10 00:02:15,240 --> 00:02:23,530 Thank you very much. That was beautiful. So welcome, everyone, to this webinar Singing together, Apart, focussing on the drama in mediaeval chants. 11 00:02:23,530 --> 00:02:27,570 Thank you very much for being here. And thank you to all singers for that lovely introduction. 12 00:02:27,570 --> 00:02:33,960 My name is Helen, I am the Education Officer at the Bodleian Libraries. Just to let you know a few practical things before we start. 13 00:02:33,960 --> 00:02:41,250 We are recording the event, but as this is a Zoom webinar, your video and audio are turned off and you won't appear in the video. 14 00:02:41,250 --> 00:02:47,130 So we won't be able to hear or see you and you can sing as loudly as you wish and complete safety. 15 00:02:47,130 --> 00:02:51,330 We will share a link to the recording about a week after the event. 16 00:02:51,330 --> 00:02:55,650 We will be looking at some original manuscripts that feature the music we will be singing. 17 00:02:55,650 --> 00:03:03,240 So if you would like to ask a question about mediaeval music or the manuscripts in general, please type it in the Q&A window during the event. 18 00:03:03,240 --> 00:03:06,330 Please do check now that you can find the Q&A. 19 00:03:06,330 --> 00:03:11,910 You can also vote for questions you are interested in by clicking on the thumbs up and you can comment on the questions there. 20 00:03:11,910 --> 00:03:18,450 I will put your questions live to our experts towards the end of the session and we may answer some in writing. 21 00:03:18,450 --> 00:03:23,010 We really value your feedback, so please do fill out the short questionnaire after the webinar. 22 00:03:23,010 --> 00:03:26,310 The link is in your booking email and we share it again at the end. 23 00:03:26,310 --> 00:03:30,960 This helps us to continue to offer and improve free events like this one for everyone. 24 00:03:30,960 --> 00:03:36,000 We also invite you to take part in more detailed evaluation for our funders if you wish. 25 00:03:36,000 --> 00:03:37,770 So once again, welcome. 26 00:03:37,770 --> 00:03:44,460 The plan for today is to revisit one of the chants from our last session, led by our singers who are in the Crypt of St. Peter in the East, 27 00:03:44,460 --> 00:03:49,380 and then find out about today's focus piece and how it fits into the Easter drama. 28 00:03:49,380 --> 00:03:55,710 We will learn and sing the piece by ear together, followed by a discussion about the manuscript where the piece is found. 29 00:03:55,710 --> 00:03:58,140 Thanks to the Polonsky Digitisation Project, 30 00:03:58,140 --> 00:04:05,070 we can view the full manuscripts of both chants online at Digital Bodleian and the links are in your joining email. 31 00:04:05,070 --> 00:04:10,110 We've created a modern PDF version of the text and notation to help you follow along. 32 00:04:10,110 --> 00:04:14,730 Remember, we can't see or hear you so you can sing as loud as you like! 33 00:04:14,730 --> 00:04:19,860 Then there will be a chance to ask questions before finally singing the piece again together. 34 00:04:19,860 --> 00:04:26,730 I'll hand over now to our speakers and singers, Henrike Lähnemann, Professor of Mediaeval German at Oxford University, 35 00:04:26,730 --> 00:04:31,290 Andrew Dunning, RW Hunt Curator of Mediaeval Manuscripts at the Bodleian. 36 00:04:31,290 --> 00:04:35,520 Zachary Giuliano, College Chaplain and research fellow at St. Edmund Hall 37 00:04:35,520 --> 00:04:40,800 And Nick Swarbrick, Associate Lecturer at Oxford Brookes and singing leader for today's session. 38 00:04:40,800 --> 00:04:51,120 Over to you. Thank you, Helen, and thanks, Andrew, for again bringing the manuscripts along. 39 00:04:51,120 --> 00:04:59,430 We'll look today at two manuscripts. We'll start with a manuscript we have been seeing in the last two workshops, 40 00:04:59,430 --> 00:05:08,760 which was the Handbook for the Medingen Provost, quarto format in a sturdy leather volume. 41 00:05:08,760 --> 00:05:16,740 And we looked at the one of the first liturgical events of the year. 42 00:05:16,740 --> 00:05:28,080 The Purificat zur Maria, Medingen, was dedicated to Mary, and that was one of the highlights of the year. 43 00:05:28,080 --> 00:05:36,120 And we thought, just to ease you into the liturgical cycle of the year before we leaf through, 44 00:05:36,120 --> 00:05:50,550 we would revisit the lighting of candles at Candlemas because the light is also the leading theme then for Easter we are looking at. 45 00:05:50,550 --> 00:06:00,660 So it starts with an ownership entry, Christmas, and then already on the folio that Andrew is just turning, 46 00:06:00,660 --> 00:06:06,480 it starts Candlemas, several sung prayers by the Provost 47 00:06:06,480 --> 00:06:16,560 and then what the nuns added in because it was their special piece while the church was censed 48 00:06:16,560 --> 00:06:25,020 to sing their version of the Song of Simeon with a repetition of the Lumen ad revelacionem 49 00:06:25,020 --> 00:06:28,920 gencium. You're welcome to join in. 50 00:06:28,920 --> 00:06:38,780 And even those who haven't been to the previous workshops, I think by the fifth repetition you'll be able to get into it. 51 00:06:38,780 --> 00:06:51,190 Lumen ad revelacionem gencium et gloriam plebis tue Israhel. 52 00:06:51,190 --> 00:06:57,630 Nunc dimittis servum tuum Domine 53 00:06:57,630 --> 00:07:09,000 secundum verbum tuum in pace. Lumen ad revelacionem gencium 54 00:07:09,000 --> 00:07:19,870 et gloriam plebis tue Israhel. Quia viderunt oculimei 55 00:07:19,870 --> 00:07:38,890 salutare tuum. Lumen ad revelacionem gencium et gloriam plebis tue Israhel. Quod parasti 56 00:07:38,890 --> 00:08:02,110 ante faciem omnium populorum. Lumen ad revelacionem gencium et gloriam plebis tue Israhel. Lumen ad revelacionem gencium, 57 00:08:02,110 --> 00:08:24,680 et gloriam plebis tue Israhel. Lumen ad revelacionem gencium et gloriam plebis tue Israhel. Gloria Patri, et Filio, 58 00:08:24,680 --> 00:08:45,070 et Spiritui Santo. Lumen ad revelacionem gencium et gloriam plebis tue Israhel. Sicut erat in principio, et nunc, et semper, 59 00:08:45,070 --> 00:08:53,400 et in secula seculorum. Amen. 60 00:08:53,400 --> 00:09:07,720 Lumen ad revelacionem gencium et gloriam plebis tue Israhel. 61 00:09:07,720 --> 00:09:15,070 So light remains a theme throughout the liturgical calendar and comes to full force 62 00:09:15,070 --> 00:09:23,350 when Christ the Easter sun rises from the dead and we can see it actually reflected, 63 00:09:23,350 --> 00:09:30,490 literally reflected in the initials of the manuscript. The Easter night starts with the 64 00:09:30,490 --> 00:09:41,020 only illuminated historiated initial where we see Christ leading Adam and Eve out of limbo, 65 00:09:41,020 --> 00:09:48,580 which is the dramatic event actually narrated in the sequence Cum Rex 66 00:09:48,580 --> 00:09:59,920 Gloria and the C of the Cum Rex Gloria furnishes the initial on folio 48 for the 67 00:09:59,920 --> 00:10:10,720 sequence. Good manuscript, will Weile haben. 68 00:10:10,720 --> 00:10:24,790 A bit back. So, yeah, there you see the C of the Cum Rex Gloria, and the red you see on the left hand side, 69 00:10:24,790 --> 00:10:32,470 gives the instructions for the provost, how he should act while he was singing that. 70 00:10:32,470 --> 00:10:38,050 And I'm particularly interested in the instruction on the next folio, 71 00:10:38,050 --> 00:10:48,880 which comes after the gold initial signalling, the actual moment of resurrection, the S for surrexit 72 00:10:48,880 --> 00:11:00,970 He is risen the Lord from the tomb and the text below that reads, 73 00:11:00,970 --> 00:11:12,430 and I need to use my edition as a crib sheet, die inde Victimae paschali laudes. Then they sing the Victimae paschali laudes. 74 00:11:12,430 --> 00:11:16,840 So the clergy is singing the sequence that we are going to sing as well, 75 00:11:16,840 --> 00:11:20,650 Laytis laudem canentibus Christ is 76 00:11:20,650 --> 00:11:26,160 while the lay people are singing the praise 77 00:11:26,160 --> 00:11:30,280 Christ is risen and that's the vernacular piece 78 00:11:30,280 --> 00:11:36,430 that you are going to sing in answer to the Latin praise. 79 00:11:36,430 --> 00:11:46,000 And then follows a theological justification where the nuns quote Gregory the Great who has said that on Easter Day 80 00:11:46,000 --> 00:12:01,830 no tongue should be silent. And I hand over now to Zach Giuliano, who will explain a bit more about the theological significance of Easter. 81 00:12:01,830 --> 00:12:13,590 Thank you. Yes, I'd like to say a little about the theological significance of Easter and then the development of Easter drama and art and music, 82 00:12:13,590 --> 00:12:19,110 very briefly, I mean, the basic point is that within the Christian tradition, 83 00:12:19,110 --> 00:12:30,330 the Easter event is seen to be of such cosmic importance that it calls forth all sorts of different forms of creativity and as Henrike said, 84 00:12:30,330 --> 00:12:38,130 all voices to praise the Lord. But let me back up just a little bit to talk about the development of liturgical drama 85 00:12:38,130 --> 00:12:46,010 and how we get to the point we're at with the sequence we're talking about just now. 86 00:12:46,010 --> 00:12:50,840 To begin with, there's a strong urge toward repetition in Christian liturgy. 87 00:12:50,840 --> 00:12:57,230 We can see this in the service of the Eucharist itself, which recalls the last supper that Christ had with his disciples. 88 00:12:57,230 --> 00:13:01,740 Think of those words, Do this in remembrance of me. 89 00:13:01,740 --> 00:13:05,640 In this and then nearly all other Christian services, biblical readings 90 00:13:05,640 --> 00:13:13,050 bring the events of the past before the mind's eye, but we might imagine, what if you could do more than just read things? 91 00:13:13,050 --> 00:13:17,010 And that's, of course, what happened from at least the fourth century. 92 00:13:17,010 --> 00:13:22,650 There was an increasing attempt to re-enact or dramatise all the events of Christ's passion 93 00:13:22,650 --> 00:13:29,130 and resurrection or to describe them in an increasingly elaborate hymnody and chant. 94 00:13:29,130 --> 00:13:36,390 Some efforts began in Jerusale. Services that the Bishop of Jerusalem put on during Holy Week and Easter moved about that city, 95 00:13:36,390 --> 00:13:44,910 using its spaces and retracing Christ's footsteps in Holy Week and Easter. 96 00:13:44,910 --> 00:13:54,980 So where he walked, where he taught and ate, where he was betrayed, put on trial, beaten and killed and where he was raised from the dead. 97 00:13:54,980 --> 00:14:05,330 In each place, appropriate readings and songs were selected to heighten the drama and draw attention to the significance of the events. 98 00:14:05,330 --> 00:14:10,340 Other liturgical rites arose in later centuries from vivid musical compositions to 99 00:14:10,340 --> 00:14:16,700 small dramatic actions that accompany narrative readings of the passion onto full scale plays. 100 00:14:16,700 --> 00:14:24,320 And that's where we have to place the sequence of the Victimae paschali laudes. To give you one example, 101 00:14:24,320 --> 00:14:30,590 there was something called In modum fur rantes, so right in the manner of a thief. 102 00:14:30,590 --> 00:14:38,780 As a deacon, read John's account of the crucifixion on Good Friday and reads the words they parted my garments among them, 103 00:14:38,780 --> 00:14:44,480 two clerics might approach the altar in the manner of a thief like they were sneaking up to it and 104 00:14:44,480 --> 00:14:50,020 they would remove an altar cloth or divide two cloths lying there before returning to their seats. 105 00:14:50,020 --> 00:14:55,220 So we have an example of that ritual from the 8th century, and it continued for nearly a thousand years. 106 00:14:55,220 --> 00:14:57,020 And there are many others we might name. 107 00:14:57,020 --> 00:15:06,080 If you've been to services during Holy Week, you might think of the washing of feet on Maundy Thursday, the veneration of the cross on Good Friday. 108 00:15:06,080 --> 00:15:12,550 There are many different examples. The sequence takes its place among these dramatic reenactments. 109 00:15:12,550 --> 00:15:21,370 Its verses rehearse Christ's victory in a variety of modes that display the full range of the Christian theology of atonement. 110 00:15:21,370 --> 00:15:26,080 Christ is a sacrifice who may receive sacrifices as we'll hear. 111 00:15:26,080 --> 00:15:34,610 A lamb redeeming other sheep, a fighter or a ruler combating death through death before rising again. 112 00:15:34,610 --> 00:15:43,310 Then a notable shift in the verses focuses on the testimony of Mary Magdalene as the first witness of the resurrection. 113 00:15:43,310 --> 00:15:53,950 This is a reminder to us of her central place in mediaeval devotion and liturgy and also her significance in women's religious houses in particular. 114 00:15:53,950 --> 00:16:02,810 Dic nobis Maria, quid vidisti in via - speak Mary declaring what thou sawest wayfaring. 115 00:16:02,810 --> 00:16:06,830 Now, I'll just say we're not sure who wrote this piece of chant, 116 00:16:06,830 --> 00:16:13,550 but it became embedded in Latin liturgies from the middle of the 11th century onwards and remains in use today. In its form 117 00:16:13,550 --> 00:16:22,220 and the vivid character of its language lend themselves well to a variety of forms of dramatisation and pictorial representation, 118 00:16:22,220 --> 00:16:30,130 including those at Wienhausen and Medingen, as we'll hear more about now. 119 00:16:30,130 --> 00:16:41,830 So the space you just saw of Wienhausen, the nuns gallery, or really nuns choir up in the, at the west end of the church, 120 00:16:41,830 --> 00:16:48,910 shows this scene setting for the Easter drama as the nuns would have used it, 121 00:16:48,910 --> 00:16:56,650 and under the floorboards of Wienhausen there were little booklets found and among them the role of Mary 122 00:16:56,650 --> 00:17:05,530 Magdalene who would step out from the choir stalls and sing exactly this sequence that we are singing now, 123 00:17:05,530 --> 00:17:11,290 while another nun would step out and sing the answer of Christ. 124 00:17:11,290 --> 00:17:21,670 So the liturgical space is used as a dramatic stage for the nuns to enact that 125 00:17:21,670 --> 00:17:33,550 and you can also see this in the Holy Sepulchre, which stood in the middle of the nuns choir and which shows like a graphic novel, 126 00:17:33,550 --> 00:17:38,830 all the events that happened around passion and resurrection. 127 00:17:38,830 --> 00:17:51,940 So you see on the bottom row, Christ jumping out of the tomb, the angel holding up the linen to the three Marys. 128 00:17:51,940 --> 00:18:05,590 Then you see Christ meeting Mary Magdalene in the guise of a gardener, then Thomas, putting his fingers into the side wound of Christ. 129 00:18:05,590 --> 00:18:19,930 And particularly the role of Mary Magdalene was one that the nuns felt close to and which pictures features frequently in their prayer books. 130 00:18:19,930 --> 00:18:24,250 So now we are going to act it out ourselves. 131 00:18:24,250 --> 00:18:36,880 You are going to take over the role of both the congregation and the questioning disciples, and Nick is telling you how to do that. 132 00:18:36,880 --> 00:18:43,480 So this is a tall order we're asking of you here. We're asking you not only to sing in mediaeval German, but a little bit of Greek as well. 133 00:18:43,480 --> 00:18:49,840 And some Latin. You see that the first line, which I'm going to sing, is about the Christians bringing their praises. 134 00:18:49,840 --> 00:19:03,700 So the next most obvious thing is for the laity. And that's going to be all of us to sing this, it goes Crist ist erstanden von der Marter alle 135 00:19:03,700 --> 00:19:13,360 des solln wir alle froh sein, Crist will unser Trost sein. Kyrieleis 136 00:19:13,360 --> 00:19:20,650 So let's just try that first bit. Crist ist erstanden von der Marter alle, and let's see how we go. 137 00:19:20,650 --> 00:19:24,190 I can't hear you so you can make as much of a mess of this as you want. 138 00:19:24,190 --> 00:19:28,820 But do join in if you can. Crist ist erstanden 139 00:19:28,820 --> 00:19:38,290 von der Marter alle. Lovely, the next bit is, if you like, a response to those very high notes. 140 00:19:38,290 --> 00:19:46,330 des solln wir alle froh sein, Crist will unser Trost sein, 141 00:19:46,330 --> 00:19:55,270 Let's try it des solln wir alle froh sein, Crist will unser Trost sein. 142 00:19:55,270 --> 00:20:01,480 And then it finishes with Kyrieleis. Try it - Kyrieleis. 143 00:20:01,480 --> 00:20:26,170 And let's put it all together. Crist ist erstanden vond er Marter alle, des solln wir alle fro sein, Crist will unser Trost sein. Kyrieleis. Wonderful. 144 00:20:26,170 --> 00:20:31,150 And in fact, what will happen is that at various points, which will become very obvious, 145 00:20:31,150 --> 00:20:36,400 where we're going to do it, we will all join in and be with you, the laity. 146 00:20:36,400 --> 00:20:42,880 But there's also the question of Mary Magdalene coming and saying, I've got to tell you something. 147 00:20:42,880 --> 00:20:49,990 And the apostles say, well, tell us what you saw on the way, dic nobis Maria, quid vidisti in via. 148 00:20:49,990 --> 00:20:59,240 And so we're going to try that if we can just see that, the next bit on the music or if you've got it in front of you, it goes like this. 149 00:20:59,240 --> 00:21:08,230 dic nobis Maria, quid vidisti in via. Let's see if you can try it. 150 00:21:08,230 --> 00:21:15,400 dic nobis Maria, quid vidisti in via 151 00:21:15,400 --> 00:21:19,940 And then Mary Magadelene Henrike, will take over at that point and be Mary Magdalene - 152 00:21:19,940 --> 00:21:25,750 be one of the sisters responding to that rather wondering and dubious question of the apostles. 153 00:21:25,750 --> 00:21:29,410 And as I said, at various points, we will join in again and again. 154 00:21:29,410 --> 00:21:39,020 with this Crist ist erstanden, and I'm hoping that you will join in and make whatever rafters or vaults you have, 155 00:21:39,020 --> 00:21:44,930 echo to that lay proclamation that we've been hearing so much about. 156 00:21:44,930 --> 00:21:52,720 So let's give it a go. 157 00:21:52,720 --> 00:22:16,780 Victime pashali laudes immolent Cristi ani. Crist ist erstanden von der Marter alle; des solln wir alle froh sein, Crist will unser Trost sein. 158 00:22:16,780 --> 00:22:36,730 Kyrieleis. Agnus redemit oves: Cristus innocens Patri reconciliavit peddatores. Mors et vita duello conflixere 159 00:22:36,730 --> 00:22:49,030 mirando: dux vite mortuus, regnat vivus. Crist ist erstanden von der 160 00:22:49,030 --> 00:22:58,350 Marter alle; des solln wir alle froh sein, Crist will unser Trost sein. 161 00:22:58,350 --> 00:23:04,330 Kyrieleis. 162 00:23:04,330 --> 00:23:22,130 Dic nobis Maria, quid vidisti in via? Sepulcrum Cristi viventis, et gloriam vidi resurgentis: Angelicos testes, 163 00:23:22,130 --> 00:23:35,590 sudarium, et vestes. Surrexit Christus spes mea: precedet suos in Galileam. 164 00:23:35,590 --> 00:23:46,010 Crist ist erstanden von der Marter alle; 165 00:23:46,010 --> 00:23:51,840 des solln wir alle froh sein, Crist will unser Trost sein. 166 00:23:51,840 --> 00:24:11,100 Kyrieleis. So this is what would have happened in the parish church at Medingen at Easter with the nuns up on the gallery, 167 00:24:11,100 --> 00:24:18,270 the parish congregation below at the west end and the clergy at the east end. 168 00:24:18,270 --> 00:24:23,220 But the nuns also took this over into their own devotion, 169 00:24:23,220 --> 00:24:36,150 and what we are going to look at now is how this drama, Easter drama, is put into the personal prayer book of the nuns. 170 00:24:36,150 --> 00:24:50,580 And we are lucky that currently in Oxford we have two specialists for this wonderful prayer book from Medingen. One is Marlene Schilling, 171 00:24:50,580 --> 00:24:58,980 who has just handed in her dissertation on the personification of the Easter night in the Medingen prayer books, 172 00:24:58,980 --> 00:25:11,400 and Carolin Gluchowski, who is a first year DPhil student working on the production processes with which the nuns did, made, these manuscripts. 173 00:25:11,400 --> 00:25:22,000 So over to Andrew Dunning, who will be quizzing Marlene and Carolin on the manuscript. 174 00:25:22,000 --> 00:25:30,790 Marlene, I understand that you actually had the chance to view this tiny little manuscript in person a few weeks ago. 175 00:25:30,790 --> 00:25:35,720 What were your impressions of it? Yes, that's true. 176 00:25:35,720 --> 00:25:44,780 As Henrike said, I worked on the manuscript for my dissertation, and a couple of weeks ago, I had the chance to consult the manuscript in person. 177 00:25:44,780 --> 00:25:53,360 And that was a very fascinating experience because it was my first one-on-one meeting with a mediaeval manuscript. 178 00:25:53,360 --> 00:25:59,090 I had seen the digital images online and I had already worked with them. 179 00:25:59,090 --> 00:26:03,920 So it was just amazing when I then touched a manuscript for the first time. 180 00:26:03,920 --> 00:26:11,360 And my first thought in that moment was it's so tiny because it's really designed to be held in one hand. 181 00:26:11,360 --> 00:26:17,450 So it is really small and the digital images just can't fully transport the scale. 182 00:26:17,450 --> 00:26:22,910 So it was in a way, a bit of a surprise. I had a lot of fun that afternoon in the Weston Library. 183 00:26:22,910 --> 00:26:33,680 I looked at every single folio of the manuscript during my meeting because it's just a fascinating and simply beautiful manuscript. 184 00:26:33,680 --> 00:26:38,570 And so did you have any particularly, did you have any favourite pages that you'd like to show us? 185 00:26:38,570 --> 00:26:44,900 That's a very difficult question because there are dozens of stunning examples in the manuscript, 186 00:26:44,900 --> 00:26:52,400 but I would say folio 20 recto comes very close to being a favourite folio. 187 00:26:52,400 --> 00:27:02,870 It's the start of the Latin prayer Exultet. It's just beautifully illuminated with all the angels and this shiny golden initial. 188 00:27:02,870 --> 00:27:09,020 So this choir of Angels actually reflects and visualises the beginning of the prayer. 189 00:27:09,020 --> 00:27:21,740 And as you can see, these angels are playing various instruments and really show the important role of music for celebrating Easter. 190 00:27:21,740 --> 00:27:26,390 Another interesting example was folio 174 verso 191 00:27:26,390 --> 00:27:35,520 because there we can actually see the nuns with the lay community. 192 00:27:35,520 --> 00:27:44,460 It's such a tiny book, you have to be quite delicate in handling it. 193 00:27:44,460 --> 00:27:50,350 That was quite a challenge. There we go. 194 00:27:50,350 --> 00:27:54,640 There it is. An excellent pick Marlene. 195 00:27:54,640 --> 00:28:04,600 This is a beautiful page of the manuscript, and there's so much to explore from just one page. The rubric tells us it's made for Vespers. 196 00:28:04,600 --> 00:28:12,700 So the evening prayer. You have a huge gold initial introducing the valedictory prayer for Easter Sunday. 197 00:28:12,700 --> 00:28:16,840 And in the margins, you can actually see the nuns themselves. 198 00:28:16,840 --> 00:28:26,170 So if you have a close look, you can see on the left side the nuns and on the right side you can see the Lüneburg patricians. 199 00:28:26,170 --> 00:28:32,590 That's no incidence because many of the nuns were actually related to the Lüneburg towns. 200 00:28:32,590 --> 00:28:39,640 Many town patricians send their daughters off to one of the Lüneburg convents to be in the convent. 201 00:28:39,640 --> 00:28:48,050 Also, the Lüneburg patricians contributed to the living of the nuns via the salt works in Lüneburg. 202 00:28:48,050 --> 00:28:53,140 And if you have a close look at the scrolls above their heads 203 00:28:53,140 --> 00:29:01,180 you can also see that there is an interesting fact about the distribution of Latin and vernacular prayers. 204 00:29:01,180 --> 00:29:09,370 So above the nuns' heads, you can see a Latin text, vale o dies sine vespera and on the other side, 205 00:29:09,370 --> 00:29:16,720 above the heads of the patricians, you can see a vernacular text O sote dach woltestu by uns bliven. 00:29:16,720 --> 00:29:25,060 So you can see that actually the nuns make sure that some key aspects of theology make their way into the prayer books. 207 00:29:25,060 --> 00:29:59,880 Maybe we should turn to another page. And this is 116 recto. 208 00:29:59,880 --> 00:30:09,250 There it is. Thank you, Andrew. So maybe we start with the left side, so it's 115 verso actually. 209 00:30:09,250 --> 00:30:16,860 There you can see a pope and actually this refers to what Henrike said at the very beginning of this session. 210 00:30:16,860 --> 00:30:27,480 I'm referring to the provost menu. So here you actually have the quotation of Gregory the Great saying that no tongue should be silenced on Easter Sunday. 211 00:30:27,480 --> 00:30:32,280 And on the right side, you actually have put this into action. 212 00:30:32,280 --> 00:30:43,030 You can see a young man, with a flower crown and a scroll reading Cristus upstanden von der mater so you can see how the lay actually responds to the Victimae paschali. 213 00:30:43,030 --> 00:30:48,570 He is also surrounded by two trees with two birds 214 00:30:48,570 --> 00:30:55,500 and this may refer to that all creatures are encouraged to participate into the Easter prayers. 00:30:55,500 --> 00:31:01,320 That actually also refers to what Marlene said, also the angels might join in. Every human being, 216 00:31:01,320 --> 00:31:06,060 every creature on earth, every creature in heaven is welcome to participate. 217 00:31:06,060 --> 00:31:13,320 And also we now in our present time re-enact that, so it's fabulous to be here and to see this manuscript, 218 00:31:13,320 --> 00:31:25,520 which is more than five hundred years old and we're still in this tradition. 219 00:31:25,520 --> 00:31:30,470 Thank you both very much, it's really exciting. We've got some more time, 220 00:31:30,470 --> 00:31:36,620 so maybe we might come back to you and ask you some more about your thoughts about that manuscript, if you're willing to. 221 00:31:36,620 --> 00:31:40,810 We just had a question come in about the kind of technical side of the manuscript. 222 00:31:40,810 --> 00:31:54,070 And I don't know, Andrew, maybe if you could tell us more about how the ink was made for these manuscripts? 223 00:31:54,070 --> 00:32:03,820 So the nuns would do quite a lot of the basic production side in the convent itself. 224 00:32:03,820 --> 00:32:10,720 We have evidence also that they exchanged material between convents. 225 00:32:10,720 --> 00:32:14,200 So, for example, one of the neighbouring convents, Ebsdorf, 226 00:32:14,200 --> 00:32:25,240 was famous for the pearls they cultivated in the river and they would send them over to the other convents to use in the tapestry. 227 00:32:25,240 --> 00:32:38,830 And so things like ink would be produced in-house, as it were, made from natural ingredients. 228 00:32:38,830 --> 00:32:46,510 The gold apples play an important role for that. 229 00:32:46,510 --> 00:32:56,590 Carolin could tell you more about how they made do and mend or recycled elements so they would reuse parchment. 230 00:32:56,590 --> 00:33:04,270 They would buy obviously paper as well, although there are also some convents that had their own paper mills. 231 00:33:04,270 --> 00:33:14,480 They definitely had a mill in Medingen for producing the power for things. 232 00:33:14,480 --> 00:33:24,770 They also did some in-house binding for special 233 00:33:24,770 --> 00:33:32,300 bindings like the one we see here, again, Carolin could tell you more, she has just been working on the particular roll, 234 00:33:32,300 --> 00:33:45,290 but convents would club together and send bulk delivery to Lüneburg, where there would be professional workshops binding it. But simpler 235 00:33:45,290 --> 00:33:52,820 bindings would be done in-house. Carolin, would you be prepared to say a little bit more now, would that be all right? 236 00:33:52,820 --> 00:33:59,690 Oh, yeah, I'm afraid I cannot stop. So just stop me from running away, because, as Henrike said, 237 00:33:59,690 --> 00:34:06,470 I just submitted a chapter on this very manuscript and so I spend a lot of time with it. And just as 238 00:34:06,470 --> 00:34:14,840 Marlene said it's actually teeny tiny. So from this kind of angle, you would think it's actually that large. 239 00:34:14,840 --> 00:34:24,400 It's teeny, teeny, tiny. And what I just found out is that there is an additional example for this roll. 240 00:34:24,400 --> 00:34:31,550 You can see outside on the bindings. So there is an additional Medingen manuscript displaying the very same roll 241 00:34:31,550 --> 00:34:37,440 and you can cross-link different manuscripts via the binding to its place. 242 00:34:37,440 --> 00:34:45,320 So that are also other manuscripts which, which, which could be linked to this one in particular. 243 00:34:45,320 --> 00:34:54,210 So you can say it's probably made around 1530 maybe, but that isn't the case for the entirety of the manuscript. 244 00:34:54,210 --> 00:34:59,250 So maybe Andrew could just open up the manuscript again. 245 00:34:59,250 --> 00:35:08,760 And I think display folio 9 recto, I hope I'm not mistaken here. 246 00:35:08,760 --> 00:35:18,680 Yeah, that's brilliant, actually. That's perfect. So as you can see the script on folio 9 recto changes. 247 00:35:18,680 --> 00:35:28,430 So have a look at the upper lines to see a very fragile, thin script and then it changes after the initial. 248 00:35:28,430 --> 00:35:37,790 So the script after the initial, it's much bolder and it has certain characteristics not visible in the upper lines. 249 00:35:37,790 --> 00:35:46,370 So what I did was, as Marlene did, I read every single page of this manuscript and I was lucky to see it in person. 250 00:35:46,370 --> 00:35:56,060 And I found out that this particular manuscript was produced by five different hands who worked across a period of more than one hundred years. 251 00:35:56,060 --> 00:36:04,760 So what we can learn from it, that, is that manuscripts actually were of huge value to the convent, was not a throwaway object. 252 00:36:04,760 --> 00:36:10,340 They kept it for several generations and also worked on it for several generations. 253 00:36:10,340 --> 00:36:16,040 So when there were major changes to their devotional practices or to their piety profile, 254 00:36:16,040 --> 00:36:21,320 they added new leaves and replaced old ones with updated versions. 255 00:36:21,320 --> 00:36:25,050 So you could see how the prayer book grows with the time. 256 00:36:25,050 --> 00:36:30,250 And that is what I find particularly fascinating about this manuscript. 257 00:36:30,250 --> 00:36:38,240 And I've noticed that you and Marlene were handling it yourselves without gloves and one of our attendees has been quite surprised by that, 258 00:36:38,240 --> 00:36:46,690 I don't know if you can explain a little bit more about why that's Bodleian's policy or maybe Andrew can if not. 259 00:36:46,690 --> 00:36:53,500 Yeah, so that's that's, in fact, a very common question, why are, why are you just using bare hands? 260 00:36:53,500 --> 00:37:06,500 Because, of course, people are often used to watching BBC and they'll, you'll have your, your curator sitting down with a presenter with white gloves. 261 00:37:06,500 --> 00:37:16,870 And the answer is that, that used to be a much more common practice up until really the early 90s. 262 00:37:16,870 --> 00:37:25,900 People used to wear these white cotton gloves because the thought was, oh, we have to do everything we can to just keep off any grime from manuscripts. 263 00:37:25,900 --> 00:37:34,870 What we realise now is that as conservation practices develop, we've realised that we need to actually, it is actually much more effective. 264 00:37:34,870 --> 00:37:42,490 If you ever walk into the Bodleian Library, you'll see all sorts of signs that say, please make sure you have clean, dry hands. 265 00:37:42,490 --> 00:37:48,280 And that's far more effective than having cotton gloves on because, I mean, cotton gloves still get dirty. 266 00:37:48,280 --> 00:37:55,040 If you ever have been to a library, that uses cotton gloves they'll inevitably be really grimy. 267 00:37:55,040 --> 00:37:59,590 And whereas if you have, if you have just your hands, as long as they're clean, 268 00:37:59,590 --> 00:38:06,610 you have much more tactile control over the manuscript, you have, as you're much less, you're much more likely, 269 00:38:06,610 --> 00:38:19,090 really, to snag your glove on the edge of a piece of parchment and cause gradual tearing than you are to actually to damage it just by touching it. 270 00:38:19,090 --> 00:38:27,670 And so it means it's really much more. I suppose there's also the added bonus that it's also much more fun to, to study manuscripts that way. 271 00:38:27,670 --> 00:38:35,770 So perhaps it's just a ploy to get more study, to get more people to study paleography and show up at our library. 272 00:38:35,770 --> 00:38:43,300 Excellent. Thank you Andrew. Marlene, you mentioned that it was difficult for you to choose one folio, rather, that you liked. 273 00:38:43,300 --> 00:38:44,260 I don't know if you want to come back. 274 00:38:44,260 --> 00:38:52,140 We've got a bit of time if you want to say any more about the work you've been doing or some of the folios that you particularly relished looking at. 275 00:38:52,140 --> 00:38:57,210 Maybe one more folio, because there's one that I think is very beautiful. 276 00:38:57,210 --> 00:39:02,310 So, Andrew, if you could go to folio 87 verso, 277 00:39:02,310 --> 00:39:07,920 because we were talking about Christ as the Easter sun and that we have a very 278 00:39:07,920 --> 00:39:13,560 beautiful connection the Easter Night going into Easter Day with sun and stars. 279 00:39:13,560 --> 00:39:20,820 It's just a very beautiful illumination. But as you can see, I mean, more or less every fotio is really beautiful. 280 00:39:20,820 --> 00:39:26,960 But yes, I like that one very much. 281 00:39:26,960 --> 00:39:37,500 Because, yes, with the sun and the stars and the little angels, but even I mean, even 88 recto is very beautiful as well. 282 00:39:37,500 --> 00:39:47,550 So, yes, it's just in general a beautiful manuscript. Do you want to say something about your topic of personification and Easter Night? 283 00:39:47,550 --> 00:39:51,910 Yeah, very briefly, maybe, because, as Carolin, I could go on. 284 00:39:51,910 --> 00:40:02,080 So I worked, I worked on the depiction of Easter Night as personification in the in the prayer book. 285 00:40:02,080 --> 00:40:07,500 And most of the it's time like addressed as and welcomed as the Easter Night. 286 00:40:07,500 --> 00:40:16,530 It goes also for the Easter Day but I worked on the Easter Night and it's most of the time a very light and bright night. 287 00:40:16,530 --> 00:40:22,410 So it's golden and shiny. And I think we see that again in the materiality, 288 00:40:22,410 --> 00:40:33,450 especially on that folio with the golden initials reflecting the golden Night, the golden Easter Night. 289 00:40:33,450 --> 00:40:41,190 So, yeah, I think it's actually very funny because when Andrew moves the page slightly, you can see the reflection. 290 00:40:41,190 --> 00:40:44,490 You can also see the little face within the sun. 291 00:40:44,490 --> 00:40:52,960 Yes, it's very, very nice to see that, there is a tiny face, tiny smiley face. 292 00:40:52,960 --> 00:40:59,150 And you can see how thick the gold actually is. That's incredible. 293 00:40:59,150 --> 00:41:04,970 Thank you very much. I think it's time for some more singing, we have got a couple more questions, which we'll do after some singing. 294 00:41:04,970 --> 00:41:11,330 But I think I'll pass back to our singers in the Crypt and we can revisit our chant for this evening. 295 00:41:11,330 --> 00:41:19,600 OK, so we're going to go back to the Victimae Paschali. And without further ado, let's have a go. 296 00:41:19,600 --> 00:41:36,580 Victime pashali laudes immolent Cristi ani. Crist ist erstanden von der Marter alle; 297 00:41:36,580 --> 00:41:46,040 des solln wir alle froh sein, Crist will unser Trost sein. Kyrieleis. 298 00:41:46,040 --> 00:42:11,410 Agnus redemit oves: Cristus innocens Patri reconciliavit peddatores. Mors et vita duello conflixere mirando: dux vite mortuus, regnat vivus. 299 00:42:11,410 --> 00:42:20,410 Crist ist erstanden von der Marter alle; 300 00:42:20,410 --> 00:42:39,790 des solln wir alle froh sein, Crist will unser Trost sein. Kyrieleis. Dic nobis Maria, quid vid sti in via? 301 00:42:39,790 --> 00:42:47,080 Sepulcrum Cristi viventis, et gloriam vidi resurgentis: 302 00:42:47,080 --> 00:42:56,920 Angelicos testes, sudarium, et vestes. Surrexit Christus spes mea: 303 00:42:56,920 --> 00:43:13,120 precedet suos in Galileam. Crist ist erstanden von der Marter alle; des solln wir alle froh sein, 304 00:43:13,120 --> 00:43:25,450 Crist will unser Trost sein. Kyrieleis. 305 00:43:25,450 --> 00:43:32,180 Lovely, thank you. I think we may come back to that because it's so lovely to sing it one more time. 306 00:43:32,180 --> 00:43:39,160 I'm just thinking about the prayerbook more generally, were this, was this mix of Latin and vernacular, 307 00:43:39,160 --> 00:43:43,970 very common in prayer books like that, at that time. 308 00:43:43,970 --> 00:43:57,730 Actually yes. And it's a characteristic of northern Germany, more than of southern Germany, where the nuns right into the 16th century, 309 00:43:57,730 --> 00:44:12,580 were educated in Latin so the girls would enter the convent at the age of five to seven, a bit like choirboys nowadays, still going into training. 310 00:44:12,580 --> 00:44:21,820 And they would learn all the seven liberal arts that were required to really understand 311 00:44:21,820 --> 00:44:27,820 what they were singing so they would learn music theory as well as singing, 312 00:44:27,820 --> 00:44:35,110 and they would learn not just to read Latin, but also to write accomplished Latin. 313 00:44:35,110 --> 00:44:44,980 And I'm currently editing 1800 letters that are preserved from one of the other convents near Lüneburg, 314 00:44:44,980 --> 00:44:50,920 where you can see that they covered really all topics from business letters 315 00:44:50,920 --> 00:45:00,160 about the delivery of building material to spiritual advice for their families. 316 00:45:00,160 --> 00:45:06,220 But obviously they were in a vernacular surrounding. 317 00:45:06,220 --> 00:45:14,140 So the lay sisters in the convent would read and write low German, but not Latin. 318 00:45:14,140 --> 00:45:19,540 So for them, they translated the prayer books into low German. 319 00:45:19,540 --> 00:45:23,740 so there are several prayer books that are completely in low German. 320 00:45:23,740 --> 00:45:33,280 Also for laypeople, for example, the wife of the mayor of Lüneburg had three sisters who were nuns in Medingen, 321 00:45:33,280 --> 00:45:37,360 and the three sisters wrote for themselves prayer books in Latin. 322 00:45:37,360 --> 00:45:43,090 But for their married sister, they wrote a vernacular prayer book. 323 00:45:43,090 --> 00:45:56,050 And also what I find most fascinating is the correspondence between the convents because they were code switching. 324 00:45:56,050 --> 00:46:05,320 And if you ever have listened to two Germanists like me in Oxford speaking kind of Denglish with each other, 325 00:46:05,320 --> 00:46:11,150 you get an impression of how the nuns would have been in conversation with each other. 326 00:46:11,150 --> 00:46:15,340 So it can be ik hebbe gehort dat iuw werd muteren habitum vestrum. 327 00:46:15,340 --> 00:46:27,910 So they would start a sentence in German, but throw in the technical term for their habit in Latin and vice versa. 328 00:46:27,910 --> 00:46:34,450 They could start a theological debate in Latin, but then suddenly burst into a vernacular song. 329 00:46:34,450 --> 00:46:41,620 So particularly German elements in the prayer books such as the Oxford prayer books, 330 00:46:41,620 --> 00:46:55,760 are the more lyrical elements of rhymed prayers, jubilation that would be imported from the vernacular culture. 331 00:46:55,760 --> 00:47:05,540 Thank you very much, and I wonder, we've had some questions come in about the specifics of the manuscript, because the illustrations are just so fabulous. 332 00:47:05,540 --> 00:47:12,320 And so we had a question about whether they were added the same time as the text or filled in later, 333 00:47:12,320 --> 00:47:22,160 given the very wide history of the prayer book that it was written over so many years, I don't know if you or Carolin can answer that. 334 00:47:22,160 --> 00:47:32,270 Carolin, do you want to take that? I can, but I have to say that my research hypothesis change every time I look into this 335 00:47:32,270 --> 00:47:39,710 manuscript because really research develops when you encounter the object. 336 00:47:39,710 --> 00:47:46,850 So it's worth having a look at the physical object and maybe to give you some impressions how that works. 337 00:47:46,850 --> 00:47:54,900 So first of all, I only had the digital copies at hand, so I read the catalogue entry, try to make sense out of it, 338 00:47:54,900 --> 00:48:00,710 look into the manuscript digital facsimile and try to bring that together. 339 00:48:00,710 --> 00:48:10,520 But looking at the physical objects changed my hypothesis completely because I realised, oh, there is more to it than just what the catalogue says. 340 00:48:10,520 --> 00:48:17,030 And this is how I try to differentiate all these different layers within, within the manuscript. 341 00:48:17,030 --> 00:48:24,920 And first I thought that all the illuminations must have been from one particular layer within this manuscript, 342 00:48:24,920 --> 00:48:30,500 which I thought was maybe closely produced around 1479. 343 00:48:30,500 --> 00:48:36,170 So, so very close to, to the monastery in the convent. 344 00:48:36,170 --> 00:48:45,230 Now I'm not so sure anymore because I've seen there are also some illuminations on the later part, on the latest sheets of this manuscript. 345 00:48:45,230 --> 00:48:51,200 So these are done on paper and the paper is debateable because there are little watermarks. 346 00:48:51,200 --> 00:48:59,330 We have these people in the library who hold the manuscript against the light to see the watermarks on the sheets. 347 00:48:59,330 --> 00:49:04,040 And the sheets are dated from 1510, 1520. 348 00:49:04,040 --> 00:49:15,320 And now I try to make sense out of it, Why there are some illuminations on the manuscript paper parts and some on the parchment parts, I'm not so sure. 349 00:49:15,320 --> 00:49:19,820 But I know for some of the other previous Medingen manuscripts that the nuns 350 00:49:19,820 --> 00:49:25,040 executed the Illuminations themselves and probably after the text had been written. 351 00:49:25,040 --> 00:49:39,710 Henrike, what was your idea about that? So I think the idea of the modern devotion was that everybody should engage 352 00:49:39,710 --> 00:49:45,980 with a material side so you can do the ora et labora in one go if you write a manuscript. 353 00:49:45,980 --> 00:49:56,540 And it wasn't so much the specialist to do one thing and another specialist would do another thing, and only certain nuns would write. 354 00:49:56,540 --> 00:50:03,710 But every nun in Medingen was supposed to write her own prayer books and actually also to illuminated themselves. 355 00:50:03,710 --> 00:50:15,350 And sometimes this led to creative solutions. If a nun wasn't that good at painting. Andrew could you go to 141 verso please. 356 00:50:15,350 --> 00:50:33,650 141 verso. 357 00:50:33,650 --> 00:50:46,860 But you see also these little veils that are sewn in to protect the gold. 358 00:50:46,860 --> 00:51:03,020 Getting there. Yep, I don't know whether you can see on the bottom hand of the left hand side, 359 00:51:03,020 --> 00:51:17,560 the parchment had, is slightly torn and then Andrew is holding it so that you can see behind the maiden because in fact, it's a glued-in print. 360 00:51:17,560 --> 00:51:24,490 So it's cut and paste production of illumination. 361 00:51:24,490 --> 00:51:32,650 And it's obviously the, the same hand that writes the scroll that wrote also the text above. 362 00:51:32,650 --> 00:51:38,740 So what must have happened was the nun wrote the text on this page then glued, 363 00:51:38,740 --> 00:51:50,950 in this snippet from a broadside or pamphlet of the late 15th century and then coloured it in to fit with a whole page. 364 00:51:50,950 --> 00:51:56,470 And she even made sense of what was a fault in the parchment, 365 00:51:56,470 --> 00:52:05,320 because if there is a tear and the parchment is sewn up in the stretching process so that it doesn't open up as a big hole, 366 00:52:05,320 --> 00:52:13,180 and then you take out the thread, but you see still the stitches where the needle has gone through and this is 367 00:52:13,180 --> 00:52:18,250 now turned into a kind of extended branch that the little girl is holding. 368 00:52:18,250 --> 00:52:34,120 So she is holding a flower in her hand and that neatless, seamlessly, or seamfull-lessly goes over into a patched parchment bit. 369 00:52:34,120 --> 00:52:44,410 So that's one instance where we can be pretty sure that the same hand who wrote this portion of the manuscript also did the illumination. 370 00:52:44,410 --> 00:52:55,990 So for other manuscripts, about a slightly more complex and as Carolin says, her research question is shifting. 371 00:52:55,990 --> 00:53:06,510 Mine has been shifting for 20 years now, and the nun still surprises me with their inventiveness and creativity. 372 00:53:06,510 --> 00:53:14,150 Fantastic, thank you. And have you seen any consistency with illustrations in terms of style and content across different manuscripts? 373 00:53:14,150 --> 00:53:18,950 Is there a kind of set look that people would conform to, or not? 374 00:53:18,950 --> 00:53:24,890 There definitely was a kind of house style for writing. 375 00:53:24,890 --> 00:53:33,830 And we even have a little model prayer book where the lay sisters were taught how to write proper Gothic. 376 00:53:33,830 --> 00:53:43,190 So the, and there were certainly models that were copied by several nuns, 377 00:53:43,190 --> 00:53:49,790 but it's nearly never a one to one copy, but it's always a creative adaptation. 378 00:53:49,790 --> 00:53:57,560 And sometimes you see this kind of woodcut aesthetics where it's clearly copied from a print. 379 00:53:57,560 --> 00:54:04,190 Sometimes you have very close relationship also to the tapestries in the convent. 380 00:54:04,190 --> 00:54:13,850 And you saw the beautifully painted vaulted ceiling of the Wienhausen choir. 381 00:54:13,850 --> 00:54:27,230 And we know from charters that actually the ceiling was painted by three nuns all called Gertrude, which was noted as a fun fact in the Chronicle. 382 00:54:27,230 --> 00:54:31,580 It wasn't that unusual that the nuns were painting, but that three were called Gertrude, 383 00:54:31,580 --> 00:54:37,190 was the unusual bit. So you had very skilled nuns. 384 00:54:37,190 --> 00:54:40,970 And you can see this clearly is inspirational. 385 00:54:40,970 --> 00:54:51,830 If you sit there for five, six hours every day chanting your psalms, you get your ideas for your own manuscript illumination. 386 00:54:51,830 --> 00:55:05,270 And we can actually trace, for example, the scenes that you saw on the sepulchre and reappearing then in the prayer books as marginal illuminations. 387 00:55:05,270 --> 00:55:13,620 So it's a material crossover, but as I said, never just a simple copying drop. 388 00:55:13,620 --> 00:55:18,950 It's always an adaptation. And the same is true for the texts. 389 00:55:18,950 --> 00:55:30,440 So it's really a nightmare for any philologist who wants to make a clean stemmer, who copied from whom, you can never say who copied from whom, 390 00:55:30,440 --> 00:55:44,460 you can just say they created from the same source material their own personal version of the Easter events. 391 00:55:44,460 --> 00:55:50,830 Thank you. We also had a Polonsky Foundation event looking at manuscript illumination, 392 00:55:50,830 --> 00:55:54,870 so we'll share a link to the recording of that in the follow up emails for those that are particularly 393 00:55:54,870 --> 00:56:00,660 interested in this sort of illumination. I can really recommend watching Andrew Honey examine 394 00:56:00,660 --> 00:56:04,950 manuscripts, it's just a joy. And we've taken the Medingen 395 00:56:04,950 --> 00:56:08,650 manuscripts to him as well, because also the Medingen, 396 00:56:08,650 --> 00:56:19,680 the handbook of the provost from which we were singing the Lumen ad revelacionem has undergone several transformational processes, 397 00:56:19,680 --> 00:56:35,360 adapting to liturgy and the nuns, carving out more and more space for their own singing, asserting their singing rights against the provost. 398 00:56:35,360 --> 00:56:41,730 Excellent. Good to feel the nuns were actively presenting their work and their faith. 399 00:56:41,730 --> 00:56:42,780 That's fantastic. 400 00:56:42,780 --> 00:56:52,140 I think what would be lovely would be to finish off singing the chant again, maybe twice through as a way to celebrate together if you're happy to do that. 401 00:56:52,140 --> 00:57:03,780 Or we could do. Yeah, I think perhaps the Victime and then the Lumen. Lovely. 402 00:57:03,780 --> 00:57:15,910 Good. Victime pashali laudes immolent Cristi ani 403 00:57:15,910 --> 00:57:39,600 Crist ist erstanden von der Marter alle; des solln wir alle froh sein, Crist will unser Trost sein. Kyrieleis. Agnus redemit oves: 404 00:57:39,600 --> 00:57:47,510 Cristus innocens Patri reconciliavit peddatores. 405 00:57:47,510 --> 00:58:18,500 Mors et vita duello conflixere mirando: dux vite mortuus, regnat vivus. Crist ist erstanden von der Marter alle; des solln wir alle froh sein, Crist will unser Trost sein. Kyrieleis. 00:58:18,500 --> 00:58:39,860 Dic nobis Maria, quid vid sti in via? Sepulcrum Cristi viventis, et gloriam vidi resurgentis: Angelicos testes, sudarium, et vestes. 407 00:58:39,860 --> 00:58:47,160 Surrexit Christus spes mea: precedet suos in Galileam. 408 00:58:47,160 --> 00:59:14,190 Crist ist erstanden von der Marter alle; des solln wir alle froh sein, Crist will unser Trost sein. Kyrieleis. 409 00:59:14,190 --> 00:59:20,670 Good. Shall we go back to the Lumen ad revelacionem? 410 00:59:20,670 --> 00:59:35,340 Yes, that would be lovely. Let's finish with that. Thank you. There we go. 411 00:59:35,340 --> 00:59:55,370 Lumen ad revelacionem gencium et gloriam plebis tue Israhel. Nunc dimittis servum tuum Domine 412 00:59:55,370 --> 01:00:12,050 secundum verbum tuum in pace: Lumen ad revelacionem gencium et gloriam plebis tue Israhel. 413 01:00:12,050 --> 01:00:36,670 Quia viderunt oculimei salutare tuum. Lumen ad revelacionem gencium et gloriam plebis tue Israhel. Quod parasti 414 01:00:36,670 --> 01:00:43,000 ante faciem omnium populorum: Lumen ad revelacionem 415 01:00:43,000 --> 01:00:47,920 gencium et gloriam 416 01:00:47,920 --> 01:00:52,810 plebis tue Israhel. 417 01:00:52,810 --> 01:00:58,130 Lumen ad revelacionem gencium, 418 01:00:58,130 --> 01:01:16,510 et gloriam plebis tue Israhel. Lumen ad revelacionem gencium et gloriam plebis tue Israhel. 419 01:01:16,510 --> 01:01:31,800 Gloria Patri, et Filio, et Spiritui Santo, Lumen ad revelacionem gencium 420 01:01:31,800 --> 01:01:42,900 et gloriam plebis tue Israhel. Sicut e-rat in principio, et nunc, et semper, 421 01:01:42,900 --> 01:02:02,780 et in secula seculorum. Amen. Lumen ad revelacionem gencium et gloriam plebis tue Israhel. 422 01:02:02,780 --> 01:02:08,390 Thank you very much. Thank you very much. I hope everyone was singing loudly at home. 423 01:02:08,390 --> 01:02:12,350 That was absolutely lovely. And that brings us to the end of our event today. 424 01:02:12,350 --> 01:02:18,920 Thank you so much to everyone who's joined us. It's been a real pleasure to connect with friends publicly and from all over 425 01:02:18,920 --> 01:02:23,870 the world and to share our singing even if we can't see or hear each other. 426 01:02:23,870 --> 01:02:29,000 Thank you to Henrike Lähnerman, Andrew Dunning, Zachary Giuliano, Nick Swarbrick, 427 01:02:29,000 --> 01:02:34,670 Carolin Gluchowski and Marlene Schilling and our behind the scenes technical team, 428 01:02:34,670 --> 01:02:39,440 Karen and Rebecca. Do look out for an email with a link to the recording of this session. 429 01:02:39,440 --> 01:02:45,590 And please take a moment to fill out the quick feedback form so we can continue to offer free events like this in the future. 430 01:02:45,590 --> 01:02:49,220 And do sign up to our newsletter to find out about upcoming events. 431 01:02:49,220 --> 01:03:03,934 And we hope to see you all again soon. Have a good evening and thank you again.