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:
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.”
