N THE MASTERPIECE by Father Thomas à Kempis (Imitation of Christ) we find these words: “How is a life to be loved when it is filled with so many embitterments, calamities, plagues, and miseries?” Even within the sacred walls of monasteries we can observe the effects of our fallen human nature. In the final years of the nineteenth century, a devastating quarrel took place in the Abbey of Solesmes. If I can find the time, I may discuss its details someday.1 (For the record, the dispute had nothing to do with plainsong.) Dom Mocquereau ended up on one side, Dom Pothier on the other. The “residue” of this terrible conflict lasted close to 100 years.
Please Hold The Line • In just a minute, I’ll explain why I bring up the Solesmes Crisis of 1893. First, let me share with you a harmonization I wrote yesterday morning for this Sunday’s ENTRANCE CHANT. In the following video, I attempt to sing while simultaneously accompanying myself on the pipe organ:
* PDF Download • Singer’s Score (Treble Clef)
* PDF Download • ORGAN ACCOMPANIMENT (2 Pages)
Getting Back To 1893 • I mentioned how the Abbey of Solesmes in 1893 divided into separate factions. Dom Mocquereau took the “pro-Bruyère” team. Abbess Bruyère had wanted to force the monks of Solesmes to be under her authority. (Believe it or not, in the Middle Ages examples do exist of female nuns being in charge of male monks.) Dom Pothier belonged to what might be called the “anti-Bruyère” team, because he did not feel the monks of Solesmes should be under the authority of Abbess Bruyère and rejected the “revelations” she claimed to have received in private. I should point out that the tale I’ve presented here is not verified beyond a shadow of a doubt.
(1 of 3) Combe’s Idiotic Statement • But one thing is certain: hatred for Dom Pothier was fostered on the Mocquereau “team.” Father Angelo De Santi—the architect behind Pius X’s legendary 1903 motu proprio (“INTER PASTORALIS OFFICII”)—told Pope Pius X: “At Solesmes they rid themselves of Dom Pothier by giving him an abbey.” Pope Saint Pius X responded that this “amounted to a small compensation.” Indeed, an entry from Father de Santi’s private journal (dated 23 June 1905) succinctly summarizes the entire matter: “The Holy Father is unhappy at the fact that, after we were all in agreement with Dom Pothier, now we have declared war on him.”
(2 of 3) Combe’s Idiotic Statement • If memory serves, Dom Pierre Combe served as librarian for the Abbey Solesmes. He published several books which contain extremely helpful information but usually consist—broadly speaking—of old journal articles translated into English. To be completely frank, Combe doesn’t come across as someone who’s very knowledgeable about Gregorian Chant. Regardless, Combe is firmly on Dom Mocquereau’s team. Whenever he relates events, his perspective is that of a total and absolute Mocquereau “adherent” or “disciple” or “zealot.”
(3 of 3) Combe’s Idiotic Statement • In one of his books, Dom Pierre Combe makes a shameful claim about Dom Pothier’s style. Combe says Pothier’s style “was based on taking great liberties” and calls Pothier “the enemy of excessive attention to detail.” It would be difficult to imagine a more imbecilic statement, and Dom Combe deserves severe denunciation for it. While in exile, Dom Joseph Pothier produced the following sensational books:
1883 “Liber Gradualis” [960 pages]
1885 “Hymni de Tempore et de Sanctis” [240 pages]
1895 “Liber Responsorialis” [482 pages]
1880 “Les Mélodies Grégoriennes” [288 pages]
1891 “Chants Ordinaires De La Messe” [77 pages]
1889 “Variae Preces” [281 pages]
1891 “Liber Antiphonarius” [1,034 pages]
1888 “Processionale Monasticum” [384 pages]
1891 “Vesperale” [771 pages]
1896 “Liber Usualis” [1,479 pages]
In spite of all that, Dom Combe called Abbat Pothier “the enemy of excessive attention to detail.” Combe’s words are reprehensible. Most of Pothier’s phenomenal books—broadly speaking—were produced single-handedly, although he did receive some assistance towards the beginning from his friend Dom Paul Jausions (who died mysteriously in America at the tender age of 35). Even Dom Mocquereau admitted that Abbat Pothier was “one of the glories of Solesmes,” writing as follows on 9 April 1885:
“When all things are weighed out in the sight of God, I first recognize that we must give thanks and praise for the goodness, wisdom and intelligence of [Dom Pothier].”
Father Ralph March (d. 2016) wrote: “If any single man could deserve the title father of the renewed chant it would be Dom Joseph Pothier.”
Wrapping Up This Article • Imagine being responsible—as Abbat Pothier was—for singing each day the complete Divine Office and offering Mass. In addition to that, Pothier had to deal with the hardships of unjust exile by France’s anti-clerical government. In addition to that, Pothier traveled all over Europe researching Gregorian Chant. In addition to that, he restored an ancient abbey. Meanwhile, it took me quite a long time to produce the brief recording above. Abbat Pothier seems to have been “inhuman” as a scholar, priest, and monk.
Renewal of Challenge • In many recent articles, I’ve been recommending the Brébeuf Catholic Hymnal. I believe this book is indispensable for any serious Catholic choirmaster. (I certainly couldn’t run my choral program without it.) I don’t use the “P-word” word lightly, but I’m comfortable calling the BRÉBEUF HYMNAL peerless. Indeed, one of the main authors for the Church Music Association of America weblog declared (6/10/2022) that the BRÉBEUF HYMNAL “has no parallel and not even any close competitor.” For years, I’ve been searching for a qualified partner who’s willing to debate this assertion over zoom. Today—20 November 2024—I respectfully renew my challenge. Our website garners millions of hits, but so far nobody has accepted my challenge.
1 It’s a rather complicated story, having to do with unjust exile by the anti-clerical French government as well as a Vatican “visitation” to handle a messy situation vis-à-vis Mère Cécile Bruyère, Abbess of Sainte-Cécile.
