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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

“Slanty Wampus” Doesn’t Count

Jeff Ostrowski · May 17, 2021

VEN TO THIS DAY, the 1908 Editio Vaticana of Abbat Pothier remains the official edition of Gregorian Chant for the Catholic Church. After the Second Vatican Council, the edition was not changed; Bugnini’s “Ordo Cantus Missae” simply points to the Editio Vaticana, adding a handful of chants such as Lauda anima mea. Pothier’s pupil, Dom André Mocquereau (d. 1930), had many fine qualities—but Dom Pierre Combe’s “The Restoration of Gregorian Chant: Solesmes and the Vatican Edition” shows that Mocquereau was intransigent. Furthermore, Dom Mocquereau seems to have desired a type of “revenge” when his 1903 Liber Usualis wasn’t chosen by Pope Pius X. Instead, the official edition was based on Abbat Pothier’s 1895 version. Dom Mocquereau’s cadre quite ingeniously took advantage of the rhythmic freedom inherent in the Editio Vaticana, causing folks to believe freedom was undesirable. Therefore, the editions of Dom Mocquereau dominated the world—in spite of the fact that they’re “technically” not allowed, since they contradict the official rhythm!

In the past, we have fully explained the “invisible white notes” in this very long article. Specifically, we discussed the “blank spaces” in Abbat Pothier’s various editions—and how to find them. Even when a book of plainsong uses large print, one must place one’s nose right next to the spine of the book to determine whether the “white note” is truly equal to a notehead:

Don’t forget what Monsignor Francis P. Schmitt constantly reminded his singers: The morae vocis only apply to melismata!

Slanty-Wampus: Instead of saying “slanted,” one of my composition professors always said “slanty wampus.” (This particular professor was known for his funny expressions.) When it comes to the ALLELUIA VERSE sung in churches last Sunday, someone asked if the “slanted” white space counts. No, they do not:

No Assistance: The “pure” Editio Vaticana editions don’t give any clues or hints about where the morae vocis are found. One must determine them without assistance. Here, for example, is the 1951 Mechlin edition:

Those who contradict: Sometimes, it almost seems that Dom Mocquereau takes delight in contradicting the official rhythm. An important letter was sent by Cardinal Martinelli, and you can learn about this by reading the right side. Even as late as 1958, Pope Pius XII made made it clear that the official rhythm cannot be contradicted—but look what Solesmes does:

Something Nobody Can Explain: Dr. Peter Wagner started out being a fan of Dom Mocquereau, and in 1904 tried to get the Papal commission to issue a decree of confidence in his abilities as an editor—but this was blocked by Dom Laurent Janssens, who hated Dom Mocquereau with a passion. (Dom Laurent Henricus Antonius Maria Janssens, a Benedictine monk with lots of names, later became a bishop and died in 1925.) But when Dom Mocquereau’s intransigence was revealed—especially when Dom Mocquereau’s cadre spent months maneuvering in an effort to usurp Pothier’s duties as president of the Papal commission—Dr. Wagner became “anti-Mocquereau.” It is inexplicable why Dr. Wager ignores the morae vocis here:

Ally of Pothier: Dr. Wagner was very close to Abbat Pothier, and someday I wish people would go to the Abbey of Saint Wandrille and scan all the letters between Wagner and Pothier. Those letters—ninety of them, written between 1893 and 1913—are still preserved there. In any event, Abbat Pothier’s intent was clear, when we examine his 1883 edition, courtesy of the Jean de Lalande Library. Just look at all that white space:

Later Correction? In 1917, the Schwann edition marked these morae vocis correctly. But the 1953 edition (edited by Karl Gustav Fellerer, Johannes Overath, and Urbanus Bomm and published in Düsseldorf) tells the singer to ignore them:

These Guys Did It Right: I don’t own the complete collection of Gregorian accompaniments published circa 1915 by the Lemmensinstituut—I possess only volumes 4, 6, and 7. However, the 1940s edition shows that (as usual) they mark the morae vocis from the official edition correctly. Similarly, the 1912 edition by Father Mathias—as usual—marks the moræ vocis correctly:

Conclusions: I believe the official rhythm better reflects the uniform Gregorian tradition because the so-called “Romanian signs” often contradict one another. Moreover, the Romanian signs were—to speak frankly—only gentle suggestions of subtle nuances for individual monasteries. The problem is, 99% of people have adopted the rhythmic markings of Dom Mocquereau over the last 120 years. A tradition of 120 years would be very difficult to counteract.

Addendum: In 2002, Holger Peter Sandhofe (who died in 2005 at the age of 33) published a “private” edition of the Nocturnale Romanum. I have a low-resolution copy of this book; nobody seems to know where to purchase the original. In any event, Mr. Sandhofe dedicated his Nocturnale to Dr. Peter Wagner—and he doesn’t use any rhythmic signs:

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

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Filed Under: Articles, Featured Tagged With: Abbot Joseph Pothier of Solesmes, Dom Mocquereau, Dr Peter Wagner Gregorian, Editio Vaticana, Gregorian Semiology, melismatic morae vocis, Mora Vocis, Pothier De Caetero 1906, Pure Vatican Edition Rhythm, Sémiologie grégorienne Last Updated: May 19, 2021

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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

Luys de Villafranca, master of the altar boys—who are to be distinguished from the choirboys (“seises”) because they study only plainchant whereas the choirboys live with the chapelmaster and study polyphony and counterpoint as well—is rewarded on October 17 with a salary increase of 6,000 maravedís and an extra 12 bushels of wheat.

— Sevilla Cathedral: Chapter Resolution (7 September 1565)

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