OMETIMES the question arises: “How does the Editio Vaticana rhythm actually sound?” A quick and efficient way to learn would be to visit Guillaume Couture Gregorian Chant and listen to all the video demonstrations given there. Only a very small number of rules must be followed when it comes to the EDITIO VATICANA rhythm, and once a singer becomes familiar, he can sing from any edition in conformity with the official edition: the Nóva órgani harmónia ad graduále júxta editiónem vaticánam, the editions by Dr. Xavier Mathias (who in 1913 founded the Saint Leo Institute for Sacred Music at Strasburg Cathedral); Professor Max Springer (student of Antonín Dvořák); Monsignor Franz Nekes (called “The German Palestrina”); Father Karl Weinmann; the Wiltberger brothers; Professor Amédée Gastoué; and so forth.
Demonstration • I had a few minutes before my Saturday afternoon Mass, so quickly recorded the OFFERTORY for the Feast of the Baptism of the Lord (which is coming up) according to the official rhythm. I don’t claim to have a great voice or be a excellent singer—but I just want to show there’s nothing tricky, weird, or esoteric about the official rhythm. It is totally natural … precisely because it’s the rhythm ‘envisioned’ or ‘required’ or mandated or ‘presumed’ by the Vatican Commission on Gregorian Chant formed by Pope Saint Pius X:
You can download that score at the terrific feasts website.
The singer must learn to identify the morae vocis which only occur inside a melisma. For example, here are the two melismatic morae vocis (“MMV”) from the piece in that video, as printed in a famous edition by Max Springer of Beuron:
Essentially, inside a melisma—and only inside a melisma—one adds a slight elongation if there is a blank space “equal to or exceeding the width of a single note-head.” For the record, the entire KYRIALE only contains a handful of MMV: in Kyrie V, Kyrie IX, and a few other places.
Hoc Amplius • It never ceases to amaze me when I observe certain “1962 folks” argue passionately over rubrical minutiae (carefully citing Martinucci, Stercky, Fortescue, O’Connell, Wapelhorst, etc.) yet totally ignore official legislation vis-à-vis the rhythm of Gregorian Chant. I suspect I’ll go to my grave still failing to understanding why those who fervently insist on ‘correct’ rubrics exclaim in the very same breath: “Oh, who cares about the legislation of Pius X and Pius XII on Gregorian Chant? Who cares what was mandated by the Congregation of Rites?” They seem to believe legislation applies to everything except liturgical music. For the record, these are often the same musicians who have no qualms about adhering to the most off-the-wall, improbable, totally unique, 100% untraditional interpretations and theories about CARMEN GREGORIANUM. Yet—as I’ve already explained—they obey the other rubrics with a scrupulosity approaching fanaticism. Email me if you can explain this contradiction!
