Barbara Haggh-Huglo

It is established and well known that the main altar of the Gothic Cathedral of Notre Dame was consecrated on May 19 in 1182 by Cardinal Henri de Marcy, the Papal legate in Paris, and Bishop Maurice de Sully, who had initiated the construction of the new church. 1 There is no evidence, however, that the Gothic Cathedral itself was ever formally dedicated and consecrated before 1864 (see below). 2 As late as 1496, in response to considerations by the Bishop of Paris Louis Beaumont (d. 1492) to dedicate Notre Dame, perhaps just as the undedicated Cambrai Cathedral had been in 1472, Notre Dame's penitentiary, Jean le Munerat, had his tract De Dedicatione Ecclesie Parisiensis published, in which he argued that a belated consecration would make no difference. In addition, a known legend stated that were the Cathedral to be completed, the relics of St. Marcel would have to be returned by the canons of Notre Dame to the canons of St. Marcel. That may have been enough to keep the Gothic church unfinished and undedicated, according to Craig Wright. 3 The medieval consecration of a church, called a Dedication, consisted of a lengthy ceremony found in manuscripts called Pontificals. It included the triple aspersion of the exterior of the church, the inscription of the Greek and Latin alphabets to form a cross of St Andrew on the church floor, the aspersion of the inside of the church, and the aspersion of and placement of relics in the altar, followed by a Mass, which was normally required if worship was to take place in a new or rebuilt church. The Dedication would be followed by a yearly feast of the Anniversary of the Dedication commemorating that ceremony, with its own liturgical texts and music. That yearly feast of the Anniversary of the Dedication was assigned to a specific date in the liturgical calendar, which was not necessarily the date of the original celebration. For example, the old abbey of St. Gall celebrated the feast of the Anniversary of its Dedication on April 17, the day after the feast of St. Gall. Prior to the Gothic Cathedral of Notre Dame, the church at that location had celebrated the Anniversary of its Dedication possibly on 11 October, but Craig Wright claimed that an Anniversary of the Dedication "was never celebrated during the church year at the cathedral." 4 1 Wikipedia, s.v. "Notre Dame de Paris," citing Delisle 1873, p. 68. Consulted 26 May 2019. By this time, the choir had been completed, but little of the rest of the church. 2 The expression "Phantom Dedication" was used by Craig Wright, who provides a useful history of the questions surrounding the absence of a Dedication of the Gothic Notre Dame of Paris, in Music and Ceremony at

The history of Ghent and of its music before 1559 was marked by migrations. Its two abbeys, St Bavo’s and St Peter’s, were founded by the migrating missionary, St Amand. Their communities migrated south during Viking invasions in the ninth century, one returning with new music from Laon; then their competition during a period of restoration produced new chant for many new saints’ offices. In the early sixteenth century, the monks of the Benedictine community at St Bavo’s abbey became secular canons and migrated to a different church building, that of St John’s in the center of Ghent. In 1559, St John’s became the collegiate church of St Bavo, which was then elevated in rank to become St Bavo’s cathedral as it is today. This migration and transformation changed the community’s liturgical music from monastic chant with occasional parallel polyphony into the elaborate mensural polyphony by composers known throughout Europe. Finally, the migration of Pedro de Gante and his Franciscan co...

... for chant in Guillaume Du Fay and the Evolution of the Liturgy of Cambrai Cathedral in the ... in KK FORNEY, Music, ritual and patronage at the church of Our Lady, Antwerp, in: Early ... for composed polyphony, 1400-1474, in: Studies in the Performance of Late-Medieval Music, ed. S ...

A list of mainly sequences and hymns perhaps composed in Cambrai - note that it is out of date and superseded by Christian Meyer's catalogue of notated manuscripts of the province 'Nord' in France, vol. 1, and by my discussion in my forthcoming book: 'Guillaume Du Fay's Chant across five centuries' but the article does provide context and quite a complete list of the manuscript sources for the listed chants.

... Jurij Snoj), an 11th-century fragment from Weihenstephan with chant for St Denis sung at the Abbey of St Emmeram (Roman Hankeln), a 9th-century fragment (Indiana University, Lilly Library, Poole 27) with neumed chant for St Emmeram (Travis Yeager), the antiphoner of León ...

... introduces French and German theoretical writings juxtaposing labyrinths and the circle of fifths.22 We learn that Johann Fischer's Ariadne musica (1702 ... Both Credo and Agnus Dei present the tenor in retrograde, and in the Credo, the cantus firmus appears twelve times, as if to ...

... I have found a second copy of the Marian Office of the Order of the Golden Fleece, also without music, in Besanson, BibliothPque Xlunicipale, hlS 87, on ff. 26-34' (see Auguste Castan, Catalogue ginha1 des manuscrits des biblio-thiquespubliques de Frame, Dipartements, xxxiii ...

A medieval Parisian calendar in Bari Archivio San Nicola MS 7 is the only source to assign a date to the feast of the Dedication of the Church of the Gothic Notre Dame Cathedral, which was never dedicated - only its main altar. In two previous publications, summarized here, it is argued that this date, March 29, was assigned because that was Easter Monday in 1182 when Notre Dame's main altar was dedicated. I explain the history of the Dedication problem of Notre Dame and argue that the restored church should be formally dedicated with the medieval ceremony on Easter Monday, March 29, in 2027.

This paper presented by Michel Huglo at a conference on editing at Ohio State clearly explains and discusses the project to edit the Gregorian Gradual at the Abbey of Solesmes in the mid-20th century. Michel Huglo prepared the volume listing the manuscript sources of the Gradual for this project.

Personal reflections by Michel Huglo on the life, career, and publications of Solange Corbin, whom he knew professionally for many years, with his reminiscences on his own life and career. These were presented at the University of Poitiers in November 2011 at a "Journee d'etudes" on the life, career, and publications of Solange Corbin.