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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

“Text-Informed Performance Practice in Chant”

Patrick Williams · June 18, 2023

CCORDING TO THE RUBRICS for the chant of the Mass, there are two ways of singing the full gradual chant: “Two [cantors] sing the Verse of the Gradual, and, after the final asterisk, the full choir finishes it; or else, if the responsorial method is preferred, the full choir repeats the first part of the Responsory after the Verse is finished by the cantors or cantor.” The first of these two methods is more prevalent by far. In The Chants of the Vatican Gradual, Dom Dominic Johner writes the following regarding the gradual for the feast of the Nativity of St. John the Baptist:

1. The Lord put forth his hand, 2. and touched my mouth, 3. and said to me. At the end of the third phrase we are prompted to ask the question: What did God say? A colon was formerly placed after the words “said to me,” and the Alleluia with its verse was then considered their logical continuation. The fact is, however, that Gradual and Alleluia do not combine to form one whole; they are each assigned to a different mode, at least in the present case. Moreover, the words of Zachary as contained in the Alleluia-verse could hardly be ascribed to our Lord to whom the words of the Gradual refer. The term “Gradual responsory” implies what the answer to the above question will embody. After dixit mihi, the text Priúsquam . . . sanctificávi te of the Gradual should be repeated. Needless to say, this sequence was alien to the mind of the prophet Jeremias. (p. 394)

In Gregorian Chant according to the Manuscripts, Dom Gregory Murray notes the following:

The Gradual, as such, is responsorial in form. That is to say, after the solo verse has been sung, the first section (the respond) should be repeated. Although this is not the current practice, it is permitted, and there are some Graduals in which the words lose all meaning unless the repeat is made. For example, the Gradual Priusquam (for the Birthday of St John the Baptist) has a verse which ends ‘et dixit mihi’ (and he said to me). Without the repeat of the respond this hardly makes sense. (p. 47)

The following note is printed in the third edition of the Saint Edmund Campion Missal:

The choir always has the option to repeat the Gradual’s refrain section—as Abbat Pothier made clear in 1908 when the Editio Vaticana was published under Pope Saint Pius X—although this repeat in seldom taken, even in monasteries. For this particular Gradual, taking the repeat is recommended to complete the phrase “and said to me.” (p. 410)

The Newer Books • In the Graduale Novum, the opening text is Prius quam, not Priúsquam. The stress is on the first syllable, not the second.

This revision is consistent not only with many ancient sources, but also with the neumes, as the isolated note coincides with an unstressed syllable rather than the accented syllable. I was pleased to see a rubric included immediately after this chant in the 1974 Graduale Romanum that says, “Repetitur Priúsquam usque ad versum” (Priúsquam is repeated up to the verse), which echoes the Ordo Cantus Missae: “GR. Priusquam reincipitur post versum” (The gradual Priusquam is begun again after the verse). Although we who sing for the traditional Latin Mass are certainly not bound by these rubrics, they are perfectly sensible. Singing straight through may fulfill the letter of the law, but the older responsorial method is more in accord with a right understanding of this text. Let us sing with the spirit and also with understanding! (1 Corinthians 14:15)

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

Filed Under: Articles Last Updated: June 19, 2023

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President’s Corner

    Which Mass?
    In 1905, when the Vatican Commission on Gregorian Chant began publishing the EDITIO VATICANA—still the Church’s official edition— they assigned different Masses to different types of feasts. However, they were careful to add a note (which began with the words “Qualislibet cantus hujus Ordinarii…”) making clear “chants from one Mass may be used together with those from others.” Sadly, I sometimes worked for TLM priests who weren’t fluent in Latin. As a result, they stubbornly insisted Mass settings were ‘assigned’ to different feasts and seasons (which is false). To understand the great variety, one should examine the 1904 KYRIALE of Dr. Peter Wagner. One should also look through Dom Mocquereau’s Liber Usualis (1904), in which the Masses are all mixed up. For instance, Gloria II in his book ended up being moved to the ‘ad libitum’ appendix in the EDITIO VATICANA.
    —Jeff Ostrowski
    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

If the homily goes on too long, it will affect two characteristic elements of the liturgical celebration: its balance and its rhythm. The words of the preacher must be measured, so that the Lord, more than his minister, will be the center of attention.

— Pope Francis (11/24/2013)

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