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Views from the Choir Loft

What Exactly Is Dr. Peter Wagner Talking About?

Jeff Ostrowski · January 6, 2023

URING the 1950s, Monsignor Francis P. Schmitt was editor of the CAECILIA MAGAZINE. He liked to refer to Dr. Peter Josef Wagner as “The sage of Fribourg.” Following the style of journals in those days, Monsignor Schmitt made tons of oblique references—as well as factual errors—so it’s not always easy to verify (or to “control,” as Father Father Fortescue would say) his various assertions. Something Schmitt often complained about was how the monastery of Solesmes denied entry to Dr. Peter Wagner, who had wished to enter their PALEO. The implication was that anyone who was not “on their team” was denied entry as punishment. [Some say that’s still the case, but I can neither confirm nor deny the veracity of that accusation.] To give one example, in his 1977 book (Church Music Transgressed), Monsignor Schmitt says: “The sage of Fribourg had not been allowed to peruse the manuscripts there until years after his studies had been finished, when Dom Gajard welcomed him.”

In a famous article published in 1907, the “sage of Fribourg” had this to say:

It is a fine thing to have in one’s work-room many valuable photographic reproductions of chant manuscripts, and I envy those who are in this fortunate situation. The Fathers of Solesmes possess, we are told, about four-hundred such photographs of manuscripts. For part of these treasures, they are indebted to the favor of the Holy See, whose letter of recommendation opened to them libraries which they would otherwise never have entered. So much the more could we expect that they would selflessly place their archival material at the disposal of the Holy Father. The Catholic world would have considered this as a quite ordinary gesture lending powerful support to the Papal project. Such is not the case. A promise was made, to be sure, by a highly placed person to one in a still higher position, but later the promise was not kept. Rather, weapons were forged against Papal intervention. Since such a procedure passes sentence on itself, I shall go no further into it.

The answer is provided by Dom Pierre Combe:

Dom Mocquereau had long wanted to create at Solesmes a vast collection of Gregorian chant manuscripts, through photography. However, these manuscripts had to be sought out in the public or capitular libraries, whose conservators were often hardly supportive of—if not outright hostile to—the reproduction of their treasures. Dom Mocquereau was already familiar with the primary collections in France, Switzerland, Italy, Belgium, and the Netherlands, where he had traveled looking for manuscripts, and he was very eager to study the libraries of England, Austro-Hungary, and Spain. The editing of the Vatican Edition, for which he was responsible, was an opportunity for him to fulfill his dream of visiting these countries.

During his stay in Rome, Dom Mocquereau had insisted that he be given every possible assistance in this matter, and he finally obtained a letter from the Cardinal Secretary of State, dated 8 August 1904, to the conservators of the libraries, recommending the delegates of the Abbot of Solesmes who were assigned to photograph the manuscripts.

Armed with the recommendation from Cardinal Merry del Val and, soon, from the Minister of Public Instruction of the Kingdom of Italy, two monks set off on 17 August 1904, and did not return to Appuldurcombe until December 14. They were Dom Paul Blanchon-Lasserve and Dom Amand Menager, who explored the major libraries of Italy. A new photographic technique (the use of an erecting prism) enabled them to acquire a few hundred definitive proofs in just a few hours. The photographs were taken directly on paper, without the intermediary of a plate or film. Once exposed, the sensitive paper was packaged on site to protect it from light (in the dark room Dom Blanchon mentions in his letter of June 21), and immediately sent to Appuldurcombe. There, the photographs were simply developed and fixed. At that point, they had a negative reproduction of the manuscripts, which could be used immediately to transcribe the melodies onto the comparative tables.

* This article includes excerpts from: HISTOIRE DE LA RESTAURATION DU CHANT GRÉGORIEN D’APRES DES DOCUMENTS INEDITES: SOLESMES ET L’EDITION VATICANE published in 1969 by Dom Pierre Combe of Solesmes Abbey. The Catholic University Press published an English edition in 2003, translated by Dr. Theodore Marier and finished by a former student of his (since Dr. Marier had died before the work could be completed). Someone very close to Dr. Marier told me that he found the work of translation tedious, and would exclaim: “Well, I guess I’d better go subtract a few years off Purgatory by translating Combe!” The 2003 version is called: “The Restoration of Gregorian Chant: Solesmes and the Vatican Edition.” Broadly speaking, the 1969 book by Dom Combe is a collection of journal articles. Many of the Italian sections in the 2003 version were translated by Monsignor Robert Skeris.

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

Filed Under: Articles Tagged With: Caecilia Magazine, commissionis pontificiae gregorianae membrum, Dr Peter Wagner Gregorian, Monsignor Francis P Schmitt, Rafael Merry del Val, Raphael Cardinal Merry Del Val, Solesmes Abbey Last Updated: May 19, 2025

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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

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “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

Quick Thoughts

    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
    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

Random Quote

“If we continue to tolerate sad examples of liturgical abnormalities, experimentation, abuse, and simply poor-quality liturgies, why should we single out those connected to the ancient rites of the Church for special vigilance? It just doesn’t seem right.”

— An Example of a response (sent to Pope Francis) Re: the TLM

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