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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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Corpus Christi Watershed

Quick Thoughts

    Introit • Candlemas (2 February)
    “Candlemas” • Our choir sang on February 2nd, and here's a live recording of the beautiful INTROIT: Suscépimus Deus. We had very little time to rehearse, but I think it has some very nice moments. I promise that by the 8th Sunday after Pentecost it will be perfect! (That Introit is repeated on the 8th Sunday after Pentecost.) We still need to improve, but we're definitely on the right track!
    —Jeff Ostrowski
    Simplified Antiphons • “Candlemas”
    Anyone who desires simplified antiphons (“psalm tone versions”) for 2 February, the Feast of the Purification—which is also known as “Candlemas” or the Feast of the Presentation—may freely download them. The texts of the antiphons are quite beautiful. From “Lumen Ad Revelatiónem Géntium” you can hear a live excerpt (Mp3).
    —Jeff Ostrowski
    Tempo?? • 𝘏𝘰𝘭𝘺 𝘎𝘰𝘥, 𝘞𝘦 𝘗𝘳𝘢𝘪𝘴𝘦 𝘛𝘩𝘺 𝘕𝘢𝘮𝘦
    Once, after Mass, my pastor said he really loved the hymn we did. I said: “Father, that's Holy God, We Praise Thy Name—you never heard it before?” He replied: “But the way you did it was terrific. For once, it didn't sound like a funeral dirge!” Last Sunday, our volunteer choir sang that hymn. I think the tempo was just about right … but what do you think?
    —Jeff Ostrowski

Random Quote

These prayers were not peculiar to Good Friday in the early ages (they were said on Spy Wednesday as late as the eighth century); their retention here, it is thought, was inspired by the idea that the Church should pray for all classes of men on the day that Christ died for all. Duchesne is of opinion that the “Oremus” now said in every Mass before the Offertory—which is not a prayer—remains to show where this old series of prayers was once said in all Masses.

— Catholic Encyclopedia (1909)

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