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It really is a minor part of Mocquereau’s theoretical enterprise. That doesn’t mean it’s completely pointless, though.
Father De Santi opined that “Solesmes had rid themselves of Pothier by giving him an abbey”—to which Pope Pius X responded that it amounted to “a small compensation.”
If you’re somebody who likes grandiloquence, you’ll prefer the description by Dr. Ellis.
In 1957, the Abbey of Solesmes publicly claimed copyright over “the rhythmic signs 𝗮𝗻𝗱 𝘁𝗵𝗲 𝗿𝗵𝘆𝘁𝗵𝗺 𝘁𝗵𝗲𝘆 𝗿𝗲𝗽𝗿𝗲𝘀𝗲𝗻𝘁.”
Including several hymns eminently suitable for the feast of Christ the King.
This is very much a “work in progress”…
Will anyone step forward to defend this?
It’s been decided to bring that particular series to a close. However…
In praise of the Cardine approach to chanting, with some further thoughts on pluralism and correctness in performance practice.
Some very quick answers to questions posed by Patrick Williams.
This coming Sunday is the 17th Sunday after Pentecost (EF).
My goal is to clarify and illumine what I believe exactly is at stake when we debate the rhythm in chant. I shall first attempt to summarize the core arguments that each of the main authors in this blog series use.
I can never go back!
Guest submission (1 September 2023) by Alasdair Codona of Glasgow, Scotland.
Including a scanned copy of a rare “Graduale” (Pustet, 1911) released a few minutes ago—for the first time in history!
