Chant from Solesmes, 1930

This is the "Monastic Choir of the Abbey of St. Pierre de Solesmes," singing a variety of chant from the liturgy (both the Mass and Office) - complete with scratchy-sounding vinyl.



This is from the YouTube page:

One LP of a two LP collection issued in the early 1960s on the RCA Victor Red Seal Collector's Issue label, catalogue number LCT-6011.

Images of the slipcase covers of what I believe are the original Decca recordings can be seen here: https://plus.google.com/108298623225603793041/posts/9bawRyCtPg8

Solesmes Abbey or St. Peter's Abbey, Solesmes (Abbaye Saint-Pierre de Solesmes) is a Benedictine monastery in Solesmes (Sarthe, France), famous as the source of the restoration of Benedictine monastic life in the country under Dom Prosper Guéranger after the French Revolution. It was originally founded in 1010 as a priory of the Benedictine Le Mans abbey. The abbey is noted for its crucial contribution to the advancement of the Roman Catholic liturgy and the revival of Gregorian chant. A documentary film on life at Solesmes was made in 2009 and focuses on the tradition of the chant at the monastery.

Here's Solesmes' website.

Sebastián de Vivanco: Magnificat Quarti toni

Here's a beautiful Magnificat; the chant verses are sung to Gregorian Tone 4.  Beginning sometime in the 15th Century, composers began writing this kind of chant/polyphony alternatim, in which all the odd verses are sung to either chant or polyphony - and then the even verses take the other style.   These were often based on the ordinary of the mass, but here, obviously, the text comes from the Vespers Canticle (part of the Ordinary of the Divine Office).

Sebastián de Vivanco was born in Avila, Spain, in 1551, and died in Salamanca in 1622. The performance is by the Orchestra of the Renaissance led by Richard Cheetham.  

Magnificat anima mea Dominum.
Et exsultavit spiritus meus in Deo salutari meo.
Quia respexit humilitatem ancillae suae:
ecce enim ex hoc beatam me dicent omnes generationes.

Quia fecit mihi magna qui potens est: et sanctum nomen eius.
Et misericordia eius a progenie in progenies, timentibus eum.
Fecit potentiam in bracchio suo: dispersit superbos mente cordis sui.
Deposuit potentes de sede, et exaltavit humiles.

Esurientes implevit bonis: et divites dimissit inanes.
Suscepit Israel puerum suum, recordatus misericordiae suae.
Sicut locutus est ad patres nostros, Abraham et semini eius in saecula.
Gloria Patri, et Filio, et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.


My soul doth magnify the Lord.
And my spirit hath rejoiced in God my Saviour.
For he hath regarded the lowliness of his handmaiden;
for behold from henceforth all generations shall call me blessed.

For he that is mighty hath magnified me: and holy is his name.
And his mercy is on them that fear him: throughout all generations.
He hath shewed strength with his arms: he hath scattered the proud in the imagination of their hearts.
He hath put down the mighty from their seat, and hath exalted the humble and meek.

He hath filled the hungry with good things: and the rich he hath sent empty away.
He remebering his mercy hath holpen his servant Israel.
As he promised to our forefathers, Abraham and his seed for ever.
Glory be to the father, and to the son, and to the holy spirit.

As it was in the beginning, is now, and ever shall be, world without end. Amen.

Alleluia: Angelus domini

This comes, apparently, from the "Antiphonary tonary missal of St. Benigne" (also called "Antiphonarium Codex Montpellier" or "Tonary of Saint-Bénigne of Dijon"), H159.  I don't know who the singers here are,  but it's certainly lovely.



Here's a screen cap of the page in the manuscript (link below) from which this music comes; it's found in the section Alleluia Tetrarda Plagalis.  (Tetrarda Plagalis means something like "Fourth Tone, Second Type"; there were apparently 8 different kinds of melodies - i.e., "tones" - but divided into four 4 groups of two.  This I believe came out of the Byzantine system called oktoechos.)

Although as far as I can tell it doesn't say in the manuscript - it's organized by tone, rather than feast - this is obviously for use on Easter or during Eastertide.  The texts come from Matthew 28 and John 18:

Angelus enim[autem] Domini descendit de coelo, et accedens revolvit lapidem, et super eum sedit. 

Respondens autem angelus dixit mulieribus: Quem quaeritis? Illae autem dixerunt: Jesum Nazarenum.

An angel of the Lord came down from heaven, and rolled back the stone, and sat on it. 

And he asked them again, “Whom do you seek?” And they said, “Jesus of Nazareth.”

This manuscript is known as "Codex H. 159 de la Bibliothèque de l'École de médecine de Montpellier."  IMSPL has what it calls a Preface, Directories (monochrome); this looks to be an add-on analysis and Table-of-Contents to the manuscript itself, here as a 4.5MB PDF.  It also offers the Complete Codex (color scans), in a 20MB PDF; both of these are courtesy of the Boston Public Library, it says.   If I'm reading this correctly, I'm gathering that this was part of the Solesmes chant research project during the 19th Century; Dom Andre Mocquereau was editor of the Preface.  Clearly I need to look more closely at that project, and to learn more about it.

Quite amazing, actually, to be able to casually download these things from a thousand years ago and look them over at home.

Wikipedia has an extensive entry on the Antiphonary of St. Benigne, too; I'm gathering that this means H 159 is rather important among chant manuscripts.   Here are some quotes from that article:

The Antiphonary tonary missal of St. Benigne (also called Antiphonarium Codex Montpellier or Tonary of Saint-Bénigne of Dijon) was supposed to be written in the last years of the 10th century, when the Abbot William of Volpiano at St. Benignus of Dijon reformed the liturgy of several monasteries in Burgundy. The chant manuscript records mainly Western plainchant of the Roman-Frankish proper mass and part of the chant sung during the matins ("Gregorian chant"), but unlike the common form of the Gradual and of the Antiphonary, William organized his manuscript according to the chant genre (antiphons with psalmody, alleluia verses, graduals, offertories, and proses for the missal part), and theses sections were subdivided into eight parts according to the octoechos. This disposition followed the order of a tonary, but William of Volpiano wrote not only the incipits of the classified chant, he wrote the whole chant text with the music in central French neumes which were still written in campo aperto, and added a second alphabetic notation of his own invention for the melodic structure of the codified chant.

....

This particular type of a fully notated tonary only appeared in Burgundy and Normandy. It can be regarded as a characteristic document of a certain school founded by William of Volpiano, who was reforming abbot at St. Benignus of Dijon since 989. In 1001 he followed a request by Duke Richard II and became first abbot at the Abbey of Fécamp which was another reforming centre of monasticism in Normandy.

Here's a bit more about this manuscript itself:

The Tonary of Saint-Bénigne of Dijon is organized in a very rare form of a fully notated tonary, which serves like a fully notated music manuscript for mass (gradual) and office chant (antiphonary).^[8]

The first division of the chant book is between the book's gradual (fol. 13r-155v) and an antiphonary fragment (fol. 156r-162v) which has the Matins for Palm Sunday, St. Blasius and St. Hylarius in the conventional liturgical order, but with tonal rubrics.^[9] The last leaf was added from another book to use the blank versoside for additions on the last pages written by other hands, chant notated in adiastematic neumes but without alphabetic notation and even diastematic neumes with alphabetic notation (fol. 160r-163r).^[10]

The gradual itself with proper mass chant is divided into six parts: The first are antiphons (introiti and communions) (fol. 13r-53r). The next three parts are chant genres which precedes lessons: alleluia verses for gospel readings (fol. 53v-69r), the benedictiones (hymnus trium puerorum) for prophetic readings (fol. 75r-76v), and the graduels for epistel readings (fol. 77r-98v). The last two parts are an offertorial (fol. 99r-151r) and a tractus collection (fol. 69r-74v; 151v-155v), dedicated to the genre which replace the alleluia verses during fasten time for all kinds of scriptural readings.^[11]

The third level of division are the eight parts according to the oktoechos in the order of autentus protus, plagi proti, autentus deuterus etc. In the first part, every tonal section has all introits according to the liturgical year cycle and then all communions according to the liturgical order. The whole disposition is not new, but it is identical with tonaries from different regions of the Cluniac Monastic Association. The only difference is that every chant is not represented by an incipit, it is fully notated in neumes and in alphabetic notation as well, so that even cantors who do not know the chant can memorize it with this tonary together with its tonus.

And this seems to be a page taken from the manuscript.   Here's a description:

As an example might serve the Introitus "Repleatur os meum" used as a refrain for psalm 70 during the procession into the church, at the beginning of the morning mass on Saturday before Pentecost. The introit was written in the first part of the antiphons and is quite at the beginning of the deuterus section (written as heading on each page), hence an introit in the 3rd tone or "autentus deuterus":

Here's another image from the manuscript.  Fortunately there's no information at that page about it, so I'm attempting to decipher the writing to try to figure out where it came from; that's part of the fun, after all.  (The first section definitely starts out with Puer natus est - so we're almost certainly looking at something for around Christmastime; the second starts with Adorate deum; that's currently the incipit of the Introit for the third Sunday after the Ephiphany.  Those are some initial tantalizing clues to work from!)

I'm noticing some other very interesting links at the IMSLP page.  I'll definitely be back with some stuff about those - particularly if I can find some audio or video recordings of some of the music!

Learning about Gregorian Chant, from Solesmes

From the YouTube page:

Do you want to learn more about Gregorian chant? This highly pedagogical presentation by a monk of Solesmes, Dom Daniel Saulnier, is read by Sarah Moule and gives the amateur listener basic notions about the chant, its history, musical forms and genres, with a generous selection of examples culled from Solesmes recordings.

This seems to be the order of program on the video; I haven't watched it through yet.

History of Gregorian chant
1 Gloria With ringing of the bells
2 Gloria Ambrosian
3 Antiphon In mandatis & Psalm 111
4 Psalm Psalm 110
5 Psalm Psalm 111
PROPER OF THE MASS
6 Introit Nos autem
7 Gradual Concupivi
8 Alleluia Pascha nostrum
9 Offertory Lætentur
10 Communion Pascha nostrum
ORDINARY OF THE MASS
11 Kyrie III
12 Gloria IX
13 Sanctus XVIII
14 Agnus XVIII
DIVINE OFFICE
15 Antiphon Dixit Dominus & Ps 109
16 Antiphon Si offers & Magnificat
17 Response Credo
18 Hymn Lucis creator
19 Hymn Salve festa dies

http://www.solesmes.com/GB/editions/disques.php?

HT Chant Cafe.

"Music from the Thomas Gradual"

Here's an mp3 of a podcast from Harmonia Early Music, the website adjunct of a once-a-week radio program that seems to be a production of Indiana Public Media and perhaps also of Indiana University in Bloomington.  The podcast is mostly narrative text, but also includes some really lovely clips from two Gregorian Chant masses.

Here's the website itself - and below is the transcript of this podcast from that page.  The podcast is narrated by Janelle Davis, who's "a violinist and performer with period instrument ensembles throughout the United States. She is currently a candidate for the Doctor of Music degree from Indiana University, Bloomington where she specializes in early music."

The thing at the end about Bach and "altissima" is very interesting to me!  I've wondered for a long time about his use of that word in the B Minor Mass, and here's a good explanation.

Music from the Thomas Gradual

Two fourteenth-century Gregorian Masses from the library of the Leipzig Church of St. Thomas have been recently recorded for a new CD by the ensemble Amarcord.  The two masses on this recording are both preserved in a manuscript known as the Thomas Gradual.

Gradual

A gradual is basically a song book, or a book of Gregorian chants used during the Catholic mass. But, if you didn’t already know that bit of trivia, one of the nice things about this recording from the Apollon Classics label, is that the CD comes with a handy and wonderful informational book, laid out in an approachable interview format.  So, if you want to learn about the history of the Gradual, while enjoying a gorgeous performance, this recording really puts it all at your fingertips.

Dedication Mass

Of the two masses included on this recording, one is a mass for the dedication of the church, and the other is a mass honoring the apostle Thomas.  The dedication mass is the only mass where the Offertory music is supplemented by two extra verses. Sung as solos, these verses served a functional purpose in the mass. The extra music extended the length of the movement giving churchgoers time to bring personal possessions, gifts and offerings forward to the Alter during this part of the service.

Mass for St. Thomas

The other mass included on this CD is a mass for St. Thomas.  Named for the patron saint of the Leipzig Thomaskirche, the Thomas Gradual was a book probably written and intended for this very church, and thus would have been a high point of celebration each year for the local parish.

J.S. Bach

The Thomas Gradual is a valuable source of German medieval liturgical music, especially so because the Reformation in Germany did away with many other liturgical manuscripts from this geographical area.  But the Thomas Gradual continued to be used even into the Protestant years at the Thomaskirche.  One famous cantor who was likely familiar with the Thomas Gradual in the Leipzig Thomaskirche library was none other than J.S. Bach.

And now that you’re thinking about Bach, here’s something to consider. The Thomas Gradualhas some additions to the liturgy that are not really found anywhere else. One of these differences includes the addition of the word Altissima into the Gloria text. And get this! Bach also used the additional altissima text in his b minor mass. Since this addition is not part of the Latin Missal (and, by the way, not allowed in the Catholic liturgy), it seems likely that Bach could have used the Thomas Gradual as source material when composing his b minor mass.

Photo: Eric Pancer (wikipedia)

The exterior of Thomaskirche

"Why Gregorian Chant Rocks"

Just for the sake of pure enjoyment, here's a nice article by Judy Keane, in The Catholic Exchange:

Today we can scarcely go to a clothing store, a health club or even a gas station without being besieged by a variety of thumping, agitating and jarring music blasting from speakers above. While I appreciate a variety of music, I have found that Gregorian chant stands in stark contrast to the fatigue of today’s popular tunes which tends to dominate music charts across the globe. By its very nature, Gregorian chant supersedes the entertainment value of music by allowing us to step out of our fast-paced world and instead focus on the sacred. Standing the test of time, this early Christian song continues to enrich our Catholic culture and rouse the soul with holy inspirations. Originating as a form of plainchant, this great treasure of the Church began under the auspices of Pope Gregory the Great (540-604) who referred to it as “the song of Angels.” Early art depicts Pope Gregory as a music loving saint who received the gift of chant from a dove, representing the Holy Spirit, who came to sit upon his shoulder and began to sing in his ear. Born in the Church, its lyrics come from the Latin Vulgate, Mass ordinaries, divine office hymns, antiphons, and responsories. For centuries it has been sung in Latin as pure melody in unison without musical accompaniment, meter or time signature. It is music composed for the soul in which the words of God are lovingly sung back to him.

Gregorian chant continues to be kept alive in monasteries, convents, and some cathedrals while also remaining a subject of study among a small group of dedicated academics. Over the past few decades, the world has seen a resurgence of chant. In the 1990’s, an album aptly named Chant, performed by the Benedictine Monks of Santo Domingo de Silos (Spain) became the best-selling record of Gregorian chant ever. Emerging in 1994 as an antidote to the stress of modern life, Chant peaked at number three on the Billboard 200 chart. Similarly, the Cistercian Viennese Monks of Stift Heiligenkreuz, also shot to the top of classical music charts with their #1 selling album which also hit number nine on the pop charts!

So why does Gregorian chant rock? One reason is that it conveys the sacred to the secular. Contrary to the agitating sounds of hip hop, hard rock and heavy metal, Gregorian chant is instead a soothing balm for weary souls and a source of comfort for unsettled hearts. Inspiring and edifying, simple and poignant, this music of paradise slows our racing minds, renews our vigor, and eases the tensions of a harried world. It ethereal quality elevates us from the temporal and transports us to the spiritual.

Dr. Alan Watkins, a senior lecturer in neuroscience at Imperial College London noted that “the musical structure of chant can have a significant and positive physiological impact,” and that chanting has actually been shown to “lower blood pressure, increase levels of DHEA and also reduce anxiety and depression.” Similar studies also suggest that Gregorian chant can aid in communications between the right and left hemispheres of the brain more effectively, therefore creating new neural brain pathways.

Benedictine nun, Ruth Stanley, head of the complementary medicine program at Minnesota’s St. Cloud Hospitals also says she’s had great success in easing the chronic pain of patients by having them listen to chant. “The body can move to a deeper level of its own inherent, innate healing ability when you play chant. It’s quite remarkable.” In a 1978 documentary called “Chant,” French audiologist, Dr. Alfred Tomatis, related how he was called upon to help the monks of a Benedictine monastery who suffered from fatigue, depression, and physical illness. He found that they usually took part in six to eight hours of chanting per day but due to a new edict, their chanting was halted. When Tomatis succeeded in re-establishing their daily chanting, the monks regained their well-being and were again full of life. His conclusion was that Gregorian chant is capable of charging the central nervous system along with the cortex of the brain thus having a direct effect on the monk’s overall happiness and health.

Aside from noted physical, spiritual and metal benefits, Gregorian chant may even aid in the conversion of hearts. It is believed that well-known author and philosophy professor, Peter Kreeft listed the angelic chant music of Italian Renaissance composer Giovanni Pierluigi da Palestrina as one of the reasons he is Catholic today. Beyond this, Gregorian chant inspires and instructs. It allows us to regain our strength, our clarity and our focus on what is truly important in life. In his letter read at the 100^th anniversary of the Pontifical Institute of Sacred Music, Emeritus Pope Benedict spoke about the vital role Gregorian chant has played in Church history along with countering the argument that Chant is a thing of the past. Instead he praised Gregorian chant as being “of huge value to the great ecclesial heritage of universal sacred music,” and that “Mass must convey a sense of prayer, dignity and beauty.” The Second Vatican Council also noted that Gregorian chant should be given “pride of place” in liturgical music. Unfortunately, finding a church where chant is still sung is a daunting task.

On a personal level, I listen to Gregorian chant regularly at home, at work and while driving. I’ve found the more I listen to it, the more I recognize its spiritual and mental benefits. It calms me and lifts my mind from the challenges of the day to what is above. I even noticed my pets are calmer and more relaxed when chant fills my home! A friend of mine says it peacefully lulls her baby to sleep. Still others find playing it at home creates a tranquil family atmosphere in which to converse, eat, pray and live. Like the rhythm of a calm heartbeat, Gregorian chant fosters peace within ourselves and those around us. It is not music for the sake of music – but rather prayer that inspires prayer.

If you’ve not yet had the opportunity to enjoy the many benefits of Gregorian chant, there are some great CD’s and downloads available including those mentioned in this article. Why not give it a try! In comparison to much of today’s music, Gregorian chant is music that aims for heaven, the greatest goal of all! And because of that – it rocks!

Not to toot our own horns, but we've talked about the health benefits of chant and the psychological benefits of worship before!

"The Power of Gregorian Chant"

By Richard J. Clark at CCWatershed:

OME STYLES OF MUSIC do certain things better than others. I work in a parish that utilizes many styles from chant and polyphony to Gospel and contemporary. This is a product of three merged parishes, the preferences of the pastor, and the pastoral realities of an inner city parish. However, chant and polyphony are normative. They are present in some way at every liturgy.

While we do not process to the Introit propers from the Graduale Romanum, we often sing them as a prelude before mass in lieu of an organ prelude. This allows the congregation to enter into a prayerful state and meditate on the text which is provided on the worship aid.

Keep in mind, I am an organist who studied for many years with James David Christie, organist of the Boston Symphony Orchestra. I have a wonderful four manual, fifty rank pipe organ to play in an extraordinary acoustic. As I did not play any preludes or postludes during Lent (save Laetare Sunday), I am certainly itching to get back to letting the organ roar again!

However, I LOVE singing the Gregorian Introits as does my schola. They get EXCITED when we sing them. To forego an organ prelude on Easter Sunday speaks to the power of the Mode IV Introit, Resurrexi.

So this morning, something very blessed happened. Easter Sunday is filled with many people who are not regular churchgoers. Instead of griping about it, this is an opportunity to reach out and evangelize to those who do not attend church with any frequency.

As such, there was a standing room only overflow crowd of close to 1,000 people. There was a LOT of noise and talking before mass. It was certainly not a prayerful or reverent environment.

But then, amidst the cacophony the schola began to sing Resurrexi. By the time we got to the first “alleluia” there was a hush… The crowd slowly quieted down to a still silence. They listened through the antiphon, and the extraordinarily intimate verse from Psalm 139: “O Lord, you have searched me, and know me; you know when I sit and when I rise up.”  At the end of the last antiphon one could hear nothing—nothing at all. A crowd of nearly 1,000 people, many who don’t come to mass, many who may not prefer Gregorian Chant, many who know nothing about chant—fell silent.

I don’t know what was in their hearts and minds, but intuitively, a sense of reverence and awe prevailed. Perhaps for many it was a rare moment of stillness in a busy, noisy world. Perhaps it was an opportunity for interior prayer. Perhaps it was a moment to revel in presence of the Risen Christ—the Salvation of the World. My hope is that the ineffable mystery of the Resurrection shone forth in these words:

I am risen, and am always with you, alleluia; you have placed your hand upon me, alleluia; your wisdom has been shown to be most wonderful, alleluia, alleluia. v. O Lord, you have searched me and know me; you know when I sit down and when I rise up. Psalm 139: 18, 5, 6 and 1-2

Happy Easter!