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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

Staggering Canonic Setting • “Gloria” from Mass III

Jeff Ostrowski · January 14, 2016

HEN ABBOT POTHIER published the Editio Vaticana circa 1910, his work had a profound influence on composers like Claude Debussy, Nadia Boulanger, Marcel Dupré, Louis Vierne, Gabriel Fauré, Jean Langlais, and Camille Saint-Saëns. Famously, Maurice Duruflé was influenced by the Vaticana rhythmic markings of Solesmes—and he was not alone. Raphaël Mercier’s treatment of the vertical episemata in his ingenious (yet relatively simple) setting shows the influence of Solesmes:

    * *  PDF Download • “CANONIC GLORIA III” — (SATB Choir Score)

Organists will use this score.


Do you see how Mercier took the melodies of “Gloria III” and brilliantly combined them into canons? I was so impressed, I created rehearsal videos to help amateur choirs. (Please pardon the soprano notes—I did the best I could.)

REHEARSAL VIDEOS :

EQUAL VOICES : YouTube   •   Mp3 Audio

SOPRANO : YouTube   •   Audio

ALTO : YouTube   •   Audio

TENOR : YouTube   •   Audio

BASS : YouTube   •   Audio



NOTES FROM THIS ARTICLE:

1   This setting by Mercier came from a rare collection of Church music by Roman Catholic composers in France. At some point, I’d like to scan the entire thing and post it online—but many of the pages are in pretty bad shape and it’s missing the first 50+ pages. The manuscript appears to be handwritten (possibly a lithograph) and I’m told “in house” collections were common for cathedrals during of that time. Fr. Adrian Fortescue gave his organist scores written by hand, and I believe the Birmingham Oratory routinely used handwritten scores, which frequently were (eventually) printed for the general public.

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

Filed Under: Articles Tagged With: Contemporary Sacred Music, Raphael Mercier Composer Last Updated: January 1, 2020

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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

    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“As liturgical art, church music is obliged to conform to ecclesiastical law. But to construct artificial polarities here, between legalistic order and a dynamic church music, demanded by the alleged needs of the day, would be to forsake the foundation of a music rooted in liturgical experience. What is in fact the pastoral value of the shoddy, the profane, the third-rate?”

— Dr. Robert Skeris (1996)

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