FASCINATING interpretation of the Mode VI Regina Cæli Solemn Tone comes from a young tenor, Robert Moorman. An undergraduate student at the New England Conservatory in Boston, Massachusetts he is a student of Michael Meraw. He is also a staff singer at the Cathedral of the Holy Cross in Boston. How does a young musician become so comfortable with Gregorian Chant? Much of it is a change of culture in the Church. There is greater interest and access to our traditions than in a previous generation. It also does not hurt that Moorman attended Saint Gregory the Great High School in Scranton, Pennsylvania and learned under the direction of Professor Matthew Williams, music director and schola master. The music curriculum is unique in that these boys participate regularly in the Divine Office, liturgies are almost entirely sung, and many Masses are in the in the Extraordinary Form. They graduate with experiences unlike most typical boys.
Furthermore, Williams states, “Our liturgical and spiritual life at the Academy is one of a vigorous and manly charism.” This understanding is quite probably a strong reason for the conversion of many young men to the Roman Catholic faith in recent years. Our traditions point toward God and not to ourselves. Williams further describes: “our boys are educated in a way that frees the intellect and engages the imagination in order to help them discover those things that point toward God, Who is the ultimate Truth.”
Treatment of the rhombus
In this rendering of the Regina Cæli Solemn Tone, Moorman is quite adept in singing the repercussions, elegant and beautiful. (I often find repercussions should only be sung if done well, otherwise it is best to tie them.) But more fascinating is his treatment of the rhombus — diamond shaped neumes found in descending lines. Usually, they are given the same length as the punctum, if perhaps lighter and with some graceful movement. In this case, Moorman calls upon traditions in which the rhombus is sung far more quickly and expressively. It’s length is about half that of a punctum energizing the rhythm. Although unorthodox according to the Solesmes method, Moorman’s light elegance is in part why it is so successful.
The “free” accompaniment
While this accompaniment is improvised, good improvisation is always planned and rehearsed as this one was. I sketched out harmonic changes in key places. This allowed freedom of play off off the exquisite phrasing of the melodic lines. First-inversion minor chords always add a magical characteristic to chant accompaniment, as is avoiding the dominant so cliché to modern ears. This allows the ancient modality to shine. Alongside the archaic are harmonic tensions adding a fresh modern element. Ascending chords evoke the resurrection. Light flutes grounded by 32′ and 16′ bourdons in the pedal add to the mystical and ethereal environment. A rich 8′ Clarabella flute in the Great brought warmth to an improvised line that quotes some of the solemn tone further developed with melodic and harmonic variation.
Marian Antiphon for Easter
According to the General Instruction of the Liturgy of the Hours (GILH) Regina Cæli, is the one Marian antiphon for compline expressly required to be sung during a specific liturgical timeline: the Easter Season. (§ 92 GILH) Simple or Solemn Tone, it is one of the most beautiful, hopeful, and joyful chants within our treasury of sacred music. Most parishes don’t sing compline often, but I would recommend including it from time to time within the Mass. English translations set to this melody can also be useful. Furthermore, the Hymn Be Joyful Mary usually sung to the tune Leisentritt with its text based on Regina Caeli is an Eastertide staple at Mass.
Mary is the blessed Mother of us all. She is our Mother. Be joyful!
