Page:A Dictionary of Music and Musicians vol 3.djvu/777

SUMER IS ICUMEN IN. SUMER IS ICUMEN IN (Latin words, Perspice Χρίcola = Christicola). A 'Rota,' or Round, of great antiquity, the original MS. of which is preserved in vol. 978 of the Harleian Collection, in the British Museum.

So important are the questions raised by this document, in connection not only with the history of the English School, but with that of Mediæval Music in all other European countries, that we cannot too earnestly recommend them to the consideration of all who are interested in tracing the development of our present system to its earliest sources. We thought it desirable, in the article on, to present our readers with an accurate facsimile of the original MS., reduced, by photography, from $7 7⁄12$ × $5 5⁄12$ in., to 6⅝ × 4½, and accompanied by a description of the colours employed by the mediæval illuminator. We now subjoin a solution of the Canon, in modern Notation, but otherwise scored in exact accordance with the Latin directions appended to the original MS. The only characters employed in the original are, the C Clef; the B rotundum ( = B♭); square black tailed notes, sometimes perfect by position, and sometimes imperfect; one square black note without a tail; and black lozenge-shaped notes, also without tails, except in one solitary case which we can scarcely conceive to be accidental—the first of the three notes sung to the word 'in.' These we have replaced, in our reduction, by the G Clef for the four upper Parts, and the F Clef for the two lower ones, forming the Pes; by dotted Semibreves for the tailed notes, when perfect, and Semibreves without dots for those that are imperfect; by a Semibreve without a dot for the single untailed square note; by Minims for the untailed lozenge-shaped notes; and by a dotted Minim, followed by a Crotchet, for the solitary lozenge-shaped note with a tail. For the Time-Signature, we have used the Circle, and the Figure 3, indicative of Perfect Time, in combination with the Lesser Prolation—a form closely corresponding with the Signature 3-2 in modern Music.

We have thought it necessary to print the solution of the Canon in extenso, because, to the best of our belief, no correct Score has hitherto been published. Hawkins clearly misunderstood the two Ligatures in the Pes, and misprinted the passage, at every repetition. Burney corrected this mistake: but both historians have given an erroneous adaptation of the text to the notes, in bars 41 et seq., at the words 'Wel singes thu cuccu ne swik thu nauer nu'; and both, in bar 40, have systematically misprinted the note sung to the second syllable of 'cuccu,' giving G instead of A every time it occurs. It is true that, in certain bars, G agrees better than A with Hawkins's misprinted Pes, but, with Burney's correct Pes, it makes a horrible discord. The only modern copy we have met with omits the Pes altogether, thereby reducing the number of Parts to four.

With the facsimile and its solution before them, our readers will be able to criticise the opinions hazarded, from time to time, on the antiquity of the Rota; which opinions we shall now proceed to consider in detail.

The MS. was first described by Mr. Wanley, the famous Antiquary, who, acting in the capacity of Librarian to the Earl of Oxford, wrote an account of it in his 'Catalogue of the Harleian MSS.' about the year 1709; assigning to it no positive date, but pronouncing it to be by far the oldest example of the kind he had ever met with —an assertion which must be received with all respect, since Mr. Wanley was not only a learned Antiquary, but an accomplished musician.

In the year 1770, Sir John Hawkins mentioned the Rota, in the first volume of his 'History of Music'; illustrating his description by a copy of the Guida, in the original square black notes, followed by a not very correct solution of the canon, scored for six voices, including those which sing the Pes. Hawkins imagines the term 'Rota' to apply to the Latin rather than the English words; and refers the MS. to 'about the middle of the 15th century, on the ground that the Music is of the kind called Cantus figuratus, which appears to have been the invention of John of Dunstable, who wrote on the Cantus mensurabilis, and died in 1455.' This statement, however, involves an anachronism which renders Hawkins's opinion as to the date of the MS. absolutely worthless.

Dr. Burney, in the second volume of his History, described the composition as not being much later than the 13th or 14th century; printed a copy of the Canon, in the original mediæval Notation; and subjoined a complete Score, more correct than that supplied by Hawkins, yet not altogether free from errors.

Ritson referred the MS. to the middle of the 13th century; and fancied—not without reason—that neither Hawkins nor Burney cared to risk their reputation by mentioning a date which could scarcely fail to cause adverse criticism.

In 1819 Dr. Busby reprinted the Rota, following Burney's version of the Score, note for note, including its errors, and referring the MS. to the 15th century.

In April 1862, Sir Frederick Madden wrote some memoranda, on the fly-leaf of the volume, referring the entire MS., 'except some writing on ff. 15–17' (with which we are not concerned) to the 13th century; and stating his belief that a certain portion of the volume ' was written, in the Abbey of Reading, about the year 1240.'

In 1855, Mr. William Chappell described the MS. minutely, in his 'Popular Music of the Olden Time,' illustrating his remarks by a facsimile of the MS., printed in the original colours. Mr. Chappell, has, for many years past, taken