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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

PDF Download • César Franck Book of Gregorian Chant Accompaniments (156 Pages)

Jeff Ostrowski · May 16, 2023

AROLD C. SCHOENBERG said of César Franck: “He must have been a cocky lad, exultant in his talent.” At the age of fifteen, César—who had been born in Liège (Belgium)—was sent to the Paris Conservatoire. At the finals of the piano competition he was given a difficult piece to read at sight. Young César suddenly elected to transpose the piece selected a third below the key in which it was written (!), which he was able to do without any hesitation or slip. The judges were transfixed. After some discussion, the legendary Luigi Cherubini (d. 1842) announced: “The jury has now decided that Monsieur Franck stands so incomparably far ahead of his fellow competitors that it is impossible to nominate another to share the prize with him. Accordingly, a second first prize will be given to those who would in ordinary circumstances have deserved the senior award.”

DUGUET, Franck’s Teacher • According to the Belgian organist Flor Peeters, Maestro Edgar Tinel (director of the LEMMENSINSTITUUT) confessed to his orchestra quite late in life: “Gentlemen, I, Tinel, was wrong. César Franck is a great composer.” A childhood crush of mine was Franck’s glorious Variations symphoniques. Franck’s first organ teacher was Abbé Dieudonné Duguet (d. 1849), the blind organist of the Church of Saint-Denis. If you search Mr. James Doherty’s fabulous Brébeuf Portal for “DUGUET,” you will find many settings. Below is one for 6 August, the Feast of the Transfiguration. The melody is attributed to Dieudonné Duguet:

To access this hymn’s media in the Brébeuf Portal, click here.

Bad Attribution • Below, you can see how the DUGUET melody appears in the “Christ The King Hymnal” published by Father Aloysius Knauff in 1955. It is erroneously called “Gregorian Chant”—but deficient hymnal attributions were pretty common until the 1970s:

*  PDF Download • “DUGUET” in CTK Hymnal

Père Lambillotte • Among Franck’s acquaintances at the Jesuit College of the Immaculate Conception (where he taught piano) was the Jesuit priest Louis Lambillotte (d. 1855). Camille Saint-Saëns described Père Lambillotte as a “ridiculous composer” of “dreadful music,” who left an indelible impression on Catholic church music with hymns like On This Day, O Beautiful Mother. Father Lambillotte helped push forward the Gregorian revival, and his tombstone says: Qui cecinit Jesum et Mariam, eripuitque tenebris Gregorium, hunc superis insere, Christe, choris. [“Receive, O Christ, into Thy choirs above him who sang the praises of Jesus and Mary, and rescued the music of Gregory from the darkness of ages.”]

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Franck’s Gregorian Accompaniments • In 1851, Père Lambillotte published a facsimile of Saint Gall 359 (an adiastematic “Cantatorium”), and Abbat Prosper Guéranger spoke with him in 1854. When Père Lambillotte died in 1855, César Franck completed for publication their collaboration, a five-part Chant Grégorien: restauré par le R.P. Lambillotte; accompagnement d’orgue par César Franck. The work is Franck’s note-for-note accompaniment of Lambillotte’s modern notation transcriptions of plainsong then being reintroduced into the churches of France. It consisted of five sections. GALLICA has placed online the complete work, which is fascinating:

*  PDF Download • GREGORIAN ACCOMPANIMENTS (César Franck)
—156 pages • Gregorian harmonizations to “corrupt” plainsong by César Franck.

You can read an English translation of Franck’s Preface:

*  PDF Download • Franck’s “Preface”

Missing Page? • “Ad regias Agni dapes” is supposed to be number 11, according to the index, right after “A solis ortus cardine,” but I can’t find it for some reason. In any event, here’s the harmonization by César Franck of his teacher’s hymn (DUGUET):

Eastertide Hymn • And speaking of “Ad Régias Agni Dapes,” here’s a hymn we like to sing during the season of Easter:

To access this hymn’s media in the Brébeuf Portal, click here.

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

Filed Under: Articles Tagged With: Dieudonne Duguet, Flor Peeters, Maestro Edgar Tinel Last Updated: June 18, 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

    “What Martin Luther Said…”
    My pastor asked me to write little columns for the bulletin each week. The article for 20 July 2025 has been posted, and it’s called: “What Luther Said…” Martin Luther (an ex-priest and apostate) was an infamous heretic whose ignorance of JESUS CHRIST was only exceeded by his filthy and disgusting vulgarity.
    —Jeff Ostrowski
    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —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

“We know that originally the offertories of the repertoire included a series of verses, just like the introit and the communion, but generally more ornate. Many of these are musical compositions of great beauty. They quickly fell into disuse, and we find them only in the most ancient manuscripts. The only remaining trace of this older arrangement in our present-day liturgy is that of the offertory of the Requiem Mass.”

— Dom Joseph Gajard (1956)

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