - XII |
| |
| VI1 | E: VI 105 | Vic | XI - XII |
| |
| GER | F: Pn 495 | Gerona | centuryXII |
| |
| AQ1 | E: Bac 1408/9 mútilo | (notation in the north) | centuryXII |
| |
| NAR | F: Pn 778 | Narbona | centuryXII |
| |
| HUS | E: H 4 | Huesca | centuryXII |
| |
| MON | E: MO 73 | Montserrat, Library of the Monastery, Ms. 73 | Toulouse / Narbona? | centuryXII |
|
| TOR | E: TO 135 | Tortosa | XII - XIII |
| |
| AQ1 | E:T 35.10 | (notation in the north) | centuryXIII - 1/4 |
| |
| VI2 | E: VI 106 | Vic | centuryXIII |
| |
| HUE | Codex Las Huelgas (Burgos, Monastery of Las Huelgas, Codex IX) | Burgos | centuryXIV | ||
| E17 | E: E J II 17 | ? | centuryXIV |
| |
| TOL | Mn 1361 | Toledo? | centuryXIV |
| |
| AUX | F: Pn 10511 | Auxerre | centuryXI |
| |
| ALB | GB: Lbm Royal 2BIV | St. Alban | centuryXII |
| |
| LON | F: Pa 135 | Salisbury? London? | centuryXIII |
|
Discography
The following discography has been ordered by year of recording, but the reference is to the most recent edition on CD. Compilations are not included, only the original discs.
- 1962 - [NYM] Spanish Medieval Music. New York Pro Musica. Noah Greenberg. Decca "Gold Label" DL 7 9416 (LP).
- 1969 - [SIL] Codex Calixtino and Antiphony Mozárabe. Coro de monks del Monasterio de Santo Domingo de Silos. Ismael Fernández de la Cuesta. Hispavox (EMI-Odeon) CDM 7 63 610-2.
- 1971 - [VAL] El Camino de Santiago. Songs of pilgrimage selection and musical advice. Escolanía y Capilla Musical de la Abadía del Valle de los Caídos. Leoncio Diéguez and Laurentino Saenz de Buruaga. Quartet and Grupo de Instrumentos Antiguos Renacimiento. Ramon Perales de la Cal. EMI (Odeon) 7243 5 67051 2 8.
- 1973 - [SFM] Camino de Santiago I. Eine pilgerstrasse Navarra / Castilla. Studio der frühen Musik. Thomas Binkley. EMI "Reflexe" 1C 063-30 107 (LP).
- 1973 - [STU] Camino de Santiago II. Eine pilgerstrasse León / Galicia. Studio der frühen Musik. Thomas Binkley. EMI "Reflexe" 1C 063-30 108 (LP).
- 1978 - [PCA] The Oxford Anthology of Music - Medieval Music - Ars Antiqua Polyphony. Pro Cantione Antiqua. Edgar Fleet. Oxford University Press OUP 164(LP).
- 1978 - [PRO] The Play of Daniel. Pro Cantione Antiqua and The Landini Consort. Mark Brown. Decca "Serenade" 433 731-2.
- 1980 - [UNI] Compostela. Cantigas de Santa María, Codice calixtino & Martín Códax. Compostela House University Group. Carlos Villanueva Abelairas. Key Punteiro.
- 1982 - [POL] Ultreia!. Sur la route de Saint-Jacques-de-Compostelle. Ensemble de musique ancienne Polyphonia Antiqua. Yves Esquieu. Pierre Vérany PV 7 90 042.
- 1984 - [CUC] Romeros and Peregrinos. Compostela House University Group. Carlos Villanueva Abelairas. EMI Classics CB-067.
- 1986 - [DOA] Profiles DOA. Cantigas de Santa María Alfonso X El Sabio, Calixtino Codex. Asturian Fonographic Society
- 1986 - [FOR] Codex Calixtinus - Extraits. Ensemble Venance Fortunat. Anne-Marie Deschamps. Solstice SOCD 45.
- 1986 - [RUF] Camino de Santiago. Musik auf dem Pilgerweg zum Heilige Jacobus. Ensemble für Frühe Musik Augsburg. Christophorus CHR 74 530.
- 1989 - [SEQ] Vox Iberica I: Donnersöhne. Music for St. James the Apostle: Codex Calixtinus. Sequentia. Benjamin Bagby, Barbara Thornton. Deutsche Harmonia Mundi 77199.
- 1989 - [LON] The Pilgrimage to Santiago. New London Consort. Philip Pickett. L'Oiseau Lyre 433 148.
- 1990 - [FEU] Missa Sancti Iacobi. Solemn mass for the feast of the passion of Saint James of Compostella according to the Codex Calixtinus v. 1140. Choeur Le Feu de Jésu. McGill 750 0037-2.
- 1990 - [ODH] Auf Sankt Jakobs Strassen. Musik der Pilgerfahrt nach Santiago Compostella. Odhecaton, Ensemble für alte Musik, Köln & Schola Cantorum St. Foillan, Aaachen. Willi Eschweiller. Bayer 102 908.
- 1990 - [HIL] Music of the Middle Ages. The Western Wind. Hilliard Ensemble. Paul Hillier. Schirmer Books ISBN 0-02-872953-6 (2 Cassettes).
- 1993 - [MUS] In Gottes Namen fahren wir. Pilgerlieder aus Mittelalter und Renaissance. Odhecaton, Ensemble für alte Musik, Köln. WSF 97 208.
- 1993 - [VEN] Le grand livre de saint Jacques de Compostelle. Intégrale des polyphonies du Codex Calixtinus. Ensemble Venance Fortunat. Anne-Marie Deschamps. L'empreinte digitale 13023.
- 1994 - [PLA] The Ring of Creation. The Renaissance Players. Winsome Evans. Walsingham WAL 8005-2.
- 1994 - [DIS] Stellae Campus. Saint-Martial de Limoges - Santiago de Compostela. Discantus. Brigitte Lesne. Opus 111 30-102.
- 1994 - [ABS] Chant grégorien " Polyphonies precoces (IXe-XIIIe). Ensemble Absalon. Manolo González
- 1994 - [VIL] Medieval music in Galicia. Compostela House University Group. Carlos Villanueva Abelairas. Barrie Foundation.
- 1995 - [PAN] Spanish Medieval Dances. The Spain of the Five Kingdoms. Eduardo Paniagua Group. M·A Recordings M034A.
- 1995 - [AN4] Miracles of Sant'Iago. Music from the Codex Calixtinus. Anonymous 4. Harmonia mundi HMU 90 7156.
- 1995 - [VOI] The Age of Cathedrals. Music from the Magnus Liber Organi. Theatre of Voices. Paul Hillier. Harmonia Mundi HMU 90 7157.
- 1995 - [FLO] Magnificent Iberica. Music of Medieval Spain. Ensemble Florata. Tim Rayborn. ASUALV Gaudeamus 144.
- 1995 - [ALT] Iberian garden, vol. 1. Jewish, Christian and Muslim Music in Medieval Spain. Altramar. Dorian Discovery DIS-80 151.
- 1995 - [ITI] You are do portico da Gloria. In Itinere. Carlos Villanueva Abelairas. FREE Records FREE-021-CD
- 1996 - [VOC] Polyphonics. Zorgina Vocalensemble. Ohmnibus Records 2000-15.
- 1996 - [FON] El Camino de Santiago. 12th-14th Century Spanish Manuscripts. Consort Fontegara. Dynamic "2000" 2026.
- 1996 - [WIT] Du Grégorien à Pérotin. Ensemble Witiza. Arsonor 001-2.
- 1996 - [CHI] Pilgrimage to Santiago. The Chieftains. BMG Classics
- 1997 - [ALF] Codex Calixtinus. Missa Sancti Jacobi. Music team Alfonso X el Sabio. Luis Lozano Virumbrales. Sony "Hispanic" SK 60 075.
- 1997 - [WEL] Primus ex apostolis: San Giacomo nei canti di pellegrinaggio del Medioevo. Ensemble Weltgesang voci e strumenti. Fone97f04.
- 1997 - [CAM] South les Chemins de Compostelle. The Camerata of Paris. Musidisc 291 822.
- 1997 - [PMR] The Music of the Ways of Santiago. Pro Música de Rosario. Cosentino IRCO 221
- 1998 - [CUL] Three Cultures. Jews, Christians and Muslims in medieval Spain. Sefarad. Eduardo Paniagua. Pneuma PN-100.
- 1998 - [AMA] South les Chemins de Saint-Jacques. Ensemble Amadis. Jade 74321 64760-2.
- 1998 - [RON] Carmina Sanctorum. Rondellus. RS 9804 - RS Records
- 1998 - [COD] Because he stumbled upon him. Martin Codax Group. Clave Punteiro 9107-CD.
- 1998 - [EWI] Saint Jacques. Ensemble Witiza. It's a book accompanied by a CD. ISBN 2-910096-13-0
- 1999 - [ULT] Jacobus - Libri Sancti Jacobi: Monodia et Poliphonna. Omnia Cantica. Coro Ultreia. Fernando Olbés Durán. Key Punteiro 301-CD (4 CD).
- 1999 - [AUR] Saint-Jacques de Compostelle. Le Chemin de Compostelle. Aurore. Suisa CD 840.
- 1999 - [SPI] Pilgerwege. Freiburger Spielleyt. Verlag der Spielleute CD 0003.
- 1999 - [LFL] Annua Gaudia. Longa Florata. NM232199
- 1999 - [HER] Herru Santiagu. Martin Codax Group. Clave Punteiro 2009/10-CD
- 2000 - [KRA] Codex Calixtinus. Krakow Philharmonic Choir. Jacek Mentel (dir.). Frederic Tavernier, Damien Poisblaud, etc. Dux 0321.
- 2000 - [PEL] Anno Domini MCCC. Canti dei pellegrini medievali. The Rossignol. Edizioni Musicali III Millennio CDC 0133.
- 2001 - [ABE] De Peregrinos, Cruzados y Troveros. Abendmusik
- 2002 - [ARB] Arboretum DOA. Cantigas de Santa María Alfonso X El Sabio, Xingra / DOA.
- 2002 - [ROS] The Road to Compostela. The Rose Ensemble. Rose 00004.
- 2002 - [FRA] Sur la terre comme au ciel. A garden au Moyen-Âge. Discantus. Brigitte Lesne / Alla Francesca. Pierre Hamon. Jade (Universal) 198 796-2.
- 2003 - [AUG] Auf Jakobs Wegen. Medieval Pilgrimage to Santiago. Ensemble für frühe Musik Augsburg. Christophorus CHR 77264.
- 2003 - [LES] Compostelle. Le Chant de l'Étoile. Discantus. Brigitte Lesne. Jade (Universal) 301 654 2.
- 2003 - [GAL] Hic Est Chorus. Liturgical music of the Cathedrals of the "Reyno de Galicia". Coro Ultreia. Fernando Olbés Durán. Harmonia Mundi Ibérica.
- 2003 - [SGH] Classical music Galega Vol. 1 - Medieval music. Schola Gregoriana Hispana. Francisco Javier Lara Lara. Boa Recording
- 2003 - [HOS] L'appel de Saint Jacques. Robert Hossein. Baladins De Notre-Dame
- 2004 - [ORG] Compostela. Ad Vaves Sancti Iacobi. Codex Calixtinus XIIe siècle. Ensemble Organum. Marcel Pérès
- 2004 - [BEC] Lyra mendicorum. Carlos Beceiro. Lubicán Records
- 2004 - [OOT] Naar Santiago - Duizend Jaar Pelgrimsmuziek. Kleinkoor Ootmarsum. Frans Heijdemann. STEMRA/C 10955
- 2006 - [MON] Pilgrimage to Santiago. Monteverdi Choir. John Eliot Gardiner. Soli Deo Gloria SDG 701.
- 2007 - [ACC] It's a pellegrin.. Walking in medieval music. Old Chinchilla Chapel. Column Music 1CM 0186
- 2007 - [OBS] Look!. Cantigas de Santa Maria d'Alfonso el Sabio. Obsidienne. Emmanuel Bonnardot. Calliope CAL 9366.
- 2010 - [ARS] Vox Nostra. Liber Sancti Iacobi. Codex Calistinus, your polyphony. Combinatory Ars. Canco Lopez. Musaris, Mars 02-11318/10.
- 2011 - [DOA] To rub two ridges. DOA. Layric medieval Galaicoportuguesa. Cantigas de Santa María Alfonso X El Sabio, Martín Códax, Calixtino Codex. Music