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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

What Palestrina Did With Kyrie II (“Fons Bonitatis”)

Jeff Ostrowski · January 15, 2020

AGNIFICENT! There is no other word for it. I am speaking of the Palestrina’s Kyrie based on the Gregorian Kyrie II (“Fons Bonitatis”), which is divided—as you might guess—into three marvelous sections. You can listen all three sections by visiting Lalemant Polyphonic and scrolling to 81668. I strongly encourage you to do this!  And just where does “Kyrie Fons Bonitatis” come from?  We remember that prior to the Council of Trent, the prayers at Mass were “troped.” Many erroneously believe the Kyrie was the only thing troped, but that’s not even close to true. The Gloria, Sanctus, Agnus Dei—and even the readings!—were troped.

Here’s a rehearsal video we made for Part 1 of 3. (I again humbly request that you go listen to the other sections, as well.)


Kyrie II (“Fons Bonitatis”) has remained remarkably stable. Look how it appeared in Cantus Varii, a marvelous collection by Solesmes printed in 1928:

— PDF Download • Kyrie II (1928)

A 2011 publication from Germany seemingly copied this 1928 edition without any changes, although it inserted “tropeless” Editio Vaticana repetitions which puzzle me:

— PDF Download • Kyrie II (Germany, 2011)

A 2016 publication with variations from the Sarum Use also seemingly copied the 1928 version verbatim, with a few very minor changes (e.g. Pneumáte instead of Pnéumatis):

— PDF Download • Kyrie II (Sarum Use)

In the most wonderful way, Palestrina derives his polyphonic lines from the complicated chant melodies of Kyrie II.  For example:

HENEVER POSSIBLE, we must locate the version (“variant”) of the plainsong which Palestrina was looking at when he wrote his Mass. But which version was it? This question is sometimes impossible to answer because we know so little about the lives of the Renaissance composers. However, as I mentioned earlier, Kyrie II is relatively “stable” compared to other chants, so we can be fairly certain the version Palestrina had before him is similar to what we have in the Editio Vaticana.

Consider this version from the 14th century:

 

Here’s one from the late 15th century:

80360-Palestrina-Kyrie-Fons-Bonitatis-late-15th-century

 

Another version from the 15th century:

 

A version from 1525AD:

 

Here is a version from 1580AD:

 

A version from 1591AD:

 

Here is a version from the 16th century:

 

Another from the 16th century:

 

Here’s the version Dr. Peter Wagner chose in his 1903 Kyriale:

80359-Peter-Wagner-Gregorian-Kyrie-ii-edit

 

And here’s the version Mocquereau chose for his 1903 Liber Usualis. Notice the spots where it differs from Pothier’s Editio Vaticana:

80358-1904-Mocquereau-LIBER-USUALIS

Here is the 1863 edition by Father Hermesdorff, the teacher of Peter Wagner (considered a “corrupt” edition of plainsong):

 

 

Here is another “corrupt” version of Kyrie II printed in 1857:

 

The particular way Palestrina places the chant melodies from Kyrie II into his version is stunning. I was going to say Part 3 was my favorite, but Part 2 is also magnificent—and so is Part 1. So it’s all my favorite! The rehearsal videos we made simply don’t do justice to this masterpiece.

In grad school I remember thinking Palestrina wasn’t as interesting as certain other composers; but I was dead wrong.

By the way, here is a (pretty terrible) organ accompaniment for “Kyrie Fons Bonitatis” by Dr. Auguste Le Guennant (d. 1972)

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

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Filed Under: Articles Tagged With: Cantus Selecti, Cantus Varii, Giovanni Pierluigi da Palestrina, Medieval Manuscripts Last Updated: August 1, 2022

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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

    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st 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. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski
    “Entrance Chant” • 21st Sunday Ordin. Time
    You can download the ENTRANCE ANTIPHON in English for the 21st Sunday in Ordinary Time (Year C) which is coming up on 24 August 2025. Corresponding to the vocalist score is this free organ accompaniment. It’s set in a melancholy mode, but if you heard my choir’s female voices singing it your soul would be uplifted beyond belief. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski

Quick Thoughts

    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

On 26 July 1916—during the German occupation of Belgium—a student choir led by Van Nuffel performed his setting of the psalm “Super flumina Babylonis” in Saint Rumbold’s Cathedral. The text and the musical setting very aptly expressed the depressed and rebellious mood of the population. The acclaim was enormous, and it laid the foundation for Van Nuffel’s formation of the Saint Rumbold’s choir.

— Unknown

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