SUR LES MANUSCRITS ORIGINAUX
D'ADEMAR DE CHABANNES
Paris, Imprimerie Nationale, 1896
Cm. 28, pp.118, senza legatura.
Interessante edizione antica e d'epoca,
pubblicazione che comprende le schede bibliografiche relative ai manoscritti del De Chabannes, conservati presso la Biblioteca Nazionale parigina e presso altre biblioteche;
opera prettamente specialistica, in lingua francese, utile a storici e studiosi di filologia e bibliografia;
l'importante schedatura è pure arricchita da ben sei tavole illustrative fuori testo, a doppia pagina e su carta pesante vergellata, riproducenti alcune pagine manoscritte (manoscritto della Biblioteca Reale di Berlino, di Leida,...);
le tavole illustrative sono state impresse in eliografia da Dujardin.
DI INTERESSE FILOLOGICO, STORICO, BIBLIOGRAFICO
Buona conservazione generale, segni e difetti d'uso e d'epoca, sparse fioriture e difetti vari marginali, senza legatura o copertine, slegata e a fogli sciolti, volume meritevole di rilegatura.
(le immagini allegate raffigurano alcuni particolari dell'intera pubblicazione, eventuali ulteriori informazioni a richiesta)
Adémar de Chabannes (sometimes Adhémar de Chabannes) (c. 988-1034) was an eleventh century monk, a historian, who wrote the first annals that had been compiled in Aquitaine since Late Antiquity, as well as a musical composer and a successful literary forger.
Adémar's life was mainly spent in writing and transcribing chronicles, and his principal work is a history entitled Chronicon Aquitanicum et Francicum or Historia Francorum. This is in three books and deals with Frankish history from the fabulous reign of Pharamond, king of the Franks, to AD 1028.
The two earlier books are scarcely more than a copy of the Gesta regum Francorum, but the third book, which deals with the period from 814 to 1028, is of considerable historical importance. This is published in the Monumenta Germaniae historica Scriptores. Vol. iv (Hanover and Berlin, 1826-1892). He also wrote Commemoratio abbatum Lemovicensium basilicae S. Martialis apostoli (848-1029) and Epistola ad Jordanum Lemovicensem episcopum et alios de apostolatu S. Martialis, both of which are published by Migne in the Patrologia Latina, tome cxli (Paris, 1844-1855).
He embraced the developing tale that Saint Martial, the third century bishop who Christianized the Limoges district, had actually lived centuries earlier, and was in fact one of the original apostles. And he supplemented the less than scanty documentation for the alleged 'apostolicity' of Martial, first with a forged Life of Martial, as if composed by Martial's successor, Bishop Aurelian. To effect this claim, he composed an "Apostolic Mass" that still exists in Adémar's own hand (Paris Bibliotheque Nationale MS Latin 909), making it the earliest autograph Western musical composition that has survived. The local bishop and abbot seem to have cooperated in the project and the mass was first sung on Sunday, August 3, 1029.
Unfortunately for Adémar, the liturgy was disrupted by a travelling monk, Benedict of Chiusa, who denounced the improved Vita of Martial, as a provincial forgery and the new liturgy as offensive to God. The word spread, and the promising young monk was disgraced. Adémar's reaction was to build forgery upon forgery, inventing a Council of 1031 that confirmed the 'apostolic' status of Martial, even a forged papal letter. The reality of this pathological tissue of forgeries was only unravelled in the 1920s, by a historian, Louis Saltet. Mainstream Catholic historians ignored Saltet's revelations until the 1990s.
In the long run, Adémar was successful. By the late 11th century Martial was indeed venerated in Aquitaine as an apostle, though his legend was doubted elsewhere. In a very direct way, Adémar's Mass shows the power of liturgy to affect worship.
Adémar composed his musical Mass and office largely from the standard "Gregorian" music for St. Martial, as well as texts and music for Apostolic feasts, but he also added some of his own compositions, especially in the tropes (extended musical items added to existing liturgical texts). The composition has been recorded by the New York Ensemble for Early Music. (dal web)
A Brief History of Ademar's Life
Born of noble parentage in northern Limousin, Ademar entered either the monestary of Saint-Cybard of Angouleme or that of Saint-Martial of Limoges but soon moved to the latter, where he studied under his uncles Adalbert the deacon and Roger the cantor. There he formed a great devotion to the patron saint, Martial, thought to be a younger cousin of Simon Peter. At this time, Ademar had a vision of Christ, crucified on a celestial cross, weeping over the city of Limoges.
Ademar eventually moved to Angouleme, where he pursued a career as a grammarian, artist, composer, and scriptotium master. During this time he oversaw the publishing of many works, such as Commemoratio abbatum s. Martialis, a history of the abbots of Saint-Martial, and a Historia of the contemporary Christian world. He attended the debates held concerning the apostolic cult at the Peace council (1028-1031CE). In the final years of his life Ademar made a pilgrimage to Jerusalem, where he died in 1034 CE.
The Importance of Ademar to Apocalypticism
Ademar was not only a very pious and devout man, but he also spent his life composing histories of the important events around him. Unlike his fellow historian, Rodulfus Glaber of Burgundy, whose histories were somewhat more outlandish and filled with the concern of being pursued by the devil, Ademar had a true devotion especially to St. Martial. However, Ademar did record some of the apocalyptic signs that occurred during the years 1009 & 1010 CE. These accounts are taken from passages of the Gospels, the Book of Revelation, and other contemporary religious texts. The following list is one of the most important pieces of evidence that there were apocalyptic concerns around this time. (dal web)