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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

An Important Anniversary

Dr. Charles Weaver · December 8, 2023

ODAY is the century’s mind for Dom Joseph Pothier. He entered into eternity on the feast of the Immaculate Conception in 1923. How appropriate is this juxtaposition of the man and the feast. On this solemnity we honor the singular way in which our Lady was saved: a theological truth that transcends all times. But for me, this feast always brings to mind the flavor of the circumstances of the establishment of the dogma of the Immaculate Conception and its subsequent importance for the religious lives of Catholics in the nineteenth century and beyond. Establishing the dogma involved an extraordinary exercise of papal authority, with the rare invocation of papal infallibility. But for the doctrine to really hit home, to become a household name, it took the awakening four years later (in the midst of a secular and post-revolutionary century) of a simple and heartfelt piety and devotion, particularly French, in the person of St. Bernadette.

Both of these themes, papal authority and heartfelt French piety, are apparent in the life and illustrious career of Dom Pothier. It goes without saying, especially to longtime readers here, that he bears a great deal of the responsibility for the promulgation of the Vatican edition, using the melodies and the performance style he built up at Solesmes. There is another, very beautiful, side to him as well, as a composer of simple, and rather French sounding, religious monophonic songs, often based on various medieval meloidies. My children’s schola is singing his wonderful Tota pulchra es for the feast, which is pretty easy to find. Salve Mater misericordiae is another favorite. Our lives are richer for having these tunes and these texts.

I admire him, then, for his skill as a musicologist and an arranger, but I wonder if any of you share my feeling of special closeness with the reformers of plainchant who were centered at Solesmes in the nineteenth century. For one thing, they are both performers and scholars, and their stand as one of the great early exemplars of the historically informed performance movement. They were able to use primary sources to restore many beautiful features of the Gregorian melodies that had been abandoned (often in the name of reform!) in the previous centuries. But my feeling of closeness goes even beyond than my admiration for this painstaking work of paleography and editing. When everything went crazy in 2020, I was “locked down” like everyone else with my family. When it came to musical and intellectual work, I spent an almost unbelievable amount of time reading everything I could by Gontier, Pothier, Mocquereau, Gajard, and Cardine in preparation for my dissertation. Perhaps not everyone is like this, but for me, spending so much time isolated and in the company of books leads me to feel like I know the authors on very intimate terms. It’s a bookish illusion, usually, but perhaps within the reality of the communion of saints, it has a true existence in the spiritual realm.

All of these writers point the way to a noble cause. They lived out, in a heroic way, the call we all have for the liturgy to transform and ennoble our lives. What do I mean by heroic? I was recently discussing Solesmes with a colleague who had just spent a month there. He said, in a tone of astonishment, that the monks really see themselves as being on the front line of saving the liturgy for the whole universal Church, that this is a high calling that they treat with utmost seriousness. He also told me that they spend an amazing amount of time rehearsing the chant, on top of singing in the offices that are the daily rhythm of monastic life. I believe this has been true for some 190 years at this point. I dare say that the mission of Solesmes has been to save the liturgy (monastic and even more broadly within the entire Roman Rite) through the faithful and beautiful performance of chant. Isn’t that the mission to which we all aspire? Isn’t that a chief subject of this blog? I do a lot of different things in my professional life, but when I read Pothier, I feel like a close acquaintance is giving me a real glimpse at a truth that is in my reach, if only I would devote all my intellectual and spiritual life to following that lead.

Let us pray today for the great hero of the struggle for the liturgy, Dom Pothier. We are grateful for his great work and witness, which really needs no introduction to anyone who had read Jeff Ostrowski’s writing over the last decade and more. I warmly recommend Pothier’s Les mélodies grégoriennes, readily available in French, to anyone who wants to understand what went into that struggle as regards the performance of chant. What Pothier and, later, his student Dom Mocquereau, were able to accomplish as editors is nothing short of staggering.

Pothier and Mocquereau • I should briefly address the controversy between these two monks of Solesmes, since it has been a frequent topic on this blog. I sincerely hope that a century’s distance from the disputes over the rhythmic signs can give us some perspective, while cooling the controversy. At this distance, two facts are apparent: the rhythmic signs are here to stay (regularly accepted as a matter of Church practice) and they are also not universally followed any more. In this sense, I believe the Pothier-Mocquereau dispute over the signs has lost all its urgency and importance. I have so much more to say on the subject of why we should lay aside the debate over the signs, but I will have to save that for another time. I have mentioned it in the past.

More importantly for today’s occasion, it is my carefully considered opinion that Mocquereau’s and Cardine’s researches and publications are not a betrayal of Pothier’s great research and accomplishments but rather a continuation of the same, in the spirit of the Solesmes tradition. Not everyone shares my opinion; Jeff has been quite vocal in condemning Mocquereau and Cardine in various ways.

I have often written on this blog that I disagree with Jeff about what the status of the Vatican Edition is with regards to an “official rhythm.” I have also suggested that Pothier’s own performance style, expressed in his published writings, is not all that out of keeping with where Mocquereau took the Solesmes style. Jeff has been quite critical of Mocquereau and has also presented a way of performing the Vatican Edition that smooths out many of the complications and accentual nuances that I associate with Pothier. I hope it doesn’t bother any of our readers to see different opinions in print. I learned so much about Pothier and about the rhythmic disputes in chant when I started reading Jeff’s articles a decade ago. I am grateful that Jeff lets me air my own differing views here on the blog that he has built up. It seems good to me that we can disagree on these matters while teaching together and writing with very much the same purpose; nothing I write is meant to be a criticism of any particular way of singing inspired by Pothier.

In that spirit, l would like to conclude with a beautiful quotation from Dom Pothier, with which he ends his 1880 treatise:

Let us put our souls in unison with our voices, according to the word of St. Benedict in his rule, mens nostra concordet voci nostra. Let us pray and sing with humility, love and reverence, in compunction of heart and fear of the Lord, in fervor of spirit and ardor of holy desires. May we be lifted by song and as if already transported to heaven, we contemplate the divine mysteries in sweetness and purity of feeling, in holy animation and joyful gravity of devotion, in the sweetness of melody and the intoxication of jubilation; so that in the midst of the concert of voices, in the transports of an ineffable joy, we bless God our Creator, so that one day being risen among the Saints we may praise him with them—him who called us—and triumph in the eternal joy where he lives and reigns for ever and ever. Amen.

Our Lady, conceived without sin, pray for your servant Dom Pothier, that he may attain that eternal joy of which he wrote. And pray for us that we may continue to strive for this way of singing, in this life and in the world to come!

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

Filed Under: Articles Tagged With: Dom Joseph Pothier Last Updated: December 9, 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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

Is this the dumbest statement ever written? “When considering texts for his motets, Gombert obtained his inspiration from Scripture—such as the Psalms—as opposed to the liturgy of the Roman Catholic church.”

— Wikipedia

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