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Views from the Choir Loft

“Kyrie VIII” Organ Accompaniment by Flor Peeters

Jeff Ostrowski · October 30, 2016

697 Flor Peeters ERY SOON, Watershed will release a special project dealing with the NOH, which I believe our readers will love. Ever since we scanned and uploaded the NOH in 2008, many have come to love it. Not as many, however, realize that Flor Peeters wrote a brilliant method book explaining the NOH principles. 1

The method book by Flor Peeters is available in two editions at the St. Jean de Lalande Online Library. Therein he describes the harmonies chosen for the NOH. Here’s Kyrie VIII harmonized by Peeters himself, with Solesmes rhythmic markings in yellow:

    * *  PDF • KYRIE VIII with Solesmes markings

Thirteen (13) more organ accompaniments for the complete Missa de angelis can be downloaded here. Flor Peeters also gives examples of the different ways one can accompany plainsong. For instance, here’s an “alternate” Kyrie VIII he recommends for excellent cantors:

698 Flor Peeters KYRIE VIII


By the way, I mentioned how the score above has Solesmes markings. For the record, almost all of the Kyriale—about 99% of it—matches the “pure” Editio Vaticana rhythm. 2 (This cannot be said about the Graduale or Antiphonale.)

If you appreciate the rare books offered in the Lalande Library—such as the NOH and the Flor Peeters method book—please consider donating $5.00 per month. Corpus Christi Watershed is a 100% volunteer organization; none of us is paid.



NOTES FROM THIS ARTICLE:

1   The NOH was a creation by “three generations.” In other words, it involved Msgr. Jules Vyverman, who studied with Flor Peeters. And it involved Flor Peeters, who studied with Msgr. Jules Van Nuffel. And it involved Msgr. Jules Van Nuffel.

2   An exception would be the KYRIE melisma in Mass V.

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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Jeff Ostrowski

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 Los Angeles.—(Read full biography).

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Corpus Christi Watershed

Quick Thoughts

Surprising Popularity!

One of our most popular downloads has proven to be the organ accompaniment to “The Monastery Hymnal” (131 pages). This book was compiled, arranged, and edited by Achille P. Bragers, who studied at the Lemmensinstituut (Belgium) about thirty years before that school produced the NOH. Bragers might be considered an example of Belgium “Stile Antico” whereas Flor Peeters and Jules Van Nuffel represented Belgium “Prima Pratica.” You can download the hymnal by Bragers at this link.

—Jeff Ostrowski
15 February 2021 • To Capitalize…?

In the Introit for the 6th Sunday after Pentecost, there is a question regarding whether to capitalize the word “christi.” The Vulgata does not, because Psalm 27 is not specifically referring to Our Lord, but rather to God’s “anointed one.” However, Missals tend to capitalize it, such as the official 1962 Missal and also a book from 1777 called Missel de Paris. Something tells me Monsignor Knox would not capitalize it.

—Jeff Ostrowski
15 February 2021 • “Sung vs. Spoken”

We have spoken quite a bit about “sung vs. spoken” antiphons. We have also noted that the texts of the Graduale Romanum sometimes don’t match the Missal texts (in the Extraordinary Form) because the Mass Propers are older than Saint Jerome’s Vulgate, and sometimes came from the ITALA versions of Sacred Scripture. On occasion, the Missal itself doesn’t match the Vulgate—cf. the Introit “Esto Mihi.” The Vulgate has: “Esto mihi in Deum protectórem et in domum refúgii…” but the Missal and Graduale Romanum use “Esto mihi in Deum protectórem et in locum refúgii…” The 1970s “spoken propers” use the traditional version, as you can see.

—Jeff Ostrowski

Random Quote

“…it would be a very praiseworthy thing and the correction would be so easy to make that one could accommodate the chant by gradual changes; and through this it would not lose its original form, since it is only through the binding together of many notes put under short syllables that they become long without any good purpose when it would be sufficient to give one note only.”

— Zarlino (1558) anticipating the Medicæa

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