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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

PDF Download • 1895 “Liber Responsorialis” by Solesmes Abbey

Jeff Ostrowski · March 3, 2015

194 Liber Responsorialis Abbot Pothier SOLESMES 1887 HE 1895 LIBER RESPONSORIALIS was published two years after Dom Joseph Pothier left Solesmes to become Prior of Ligugé, but was entirely the result of his research. In addition to those parts of Matins which don’t change, it contains first class feasts and the Common of the Saints: martyrs, confessor bishops, virgins, etc. This book is only for Matins, but the hymns are often repeated at Vespers.

* *  1895 Liber Responsorialis (PDF)

The pre-Urban hymn texts (i.e. non-corrupted) were employed, just as Dom Pothier had done in his 1891 Liber Antiphonarius. For instance, we find “Praelium certaminis” instead of “Lauream certaminis” in Fortunatus’ Pange Lingua. About a decade later, in September of 1904, the Pontifical Commission for the Vatican Edition would adopt the following motion:

22. The Congregation of Sacred Rites shall be requested to return to the medieval text of the Hymns (a.) because the text corrected by Urban VIII is ill-suited to the needs of the chant; (b.) in consideration of the artistic unity of the whole of the liturgical work; and (c.) out of respect for the ancient and holy authors of a great portion of these chants.

They were not granted permission at that point, but some publishers included the ancient texts as an option. According to Fortescue, the major Roman basilicas never adopted the revisions of Urban VIII.

The 1895 Liber Responsorialis is significant because of its relationship to Solesmes’ Chants Abrégés. Choirmasters for the Traditional Latin Mass will be familiar with this book, whose origins were explained by Fr. Robert Skeris in the 2008 Sacred Music Journal, Vol. 135, No. 4:

The most difficult chants in the Graduale have always been a particular challenge for even the average parish choir, in any country. It is by no means only the XXth century that has sought to overcome this difficulty in practise by proposing simpler alternatives. The Chants Abrégés are an attempt to find a via media which would be useful in a typical parish. Dom Gajard (1885-1972) was chef d’atelier of the Paléographie musicale at the time, and under his supervision the booklet went to press. The tunes seem to have been chosen from various sources ranging from ordinary psalm tones simple or solemn (e.g. Introit psalmody) through melodic types for Allelujas etc. (e.g. Processionale of 1887) and Toni Communes for Gloria and Alleluja in the Matins responsories (e.g. Liber Responsorialis 1895) to tones for Invitatory psalms or other simple cantillation formulae such as lections or Historiae Passionis, similar to those which Gajard suggested to Mrs. Ward for the booklet of seasonal Mass Propers she published during the Second War.

When the CMAA first released both versions of the Chants Abrégés (1926 and 1955), a rumor was circulated saying the 1926 melodies were not in conformity with Church law, necessitating the 1955 edition. Actually, there is no truth to that statement, and these melodies were a constant topic of discussion by the Gregorian Commission of Pope Pius X. Some wanted the Gradual, Tract, and Alleuia melodies made optional; Fr. Angelo de Santi, a key advisor to Papa Sarto, suggested they be replaced (!) by organ interludes; but Abbot Pothier and Dom Mocquereau felt that Gajard’s approach was best, and since the Liber Responsorialis is now online we can better observe his models. For purposes of comparison, the 1891 Antiphonale (PDF) can be downloaded at the St. Jean Lalande Library, and the 1883 Processionale Monasticum (PDF) is available at Google books.

Although the excessively legalistic rumor about the Chants Abrégés is false, there is some truth to the notion that the Solesmes editions were not officially allowed until 3 September 1958. This topic has been treated many times — and often misunderstood — taking its basis Roman decrees such as those dated 2/14/1906, 2/18/1910, 1/25/1911, and 4/11/1911. At this point in history, debating this point seems rather futile, but it’s interesting to read Abbot Pothier’s 1906 commentary on the Solesmes rhythmic signs, which made quite a stir at the time!

 

THIS BOOK has been made available for free download courtesy of the Jean de Lalande Library. If you appreciate these efforts, please consider making a donation by using the link at the top of the page.

 

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles, PDF Download Tagged With: 1895 Liber Responsorialis by Solesmes, Abbot Joseph Pothier of Solesmes Last Updated: September 10, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The unity of language in the liturgy is so great a treasure for the Church that no advantage could compensate for its demise.”

— Dom Anselmo Albareda (2 January 1953), Father Nicola Giampietro, page 249

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