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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

A Striking Approach To Performing Gregorian Chant

Christopher Mueller · September 21, 2015

283 Cappella Pratensis HERE IS A WONDERFUL men’s ensemble out of the Netherlands called Cappella Pratensis. In January, 2015, they sang and video-recorded a concert entitled, “Josquin in Rome,” featuring music written by composer Josquin Desprez (c.1455-1521) for the choir of the Sistine Chapel, during the time that he was singing with that ensemble (1489-1495). This ensemble sings polyphony from manuscript part-books, and also sings selected Gregorian chants from manuscripts, both of which require a certain amount of scholarly interpretation of the proper way to execute these hand-notated scores.

Josquin was the pre-eminent composer of the late 15th and early 16th centuries, and his polyphony as sung at this concert is stunningly beautiful. I expected that.

What I didn’t expect, though, was the way that this ensemble sings plainsong. A commenter had posted, “Their metrical chant is a revelation!” which piqued my curiosity. Listen as the tenors chant the Gradual TOLLITE PORTAS or the basses chant the Alleluia AVE MARIA, GRATIA PLENA, and you’ll hear the fruits of this scholarly research. Listen again, as you view modern chant editions of the scores. (The “Tollite” is on p. 622 of the Gregorian Missal (1990), and the “Ave” right next to it, on p. 623.) A number of observations leap to mind:

1. By metrical, we mean chant with a regular pulse. Unlike the Solesmes method, of interpreting chant in melodic units of undulating two- and three-note groupings, eschewing a regular “beat,” the chants as sung here have a clear and regular pulse, which lends them a certain inexorable forward momentum.

2. Following the Solesmes-prepared scores in the Gregorian Missal reveals numerous subtle changes in the melody: the occasional note added, taken away, or modified in pitch. Considering all the variance amongst manuscript sources, such differences between a late printed score (drawn from several manuscripts) and a single early manuscript are not unexpected.

3. What is strikingly different is the absence of Solesmes rhythmic markings: they are not found in the manuscripts, and are not sung here. Markings to indicate lengthening of tones, such as episemas (lines) above some notes, or dots on other notes, are absent, and so the melody presses forward with consistent motion. Contrarily, the diamond-shaped neumes (rhombus) are sung with half the value of the other pitches — in effect, little groups of eighth notes that subtly animate the progress of these melodies.

The result is unlike any other performance of chant that I have heard, and I recommend it wholeheartedly. It is, indeed, a revelation.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Christopher Mueller

Christopher Mueller is a conductor and composer who aims to write beautiful music out of gratitude to God, Author of all beauty.—(Read full biography).

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President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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

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

“We wish to express the hope that students of Gregorian Chant come back to the pure Vatican Edition, in the ancient block-note form, without the addition of any signs whatever, in order to achieve Gregorian unity.”

— Josef Gogniat (12 March 1938)

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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