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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

PDF Download • Extremely Rare! —Solesmes “Graduale” acc. to the Official Rhythm (1,049 pages)

Jeff Ostrowski · January 6, 2025

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HERE’S A FAMOUS saying: “He can’t see the forest for the trees.” This maxim certainly applies when it comes to CARMEN GREGORIANUM (Gregorian Chant). For this reason, I ask you to “take a step back” for a moment and view the big picture. Gregorian Chant—against all odds—survived the 1960s. It’s not going anywhere. Therefore, how can musicians learn about it? I would argue that most would regret learning from a teacher with intensely idiosyncratic beliefs.1

Common Sense • Doesn’t it stand to reason that we should learn plainsong according to the Church’s official edition, which has lasted 120 years? Doesn’t it stand to reason that we should sing from this edition the way it was intended to be sung by its creators? Pope Saint Pius X explicitly made clear his edition must be sung according to the rules of interpretation laid out by the pontifical commission responsible for its creation. Doesn’t it stand to reason any serious musician would wish to know those rules?

(1 of 2) Historic Release • In the past, we’ve scanned and uploaded many editions which follow the official rhythm. In 2008, my personal copy of the EDITIO VATICANA (Vatican Polyglot Press) was made available as a PDF file. We scanned and uploaded the “LIBER CANTUS GREGORIANI” (1,864 pages) which follows the official rhythm. More “official rhythm” books we’ve scanned and uploaded would have to include the “GRADUALE ROMANUM” (1,129 pages) by the Schwann editors, which is utterly gorgeous. We scanned and uploaded the “Nova Organi Harmonia” (LEMMENSINSTITUUT)—all 2,279 pages—which follows the official rhythm, as well as the editions by the ABBEY OF SAINT-WANDRILLE (1,638 pages) which adhere strictly to the official rhythm. The list of “official rhythm” books we’ve scanned goes on and on: Father Xavier Mathias; Professor Max Springer; Marcel Dupré; Monsignor Franz Nekes; Father Karl Weinmann; and so forth. Indeed, a few days ago we released a book by the VON TRAPP FAMILY SINGERS, and those who listen to the Gregorian Chant recording included there (viz. Puer Natus Est) will notice they follow the official rhythm.

(2 of 2) Historic Release • Today, for the first time in history, we’ve scanned and uploaded the complete GRADUALE ROMANUM in a 1908 edition by the Abbey of Solesmes which follows the official rhythm. We used powerful scanning equipment—resulting in beautiful but massive files—so it was necessary to break it into three parts:

* PDF Download • GRADUALE (Solesmes Abbey, 1908)—Part 1 of 3
* PDF Download • GRADUALE (Solesmes Abbey, 1908)—Part 2 of 3
* PDF Download • GRADUALE (Solesmes Abbey, 1908)—Part 3 of 3

Several photographs of this supremely rare book:

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Fly In The Ointment • There was a problem, however. Dom André Mocquereau (PRIOR of Solesmes Abbey) added tons of modifications to the rhythm of the official edition. He wasn’t allowed to do that—so why did he? From letters recently unearthed, it seems Dom Mocquereau took his actions seeking financial gain, by attaching what he called “value-added” to his editions. In the KYRIALE, his modifications didn’t amount to much (broadly speaking). But in the GRADUALE and the ANTIPHONALE, they often left the official melodies unrecognizable owing to all the illicit markings. For example, in Tecum Princípium almost every note is sullied. Indeed, some call Mocquereau’s modifications “a type of Neo-Mensuralism.” In other words, the rhythm becomes so distorted it resembles the 19th-century (“corrupt”) way of singing plainsong, in which singers observed “longs and shorts.” Countless examples could be cited, but consider how Mocquereau defaced this poor antiphon.

If you examine ancient manuscripts, you won’t find the markings invented by Dom Mocquereau:

*  PDF Download • “Lumen Ad Revelationem Gentium” (2 FEBRUARY)
—An ancient manuscript from Flanders (Belgium).

The Bottom Line • Some used to believe Dom Mocquereau’s markings represented “nuances” in ancient MSS. In light of recent scholarship, however, this would be a very difficult case to make. Even if the “nuances” mean what Dom Mocquereau claims, it would be a grave error to ‘transfer’ markings from 2-3 manuscripts to the official edition, which is a CENTO. The Gregorian repertoire is much larger than 2-3 manuscripts. A responsible scholar must take into consideration the entire manuscript tradition, and not just a handful of MSS—even if he has a particular predilection for certain manuscripts.

1 It’s easy to determine who’s a shoddy scholar. Simply ask: “What other scholars agree with the unique theory you’ve concocted?” You should probably look for a different teacher if you get a response like: “Nobody else agrees. I’m the only one in the galaxy who’s figured this out.”

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

Filed Under: Articles, PDF Download Tagged With: Carmen Gregorianum, Editio Vaticana, Editio Vaticana Preface, Gregorian Rhythm Wars, Inter Pastoralis Officii 1903 Motu Proprio, Inter pastoralis officii Pius X Last Updated: January 7, 2025

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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

    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

“Gregorian chant is the sacred chant, proper and principal of the Roman Church. Therefore, not only can it be used in all liturgical actions, but unless there are mitigating circumstances, it is preferable to use it instead of other kinds of sacred music.”

— “De musica sacra et sacra liturgia” (3 September 1958)

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