About this blogger:
A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.
Connect on Facebook:
Connect on Twitter:
Two pages of modal exercises reflect Liszt’s lively theoretical curiosity. On those pages he analysed the construction, transpositions, and “points of repose” of several modes, copied out several types of tetrachords, and jotted down several definitions of the effects and characters of certain modes. {…} Modality was not the only element of Gregorian chant that intrigued Liszt. Rhythm too was the object of his “studies.” He also copied out plainchant melodies using modern instead of square notation. In his letter from July 24, 1860, to Carolyne, Liszt refers to the necessity of this “modern” practice.
— Nicolas Dufetel on Franz Liszt's interest in plainsong

“What Must Be Sung Is The Mass” • Susan Benofy
published 16 February 2015 by Jeff Ostrowski

274 St. Isaac Jogues Illuminated Missal, Lectionary, & Gradual USAN BENOFY of Adoremus Bulletin published an article for the February 2015 edition called: What Must Be Sung Is The Mass. She begins with an important quote from Bugnini’s Consilium about the importance of singing the Propers. She continues:

“For decades there were virtually no musical settings for the Propers in English. And some of the Proper texts still have no officially approved English translation. In the last few years, however, there has been increasing interest in setting the Proper texts to music.”

In her article, Susan includes information about the Jogues Illuminated Missal. Here’s some of what she wrote:

• The Ordinary of the Mass in English and Latin set in parallel columns. This section also contains a large number of full-color illustrations: reproductions of ancient manuscripts of the text and music of the Mass, sacred art, and photographs of various moments in the Mass.

• Readings from the Lectionary for years A, B, and C are included (in English).

• Texts of the processional chants (Introit, Offertory, and Communion) from the Graduale Romanum in both Latin and English. The English text is taken from the Gregorian Missal translation.   [Note: For important reasons.]

• Texts of the chants between the readings are given in both the older and newer forms. The Gradual and Alleluia (or Tract) are given in both Latin and English (Gregorian Missal translation). In addition the Responsorial Psalm (with musical notation for the people’s response) and Alleluia or alternate acclamation used in Lent from the US Lectionary are given in English. Musical settings and organ accompaniment for the Responsorial Psalms and Gospel acclamations can be downloaded or ordered at the website.

• Sequences for Easter, Pentecost, and Corpus Christi are given with the Propers for the day in an English metric text with musical setting. The Latin and a literal translation are given in an Appendix. Musical notation for the Latin text of the Pange Lingua is given in the Holy Thursday section.

• Finally, the text of Benediction for the Blessed Sacrament is included with musical notation for the O Salutaris and the Tantum Ergo. A musical setting of the Ordinary of the Mass is given.

I HESITATE to say anything negative about Susan’s article, but she could have added more resources by visiting this website. Moreover, she said the following about the Revised Grail:

On November 11, 2008, the US Conference of Catholic Bishops approved the Conception Abbey Revised Grail Psalms for use in future editions of US liturgical books, including the Lectionary.

That’s not accurate according to what I’ve been told. It turns out the Revised Grail is going to be revised again! So all the books that currently use that translation—such as GIA Worship IV—are doubtless regretting their effort to get “ahead of the curve.” The question is, what will they call the new version? The “twice revised” Grail? Very confusing.