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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

PDF Download • “How Does the Official Rhythm Actually Sound?”

Jeff Ostrowski · November 20, 2022

HOSE WHO SING the Vatican Edition according to the “official rhythm” will see that this is the most natural rendering. After all, the commission which created the official rhythm wanted it to be sung a particular way. On 18 February 1910, the PREFECT of the Congregation of Sacred Rites wrote a letter saying: “the rhythmical form of the melodies […] is inseparable from the edition itself.” But Dom Mocquereau eliminated elongations which should be there (and added elongations which don’t belong). Not infrequently, Mocquereau’s modifications greatly alter the melody—and a perfect illustration is ALLELUIA: Éripe me, which comes from the 9th Sunday after Pentecost. Play through the examples, and you’ll agree the melody was distorted by Mocquereau.

“What Does It Sound Like?” • On the other hand, one can point to large swaths of the repertoire which Dom Mocquereau seemed hesitant to modify. For example, listen to the following INTROIT, recorded last Sunday by our (100% volunteer) parish choir. It was sung according to the official rhythm and required a grand total of 15 minutes rehearsal time:

Trochee Trouble • The official edition provides a certain amount of freedom for choirmasters when it comes to trochee endings. We have discussed this at length: cf. Trochee Trouble. For Mode 6 psalmody, Germans elongate the final Trochee. Below is an example of how that sounds. I have to admit, the German way is quite lovely—or is that merely because I’m not used to it?

*  Mp3 Download • “Jácob” + “ámen” (Trochee)
—A live example recorded by the same (volunteer) choir a week later.

Exciting PDF Files! • Please feel free to download three (3) professionally-scanned editions of the KYRIALE. These are tremendously important from the standpoint of music history. They adhere to the official rhythm—the so-called “pure” Editio Vaticana.

*  PDF Download • 1905 Lecoffre KYRIALE (95 pages)
—“ORDINARIUM MISSAE” • The official edition (Editio Vaticana) • Professionally-Scanned.
—Printed before the Vatican “cracked down” on white spaces.

*  PDF Download • 1905 Schwann KYRIALE (99 pages)
—“ORDINARIUM MISSAE” • The official edition (Editio Vaticana) • Professionally-Scanned.
—Printed with superb attentiveness.

*  PDF Download • 1914 Max Springer’s KYRIALE (147 pages)
—“ORDINARIUM MISSAE” • The official edition (Editio Vaticana) • Professionally-Scanned.
—This version uses modern notation.

Jeff Repeating Himself • The entire KYRIALE contains only a handful of MMVs (Melismatic Morae Vocis), and I’ve repeated this statement frequently. Practically speaking, due to the paucity of MMVs, the KYRIALE editions by Dom Mocquereau are—in many ways—identical to the official rhythm. Katharine Ellis cited evidence suggesting that Prior André Mocquereau may have had a financial incentive to “put as many rhythmic signs as possible in the Graduale and in the Antiphonale,” but more research needs to be done in this area to ascertain the truth. My colleague, Professor Weaver, is writing a doctoral dissertation on Dom Mocquereau’s rhythmic theories, and it will be interesting to read what he has to say vis-à-vis some of the letters Katharine Ellis dug up.

Example From Kyrie IV • Notice I said “only a handful of MMVs.” I did not claim the KYRIALE was completely devoid of MMVs. Therefore, let’s examine an MMV from Kýrie Cunctípotens Génitor Deus (Mass IV). Towards the end of the piece, we observe a pattern which clearly 1 contains a white space equal to a notehead. That indicates where the mora vocis (“elongation”) belongs. The 1905 Schwann edition does it perfectly:

The 1905 Styria edition also indicates the MMV perfectly:

The Nóva órgani harmónia (Lemmensinstituut, 1940s) marks the MMV perfectly:

The 1909 Schwann edition in modern notation marks the MMV perfectly:

The 1914 edition in modern notation by Max Springer indicates the MMV, although in a slightly ‘funky’ way:

The 1906 organ accompaniment by Monsignor Nekes manifests no difficulty marking the MMV:

Nor does Father Mathias have any difficulty marking the MMV:

I’ve often remarked that Dr. Peter Wagner’s organ accompaniments are an abomination. Not only are the harmonies awful, but he’s quite careless when it comes to the MMVs. Once again, we see an inexplicable treatment of the Editio Vaticana MMV by Dr. Peter Wagner:

For the record, you can examine the version by Dr. Wagner published in 1904 (before the Editio Vaticana was released):

The Editio Vaticana was based on the Liber Gradualis published in 1883 by Dom Pothier at the monastery of Solesmes. For the sake of curiosity, we can examine the 1883 version and see that Abbat Pothier seems to have intended an MMV at that time—although we also remember that his “white spaces” in 1883 were the subject of criticism, in terms of how they tended to be ambiguous:

We see that Dom Mocquereau had an elongation at the same spot in his 1903 Liber Usualis, released just two years (!) before the Editio Vaticana was published:

“Mr. Contrary” • Dom Mocquereau—when he added his rhythmic markings to the Editio Vaticana KYRIALE—“disregards” or “ignores” or “eliminates” this MMV. I don’t see why he found it so difficult to place an MMV where it belongs, as he had done in 1903. To me, it almost seems as if his intention was to foment confusion:

If someone doubts whether Dom Mocquereau intended to contradict the official rhythm, let him examine the 1905 Solesmes edition of the KYRIALE. Writing in December of 1905, Dom Mocquereau explicitly says: “Blank spaces in this edition never indicate morae vocis.” Indeed, that’s the only time I know of Dom Mocquereau ever signing his name to any of the Solesmes edition prefaces. When the Congregation for Sacred Rites discovered the rhythmic alterations, they withdrew their approbation, but said books which had already been printed could remain in circulation.

To Be Continued • A hundred years ago, I can understand why somebody would avoid the Mechlin edition or the Pustet edition. Both were printed using very small fonts, and the MMV were difficult to locate. But in the year 2022, our technology can easily solve that issue. I have been asking my colleagues what they find so terrible about the official rhythm. So far, I have not received an answer. Why not sing the Editio Vaticana as it was intended to be sung? I will continue to seek an answer to this question!

1 Several printers had difficulty understanding how to print the instances of MMV (Melismatic Mora Vocis) when the inaugural section of the Editio Vaticana was released in 1905. For example, if you download the 1905 edition by Lecoffre, you will notice its editor erroneously forgot to include the MMV we’re discussing. The Vatican printer, Mr. Scotti, therefore sent out this letter on 6 September 1906. The letter clarified the obligatory MMVs.

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

Filed Under: Articles, Featured, PDF Download Tagged With: 1903 Liber Usualis Solesmes, Cunctipotens Genitor Deus, French Vs German Trochee, Gregorian Rhythm Wars, Guillaume Couture Gregorian Chant, melismatic morae vocis Last Updated: January 3, 2023

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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

    How Well Does ICEL Know Latin?
    This year, the Feast of Saints Peter and Paul (29 June 2025) will fall on a Sunday. It’s not necessary to be an eminent Latin scholar to be horrified by examples like this, which have been in place since 1970. For the last 55 years, anyone who’s attempted to correct such errors has been threatened with legal action. It is simply unbelievable that the (mandatory) texts of the Holy Mass began being sold for a profit in the 1970s. How much longer will this gruesome situation last?
    —Jeff Ostrowski
    Is the USCCB trolling us?
    I realize I’m going to come across as a “Negative Nancy” … but I can’t help myself. This kind of stuff is beyond ridiculous. There are already way too many options in the MISSALE RECENS. Adding more will simply confuse the faithful even more. We seriously need to band together and start creating a “REFORM OF THE REFORM” Missale Romanum so it will be ready when the time comes.
    —Jeff Ostrowski
    “Common” Responsorial Psalm?
    I try to avoid arguing about liturgical legislation (even with Catholic priests) because it seems like many folks hold certain views—and nothing will persuade them to believe differently. You can show them 100 church documents, but it matters not. They won’t budge. Sometimes I’m confronted by people who insist that “there’s no such thing” as a COMMON RESPONSORIAL PSALM. When that happens, I show them a copy of the official legislation in Latin. I have occasionally prevailed by means of this method.
    —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

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

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