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Views from the Choir Loft

Beauty Ever Ancient, Ever New

Dr. Charles Weaver · March 7, 2023

ON SUNDAY mornings, my first service at my parish is the English Mass in the new rite. During the Covid pandemic, the schedule got shuffled around, and we also changed the music at this Mass to be all Gregorian. The small choir we had before the pandemic has also been disbanded, so I am by myself on these occasions. The congregation sings the Mass ordinary well (a rotation of Masses 1, 8, 11, and 17 with Credos 1 and 3 based on the season), but I sing the propers alone, with the texts provided for the faithful.

For this Mass, I usually sing from the Graduale Triplex. This accomplishes a few things. The main choral program at my parish is geared toward the Traditional Mass, and with my schola there I sing straight from the old Solesmes editions. So my time with the Triplex gives me a chance to study some of the adiastematic neumes associated with the chants. As readers who sing in both forms of the Roman Rite know, for much of the year the calendars are somewhat misaligned, even though the repertoire sung in both forms is substantially the same. I don’t really have strong feelings about a semiological performance style; I adjust some things slightly according to the neumes but my approach is mostly the same as in the other Mass: attention to the tonic accents and the melodic divisions and sense. Trying to be flexible about this keeps me from falling into a rut. Feelings run high about the performance of chant (as can be seen in many places on this blog), but changing some aspects of the style in different contexts keeps me in mind of the fact that each melody is a gift, a treasure, and a prayer.

This is all obvious to those of us formed by the Church’s teaching on the significance of Gregorian chant. But what I want to stress today is that it is always new; there is always something more to ponder or consider. One instance of this struck me the other day at the English Mass. The new Gradual has rather different propers for the Second Sunday of Lent, with many of the melodies rearranged presumably to emphasize the Transfiguration, which is the subject of the Gospel passage. The communion antiphon is Visionem, which in the old rite is sung on the feast of the Transfiguration. It is also (with the exception of one variant neume) sung as the Magnificat antiphon for first and second Vespers of the Second Sunday of Lent. Here is this rather beautiful melody, whose simplicity betrays its source in the office:

In this case, the adiastematic neumes come from the Hartker Antiphoner. The neumes reveal some niceties of the setting that don’t make it into the notation on the staff, viz., the “augmentative” liquescence on “quam,” the liquescence on the second syllable of “resurgat.” We also see a few melodic discrepancies, most notably at “nemini,” which suggests clearly that the first syllable should be on a higher pitch than what follows (in line with the tonic accent). These are all rather nice reasons to sing occasionally from the Triplex; I draw great fruit personally from studying these things, and perhaps the next time I meet this melody in another context, I will remember one or more of these little details.

But on this occasion, it was a detail of another kind that struck me most: the little melodic motive on “donec a mortuis.”

I was instantly reminded of the Eastertide hymn “O Filii et Filiae.”

That is not an “authentic” Gregorian melody, of course, but it clearly echoes the communion for Low Sunday, which is.

What’s the big deal? Why is it significant that these melodies share some seven notes? The answer lies in something that I want to share about why I find chant to be such a rewarding object for my musical thoughts and energy. I’ve sung this melody before over the years, both at Mass and Vespers. And this never occurred to me until the other day. There is always something new to think about, as we circle the liturgical seasons again and again. Chant scholars love to point out that the chant is, by and large, not expressive of the words. But it is full of these little melodic resonances. There is something beautiful about being a chant practitioner: we are not scholars in the usual sense but people who experience the act of prayer during our scholarly work (ora et labora). For this reason we can spiritualize these little melodic resonances and exegete them to our hearts’ content.

In Visionem, we hear the words of the Lord, telling Peter, James, and John not to tell anyone about their vision until after Christ’s rising from the dead. At precisely the moment of the mention of the rising from the dead, we get a little melodic motive that strikes the ear (or at least my ear) as a reminder of these other melodies about having faith in the resurrection. We get a little foretaste here of Easter melodies, just as the Transfiguration is a foretaste of the glory manifested by the risen Lord after the first Easter. Is this an accident? Perhaps. But it is no less significant; the praying cantor can certainly draw musical and textual significance out of it. Each day, when we sing, we bring to the process our entire spiritual and musical formation, shaped by the unending cycle of liturgical melody. Approaching this rather simple antiphon during this rather modest celebration of the Mass, I found this to be a beautiful and fruitful moment, full of theological insight into the readings for the day. That kind of thing happens all the time in plainchant. It is truly a gift.

 

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

Filed Under: Articles Tagged With: Gregorian Chant Last Updated: March 7, 2023

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About Dr. Charles Weaver

Dr. Charles Weaver is on the faculty of the Juilliard School, and serves as director of music for St. Mary’s Church. He lives in Connecticut with his wife and four children.—(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

“The plan to definitively abolish the traditional Tridentine Mass … if it is true, seems to me to be an insult to the history of the Church and to Sacred Tradition, a diabolical project that seeks to break with the Church of Christ, the apostles, and the saints.”

— The Vatican’s chief liturgist (appointed by Pope Francis) from 2014-2021

Recent Posts

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