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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

    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

“It would be a grave error to imagine that the principle orientation of the sacrificial action is towards the community. If the priest celebrates «VERSUS POPULUM», which is legitimate and often advisable, his spiritual attitude ought always to be «VERSUS DEUM PER JESUM CHRISTUM», as representative of the entire Church.”

— Official Vatican Statement (25 September 2000)

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