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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

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Angularis fundamentum” is typically sung at the dedication or consecration of a church and on church anniversaries. For constructions too numerous to list in recent generations, it would be more appropriate to sing that Christ had been made a temporary foundation. A dispirited generation built temporary housing for its Lord, and in the next millnenium, the ease of its removal may be looked back upon as its chief virtue.

— Fr. George Rutler (2016)

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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