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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 Los Angeles.—(Read full biography).

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Quick Thoughts

    Requesting Our Advent Eucharistic Hymn
    A young lady named Agnes wrote to us: “Dear Mr. Ostrowski, do you have the PDF score for Ave Corpus Domini set to the ADVENT melody? Last year, we sang the hymn tune “Nun Komm der Heiden Heiland” quite a bit using your contrafactum technique. My choir appreciates the Latin hymns and practice videos, especially in the ADVENT and CHRISTMAS seasons. Your recent article on Gregorian Psalm Tones is a great help to my organist brother, and reminds us of attending VESPERS years ago when we lived in California. Thank you so much for all the effort put into providing these wonderful resources!”   Agnes, if you are listening! Yes, the PDF file you desire can be downloaded for free at the Brébeuf Portal via this URL link. Thanks for writing to us!
    —Jeff Ostrowski
    Message from the Vice-President!
    The Vice-President of the Church Music Association of America, Dr. Horst Buchholz (who also serves as Director of Sacred Music for the Archdiocese of Detroit) sent us an email yesterday regarding the harmonizations (PDF) I composed for the Gregorian Chant psalm tones. Dr. Buchholz says: “Those settings are absolutely exquisite, as I'm used to when it comes from you. Bravo! Well done! Now, as a sequel, if you could write something for accompanying psalms in English that would be awesome.”
    —Jeff Ostrowski
    Seven (7) Hymn Verses for November!
    In the month of November, we remember in a special way the souls in purgatory. The BRÉBEUF HYMNAL often includes text alone versions for its hymns; why is that? The short answer is: flexibility. The “text only” version allows each choirmaster to employ a myriad of melodies. For example, I recently set the English translation of “De Profúndis” with the DAVOST MELODY (PDF). We are singing this before November ends. Indeed, you can hear our volunteer singing this (in real life) if you click here.
    —Jeff Ostrowski

Random Quote

“Although the Mass contains much instruction for the faithful, it has nevertheless not seemed expedient to the fathers that it be celebrated everywhere in the vernacular. The holy synod commands pastors and everyone who has the care of souls to explain frequently during the celebration of the Masses, either themselves or through others, some of the things that are read in the Mass, and among other things to expound some mystery of this most Holy Sacrifice, especially on Sundays and feastdays.”

— ‘Council of Trent, XII:8 (1562)’

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