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Views from the Choir Loft

Video • “Counting Gregorian Chant” … according to Dom Mocquereau’s Method

Jeff Ostrowski · January 14, 2023

HOSE WHO SEARCH archive.org for the name “Éthelbert Thibault” will come up with tons of search results. Father Éthelbert Thibault (1898-1953) had extensive musical training and taught at the University of Montreal (Québec), as did Dr. Eugène Lapierre, his friend and collaborator. Along with Clifford Bennett, Father Thibault produced the “Catholic Choirmasters Correspondence Course,” which included LP records with a seminary Schola Cantorum singing Gregorian chant. Those interested in the CLASSICAL SOLESMES METHOD will want to explore those (very copious) lectures and recordings. Some of the recordings are done according to Solfège, such as the Lauda Sion Sequence for the feast of Corpus Christi.

False Narrative • In an effort to mock the CLASSICAL SOLESMES METHOD, it was sometimes said in the past: “At the Abbey of Solesmes itself they don’t even use the Solesmes method!” That was supposed to be a devastating attack—but it was hardly that. The reality is, the 1-2-3 counting business was meant for amateur singers; it was never intended to be used by monks who sing the Divine Office for several hours each day. Therefore, it would be foolish to expect to hear the monks of Solesmes singing “1-2-3” instead of the words.

Counting “Jubiláte Déo” • Here’s an example—courtesy of Father Thibault—of how to “count” according to Dom Mocquereau’s method:

Example Chosen • The example in that video is the strenuous offertory (“Jubiláte Déo”) for the 2nd Sunday after Epiphany. Two years ago, I wrote extensively here and here about the feasts of Christmastide and Epiphany-tide, explaining how often the calendar has changed over the last 100+ years. In the second article, a chart is provided showing that editions prior to the Editio Vaticana—including the 1903 LIBER USUALIS by Dom Mocquereau—usually omitted the long beginning section. Incidentally, that Offertory also occurs on the 4th Sunday after Easter; otherwise I would not have been able to show how it looked in Mocquereau’s 1903 LIBER USUALIS. That’s because in those days the 2nd Sunday after Epiphany was always replaced by another feast, so Dom Mocquereau did not include that feast in his book.

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

Filed Under: Articles Tagged With: Classical Solesmes Method, Dom Mocquereau, Dr Clifford Bennett, Éthelbert Thibault, Mocquereau Rhythmic Signs Last Updated: January 14, 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 Los Angeles.—(Read full biography).

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Quick Thoughts

    PDF • “For the Season of Pentecost”
    During the season of Pentecost, you might consider using this 2-page Piece “for the season of Pentecost.” Rehearsal videos are available at #40691, but the lyrics are different. Therefore, make sure your choir members understand that one can rehearse songs that have different lyrics (“CONTRAFACT”).
    —Jeff Ostrowski
    Introit • (This Coming Sunday)
    Our volunteer choir appreciates training videos, so here's my attempt at recording “Exáudi Dómine Vocem Meam,” which is the INTROIT for this coming Sunday. This coming Sunday is Dominica Post Ascensionem (“Sunday after the feast of the Ascension”). It is sung according to the official rhythm of the Catholic Church.
    —Jeff Ostrowski
    Volunteer Choir Attempts “Kýrie Eléison”
    My volunteer choir attempted the polyphonic KYRIE that will be sung at this year's Sacred Music Symposium. If you're interested, you can listen to the live recording from last Sunday. The piece is based on the ancient plainchant hymn melody: Ave Maris Stella. Polyphony like this is truly intricate and wonderful. It reminds me of the quote by Artur Schnabel: “music that's greater than it can be performed.”
    —Jeff Ostrowski

Random Quote

“Every experienced choirmaster’s work is founded on the following three axioms: (1) Few boys have a really good natural voice; (2) No boy is able to control his voice and produce good tone without training; (3) Most boys have a good ear, and considerable imitative capacity. It is on the last of these axioms that the choirmaster must begin his work.”

— Sir Richard Runciman Terry (1912)

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