The New Chantbooks From Solesmes (1990)

THE NEW CHANTBOOKS FROM SOLESMES
BY PETERJEFFERY
For Helmut Hucke

For Helmut Hucke
As many musicians know, the use of vernacular languages and pop-

ular music in the Roman Catholic liturgy since the Second Vatican Coun-
cil (1962-65) has brought about the widespread abandonment of Latin
and of Gregorian chant, particularly in the United States. While there
are many within the Church who would applaud this state of affairs,'
at the highest levels it was never officially intended that Gregorian chant
should disappear completely.2 The Council itself affirmed that "Gre-
Peter Jeffery, a Visiting Scholar at the Harvard University Center for Literary and Cultural Studies,
is on leave from the University of Delaware, where he is associate professor of music. He currently
holds a five-year John D. and Catherine T. MacArthur Foundation fellowship and is working on two
books: Liturgyand Chant in Early ChristianJerusalemand ProphecyMixed with Melody:From Early Christian
Psalmodyto Gregorian Chant.
1. Differing views on the role of Gregorian chant and other kinds of music in the contemporary
liturgy are expressed in: Liturgyfor the People: Essays in Honor of Gerald Ellard, S.J., 1894-1963, ed.
William J. Leonard (Milwaukee: Bruce, 1963); Joseph Gelineau, Voicesand Instrumentsin ChristianWor-
ship: Principles, Laws, Applications,transl. Clifford Howell (Collegeville, Minn.: Liturgical Press, 1964);
SacredMusic and LiturgyReformafter VaticanII: Proceedingsof the Fifth InternationalChurchMusic Congress,
Chicago-Milwaukee,August 21-28, 1966, ed. Johannes Overath (Rome: Consociatio Internationalis Mu-
sicae Sacrae, 1969); Lucien Deiss, Spiritand Song in the New Liturgy,transl. Lyla C. Haggard and Michael
L. Mazzarese (Cincinnati: World Library Publications, 1970; 2d ed., 1976); In Caritate et Veritate:
Festschriftfir Johannes Overath, ed. Hans Lonnendonker, Schriftenreihe des Allgemeinen Cacilien-
Verbandes fir die Lander der deutschen Sprache, 8 (Saarbriicken: Minerva-Verlag, Thinnes & Nolte,
1973); Conservareet Promovere:VI. InternationalerKongressfur Kirchenmusik,Salzburg, 26. August bis 2.
September1974, ed. Johannes Overath (Rome: Sekretariat der Consociatio Internationalis Musicae Sa-
crae, 1975); Francis P. Schmitt, ChurchMusic Transgressed:Reflectionson "Reform"(New York: Seabury,
1977); Growingin ChurchMusic: Proceedingsof a Meeting on "WhyChurchMusic?" Conductedby the Society
of St. Gregoryand Universa Laus, StrawberryHill, London, England, ed. and transl. Margaret Pol-Topis
et al. (Washington, D.C.: Universa Laus English Edition, 1979); Pastoral Music in Practice, ed. Virgil
C. Funk and Gabe Hucke (Washington, D.C.: Pastoral Press; Chicago: Liturgy Training Publications,
1981); Robert A. Skeris, ed., Crux et Cithara: SelectedEssays on Liturgy and Music, Musicae Sacrae Me-
letemata 2 (Alt6tting: Alfred Coppenrath, 1983); Miriam Therese Winter, WhySing? Towarda Theology
of CatholicChurchMusic (Washington, D.C.: Pastoral Press, 1984); Music and the Experienceof God:Liturgy
1989, ed. Mary Collins, David Power, and Melonee Burnim, Concilium: International Review of The-
ology 222 (Edinburgh: T. & T. Clark, 1989); Thomas Day, Why CatholicsCan't Sing: The Culture of
Catholicismand the Triumphof Bad Taste (New York: Crossroad 1990); The New Dictionaryof Sacramental
Worship,ed. Peter E. Fink (Collegeville, Minn.: Liturgical Press, 1990) 852-81. In the U.S., the "con-
servative" and "progressive" points of view are epitomized in the magazines Sacred Music, published
by the Church Music Association of America, and Pastoral Music, published by the National Association
of Pastoral Musicians.
2. The main official Vatican statements on Gregorian chant and liturgical music appear in English
translation in: International Commission on English in the Liturgy, eds., Documentson the Liturgy1963-
1979: Conciliar, Papal, and Curial Texts (Collegeville, Minn.: Liturgical Press, 1982), 1285-1352, es-
pecially the instruction Musicam Sacram of 1967, pp. 1293-1306. For statements by the bishops of the
United States see: ThirtyYearsof Liturgical Renewal: Statementsof the Bishops'Committeeon the Liturgy,ed.
Frederick R. McManus (Washington, D.C.: U.S. Catholic Conference, 1987), and Bishops' Committee
1039
1040 NOTES, June 1991
gorian chant . . . should be given pride of place in liturgical services,"

and it mandated more and better editions of the chant repertory: "The
editio typica of the books of Gregorian chant is to be completed and a
more critical edition is to be prepared of those books already published
since the reform of St. Pius X. It is desirable also that an edition be
prepared containing the simpler melodies for use in small churches."3
In fact many new editions of the chant repertory have appeared in re-
cent years, both at Solesmes and at the Vatican.4 These new editions, of
course, were intended primarily to support liturgical performance
rather than historical scholarship. What value, if any, do they have for
musicological study and teaching of the chant? Or for non-ecclesiastical
performers who are primarily interested in historical authenticity?
These kinds of questions have received too little discussion so far, par-
ticularly in English. The purpose of the present article is to introduce
the most important of the new publications, providing basic information
and outlining the major issues, so that real musicological evaluation of
them can begin.
REASONS FOR THE NEW EDITIONS
The Constitution on the Sacred Liturgy of Vatican II authorized three

kinds of new chant editions. Its call for the completion of the editiotypica5
refers to the familiar Editio Vaticana or Vatican Edition of the chant,
prepared in the early twentieth century by a commission appointed by
Pope Pius X (born 1835, reigned 1903-14) and chaired by Dom Joseph
Pothier (1835-1923).6 The Vatican Edition of the Graduale Romanum
on the Liturgy, Music in CatholicWorshipwith The NPM Commentary,ed. Virgil C. Funk (Washington,
D.C.: Pastoral Press, 1982).
3. Paragraphs 116-17 of the Constitution on the Liturgy. See the English translation in Documents
on the Liturgy, 24.
4. Solesmes publications can be obtained from its American agent: Paraclete Press, PO Box 1568,
Hilltop Plaza, Route 6A, Orleans, MA 02653; telephone: (800) 451-5006. Vatican publications, how-
ever, can only be obtained from the Vatican bookstore, which requires payment in advance: Libreria
Editrice Vaticana, 00120 Citta del Vaticano.
5. An editio typica, or typical edition, is the standard authorized edition published by the Vatican to
which all other editions by commercial publishers are to conform. See J. B. O'Connell, The Celebration
of Mass, 4th ed. (Milwaukee: Bruce Publishing Co., 1964), 7-8; Documentson the Liturgy, 304-5; and
The Codeof Canon Law: A Text and CommentaryCommissionedbythe Canon Law Societyof America,ed. James
A. Coriden et al. (New York and Mahwah, N.J.: Paulist Press, 1985).
6. The Vatican Commission was actually quite controversial in its time. Because so many issues re-
garding the editing and performance of the chant were not yet settled, many who were not members
of the Commission were quite critical of the editions that resulted. The most serious rivalry, however,
emerged within the commission itself, between the chairman, Dom Joseph Pothier of Saint-Wandrille,
and Dom Andre Mocquereau of Solesmes, who eventually felt compelled to withdraw from the Com-
mission altogether. A history of this period from Solesmes' point of view is: Pierre Combe, Histoire de
la restaurationdu chant gregorien d'apres des documentsinedits: Solesmeset l'Edition Vaticane (Abbaye de
Solesmes, 1969). Contemporary essays favoring either Pothier or Mocquereau are conveniently listed
in Ernesto Moneta Caglio, "Sacred Music," in The Commentaryon the Constitutionand on the Instruction
on the Sacred Liturgy, ed. A. Bugnini and C. Braga, transl. Vincent P. Mallon (New York: Benziger
The New Chantbooksfrom Solesmes 1041
and AntiphonaleRomanum7served as the basis of all later official editions

up to the time of Vatican II, especially the many publications of So-
lesmes, in which the controversial rhythmic signs developed by Dom
Andre Mocquereau (1849-1930) were added to the neumatic notation.
The most popular and best known of all these publications was of course
the book known as Paroissienromainin French and Liber Usualis in Latin,8
also issued in English as The Liber Usualis.9 Yet significant parts of the
medieval Gregorian repertory were never published in the Vatican Edi-
tion, notably the bulk of the music for Matins throughout the year'° and
Brothers, 1965), 244-67, see 260-61, n. 37. More recent studies include: Cuthbert Johnson, Prosper
Gueranger(1805-1875): A Liturgical Theologian:An Introductionto His Liturgical Writingsand Work,Ana-
lecta Liturgica, 9, Studia Anselmiana, 89 (Rome: Abbazia S. Paolo, 1984); Ralph William Franklin,
Nineteenth-CenturyChurches:The History of a New Catholicismin Wiirttemberg,England, and France (New
York: Garland, 1987); and Katherine Bergeron, "Representation, Reproduction, and the Revival of
Gregorian Chant at Solesmes (Ph.D. dissertation, Cornell University, 1989).
7. GradualeSacrosanctaeRomanaeEcclesiaede Temporeet de Sanctis Ss. D. N. Pii X. PontificisMaximiJussu
Restitutumet Editum Cui Addita Sunt Festa Novissima (Rome: Typis Vaticanis, 1908); Antiphonale Sacro-
sanctae Romanae Ecclesiae pro Diurnis Horis Ss. D. N. Pii X. Pontificis Maximi Jussu Restitutumet Editum
(Rome: Typis Polyglottis Vaticanis, 1912). After the reform of the Roman Breviary was completed, a
second edition of the Antiphonale appeared: AntiphonaleSacrosanctaeRomanaeEcclesiaepro Diurnis Horis
a Pio Papa X Restitutumet Editumet Ss. D. N. BenedictiXV AuctoritateRecognitumet Vulgatum(Rome: Typis
Polyglottis Vaticanis, 1919).
8. Paroissien romain, contenant la messe et loffice pour tous les dimancheset fetes doubles: Chant gregorien
(Solesmes: Imprimerie Saint-Pierre, 1896) and Liber Usualis Missae & Officiipro Dominiciset Festis Du-
plicibus, cum Cantu Gregoriano(Solesmes: E Typographaeo Sancti Petri, 1896), French and Latin editions
of the same book, were originally edited by Dom Mocquereau from (unspecified) medieval sources,
and appeared in five further editions in 1903 and 1904. After the publication of the Vatican Edition
the melodies were revised to conform to it, initially in separate volumes for the Mass and Office (one
of them cited in the next note), but then recombined into a single volume, Paroissien romain contenant
la messeet l'officepour les dimancheset lesfites, chant gregorienextraitde I'EditionVaticaneet signes rythmiques
des Benedictinesde Solesmesor LiberUsualis Missae et Officiipro Dominiciset FestisI. vel II. Classiscum Cantu
Gregorianoex EditioneVaticanaAdamussimExcerptoet RhythmicisSignis in SubsidiumCantoruma Solesmensibus
Monachis Diligenter Ornato (both Paris, Tournai, Rome: Desclee). There were many editions from 1913
until about 1963.
9. The LiberUsualis with Introductionand Rubricsin English, Editedbythe Benedictinesof Solesmes(Tournai:
Desclee) appeared in many editions between 1934 and 1963. However, some editions of the Latin Liber
Usualis before 1934, copublished by Desclee and the New York firm of J. Fischer & Bro., evidently
included two inserts in English: an 8-page explanation of the notation, titled simply "Preface," and a
16-page translation of the Latin rubrics throughout the volume, titled "Rubrics for the Laity." An
example of an edition containing these inserts is: Liber Usualis Missae pro Dominicis et Festis Duplicibus
cum Cantu Gregorianoex Editione Vaticana AdamussimExcerptoet RhythmicisSignis in SubsidiumCantorum
a SolesmensibusMonachisDiligenterOrnato,2d ed. (Rome, Tournai: Desclee; New York: J. Fischer & Bro.,
1910).
10. In 1913, after the original Vatican Commission under Pothier was dissolved following the com-
pletion of the Antiphonale, Solesmes was charged with completing the Vatican Edition by publishing
the rest of the medieval repertory. Over the decades much work was done on editing the music of
Matins, but the bulk of it was never published. The complete Matins music for Christmas, Holy Week,
the Office of the Dead, Pentecost, and Corpus Christi was published at various times, and thence
incorporated into subsequent editions of the Paroissien and Liber Usualis and other publications. The
remainder was never published in the Vatican Edition, though two unofficial publications of Matins
music, edited by Dom Joseph Pothier (for the monastic rather than the Roman rite) were kept in print:
ProcessionaleMonasticumad Usum CongregationisGallicae Ordinis Sancti Benedicti (Solesmes: E Typogra-
pheo Sancti Petri, 1893), and Liber Responsorialispro Festis I. Classis et CommuniSanctorumJuxta Ritum
Monasticum(Solesmes: E Typographeo Sancti Petri, 1895). The invitatories from the LiberResponsorialis
were also available separately as: Psalmus Venite Exsultemusper Varios Tonos cum Invitatoriispro Officiis
de Temporeet de Sanctis (Paris, Tournai, Rome: Desclee, 1928). Another edition of music for monastic
the less important parts of the Processionale." The publication of this

material was apparently what the Council Fathers had in mind.
The Council's call for "a more critical edition ... of those books al-
ready published" referred to the critical edition of the Graduale that
Solesmes had recently begun.'2 The first volumes to appear came in for
criticism on a number of issues,'3 leading to a rethinking of the entire
project.14 Nevertheless, a number of difficulties have conspired to en-
sure that no further volumes have appeared since the Council.
The desire expressed at the Council for "an edition ... containing the
simpler melodies for use in small churches" was hardly new. The fact
that much of the Gregorian Mass repertory is beyond the capabilities of
ordinary congregations (and even, it is said, of some of the choirs that
performed at the Council itself!) had always been the biggest obstacle
in all attempts to revive Gregorian chant in the modern Catholic liturgy.
Even before the Vatican Edition had been completed, some members
of the Commission were individually issuing unofficial collections in
which the Gregorian texts were set to psalm tones or other simplified
melodies.'5 In the ensuing decades many other such collections ap-
peared.'6 Now that such efforts had an official mandate from the Coun-
cil, however, the Vatican itself issued a "simple Kyriale" and a "simple
Matins was: Beatus Reiser, ed., Laudes Festivae: Lectionariumet Cantariumpro Diversitate Temporumet
Festorum([Vatican City:] Typis Polyglottis Vaticanis, 1932; 2d ed., 1940).
11. The most important processional chants, of course, were available in the various editions of the
GradualeRomanum,the Paroissien and Liber Usualis, and in the Rituale Romanum(at least since the Editio
Typica of 1925).
12. Le Graduel romain: Edition critiquepar les moines de Solesmes.Actually published were vol. 2: Les
Sources(Solesmes: Abbaye de Saint-Pierre, 1957) and vol. 4: Le Texteneumatiquein two parts (Solesmes:
Abbaye de Saint-Pierre, [1960], 1962). Projected but never published were vol. 1: Introductiongenerale,
vol. 3: Le Texte litteraire,and vol. 5: Le Texte melodique,though the Vatican bookstore, Libreria Editrice
Vaticana, was still advertising these volumes as forthcoming as late as 1978. See also Eugene Cardine,
"L'edition critique du Graduel," Revue gregorienne 29 (1950): 202-8.
13. See the book review by Rembert Weakland in Notes 19 (1961): 62-64; Francis de Meeus, "Pour
ledition critique du graduel romain," Scriptorium14 (1960): 80-97; S. J. P. Van Dijk, "Sources of the
Roman Gradual," ibid., 98-100.
14. Jacques Froger, "The Critical Edition of the Roman Gradual by the Monks of Solesmes," Journal
of the Plainsong and Medieval Music Society 1 (1978): 81-97.
15. See Amedee Gastoue, "Formulaire de recitatifs pour les graduels et chants ornes," La Tribunede
Saint-Gervais 16 (1910): 63-67, 130-37, 196-209, 252-59, 280-84. His book Recitatifsou chant simples
is
pour les graduels, traits, alleluias (Paris: Bureau d'Edition de la(<Schola Cantorum,»>date not given)
advertised ibid., 212, and 17 (1911): 42, and reviewed by F. Brun in Revue du chantgregorien 19 (1910):
31. A similar book by Giulio Bas, Gradualia, VersusAlleluiatici et Tractus in Cantu Simplici (Diisseldorf:
Schwann, date not given) is reviewed in La Tribune de Saint-Gervais 16 (1910): 95.
16. La Redaction, "Recitation melodique des graduels," Revue du chant gregorien 24 (1920-21): 111-
13, 145-46. J. Louis, Le graduel psalmodie (Chartres: Renier, date unknown) is reviewed by Yves De-
laporte in Revue gregorienne 15 (1930): 197-99; there was also a later edition (Paris: Lethielleux, 1959).
A supplement, titled "Graduals, Versicles of the Alleluia and Tracts in the Tones of the Simple or
Solemn Psalmody," appeared on pages [1]-[ 11] of an abridged edition of the Liber Usualis, entitled
Liber Brevior with the RhythmicSigns of Solesmes(New York and Tournai: Desclee; Toledo, Ohio: Gre-
gorian Institute of America, 1954).
The New Chantbooks from Solesmes 1043
Graduale";17 in the latter book simple antiphons from the Office were
substituted for the more elaborate chants of the traditional Mass rep-
ertory. Concern about the continuing erosion of interest in the chant
prompted Pope Paul VI to issue a small booklet of easy and relatively
familiar chants.18 It was sent to every bishop and the head of every
religious order throughout the world, with a request that at least these
melodies be promoted and taught to the faithful, and with a reminder
that the Council itself had ordered that "steps should be taken enabling
the faithful to say or to sing together in Latin those parts of the Ordinary
of the Mass belonging to them."'9 Toward this end a recording of the
chants in the booklet was released by Vatican Radio.20
Most of the new chantbooks issued since the Council do not fall exactly
into any of these three categories. They are neither strictly critical edi-
tions of the medieval repertory nor collections of the easiest melodies.
Neither do they complete the old pre-Conciliar Vatican Edition, for in
fact they were intended to replace it altogether. The main reason for
this replacement is a liturgical one. In the years following the Council
the liturgy underwent extensive reforms,21 amounting to much more
than mere translation into the vernacular.22 In fact the Roman rite was
17. KyrialeSimplex([Vatican City:] Typis Polyglottis Vaticanis, 1965). GradualeSimplex([Vatican City:]

Typis Polyglottis Vaticanis, 1967, 1968, 1975, 1988). English translations of the prefaces to these books
are published in Documentson the Liturgy, 1338-39, 1340-42, 1348-50. An English version of Graduale
Simplex was published as: The Simple Gradual for Sundays and Holy Days, ed. John Ainslie (London:
Geoffrey Chapman, 1969, rev. ed. 1970), but the music is by modern composers. See also Jean Claire,
"Note sur la musique du 'Graduale Simplex'," Ephemeridesliturgicae 81 (1967): 479-81.
18. Iubilate Deo: Cantus GregorianiFacilioresquos Fideles Discant Oportetad Mentem ConstitutionisConcilii
VaticaniII De Sacra Liturgia ([Vatican City:] Typis Polyglottis Vaticanis, 1974, 2d ed. 1986). An English
translation of the preface will be found in Documentson the Liturgy, 1329. A number of commercial
publishers followed suit by issuing their own editions, for example: Jubilate Deo: Easy Latin Gregorian
Chantsfor the Faithful Accordingto the Intent of the Constitutionon the Sacred Liturgy,Second VaticanCouncil,
ed. Jan Kern, Richard J. Wojcik, et al. (Chicago: G.I.A. Publications, 1974). Solesmes and the Con-
sociatio Internationalis Musicae Sacrae jointly published a slightly larger collection that includes most
of the same material: LiberCantualis (Solesmes: Abbaye Saint-Pierre, 1978). See also Ferdinand Portier,
LiberCantualis ComitanteOrgano:Accompagnementdu chantgregoriendespiecesdu LiberCantualis (Solesmes:
Abbaye Saint-Pierre; n.p.: Editions Gras, 1981).
19. Constitution on the Sacred Liturgy, 54, see Documentson the Liturgy, 15.
20. lubilate Deo, performed by the choir of the Pontificio Collegio Internazionale dei Benedettini di
S. Anselmo di Roma, under the direction of Dom Wolf Notker Werner, recorded by Radio Vaticana,
available from Libreria Editrice Vaticana on LP and cassette tape.
21. The most thorough history of the reform, written by one of the people most directly involved
in it, is Annibale Bugnini, The Reformof the Liturgy (1948-1975) (Collegeville, Minn.: Liturgical Press,
1990). Memoirs of other major figures include: Bernard Botte, From Silence to Participation:An Insider's
Viewof LiturgicalRenewal,transl. John Sullivan (Washington, D.C.: Pastoral Press, 1988); Aime-Georges
Martimort, "La Constitution liturgique: De sa preparation a sa mise en application," La Maison-Dieu
155-56 (1983) [two entire issues]; Martimort, "La Constitution sur la liturgie de Vatican II: Esquisse
historique," Bulletin de litteratureecclesiastique75 (1984): 60-74.
22. The progress of the reform is chronicled in the periodical Notitiae 1- (1965- ), published at first
by the Consilium ad Exsequendam Constitutionem de Sacra Liturgia, subsquently by its successor, the
Congregatio pro Cultu Divino, which also replaced the Congregatio Sacrorum Rituum set up in 1588
after the Council of Trent. The official documents outlining and explaining the reform of the liturgy
are translated in Documentson the Liturgy.See also Emil J. Lengeling, "Liturgiereform 1948-1975: Zu
completely rewritten and reorganized, so that the Order of Mass, the

structure of the Office, and the whole of the liturgical year are in many
respects quite different from what they were before the Council.23 It is
this new liturgy, not the liturgy in use before the Council, that was trans-
lated into the vernacular and (with few exceptions) is now celebrated
everywhere.24 As a result, it is quite impossible to use the Vatican Edition
or the old Solesmes books in celebrations of the new liturgical services,
even in those relatively few churches and monasteries where interest in
Gregorian chant has persisted,25 simply because there are so many dif-
ferences between the old services and the new. Thus the primary pur-
pose of the new chantbooks is to present the chant melodies in a new
arrangement that fits the new orders of service and the new liturgical
year.
At the same time, this need to revise the chantbooks was seen as a
welcome opportunity to make editorial and typographical improvements
in the presentation of the medieval chant melodies. It is mainly for this
latter reason that the new books deserve the attention of the community
einem aufschlussreichen Rechenschaftsbericht," TheologischeRevue 80 (1984): 266-84; Armando Cuva,

"I nuovi libri liturgici," Salesianum 46 (1984): 787-99, reprinted in Notitiae 21 (1985): 394-408, and
in Costituzioneliturgica .Sacrosanctum Concilium>: Studi, ed. Congregazione per il Culto Divino, Bi-
bliotheca «Ephemerides Liturgicae>, <Subsidia> 38 (Rome: Edizioni Liturgiche, 1986), 603-17; and
Bishops' Committee on the Liturgy, Ritual Revision: A Status Report, BCL Report 2 (Washington, D.C.:
U. S. Catholic Conference, 1981).
23. There is, of course, a vast bibliography on the historical and theological rationale justifying these
changes. Among the more important works in English are: Ernest Benjamin Koenker, The Liturgical
Renaissancein the Roman CatholicChurch(Chicago: University of Chicago Press, 1954); R. Kevin Seasoltz,
The New Liturgy: A Documentation,1903-1965 (New York: Herder & Herder, 1966); Josef Andreas
Jungmann, "Constitution on the Sacred Liturgy," in Commentaryon the Documentsof Vatican II, ed.
Herbert Vorgrimler (New York: Herder & Herder, 1967), vol. 1, 1-87; Lancelot Sheppard, ed., The
New Liturgy(London: Darton, Longman & Todd, 1970); Josef A. Jungmann, The Mass: An Historical,
Theological,and Pastoral Survey (Collegeville, Minn.: Liturgical Press, 1976); Cipriano Vagaggini, Theo-
logical Dimensionsof the Liturgy, translated by L. J. Doyle and W. A. Jurgens (Collegeville, Minn.: Li-
turgical Press, 1976); Adrian Nocent, The Liturgical Year, 4 vols., transl. Matthew J. O'Connell
(Collegeville, Minn.: Liturgical Press, 1977); R. Kevin Seasoltz, New Liturgy, New Laws (Collegeville,
Minn.: Liturgical Press, 1980); A. G. Martimort, ed., The Church at Prayer, rev. ed., 4 vols., transl.
Matthew J. O'Connell (Collegeville, Minn.: Liturgical Press, 1986-88); Edward J. Kilmartin, Christian
Liturgy: Theologyand Practice, 1: SystematicTheologyand Liturgy (Kansas City: Sheed and Ward, 1988);
Aidan Kavanagh, "Liturgy (SacrosanctumConcilium),"in Modern Catholicism:Vatican II and After, ed.
Adrian Hastings (London: Society for Promoting Christian Knowledge; New York: Oxford University
Press, 1991), 68-73.
24. An indult or permission to celebrate Mass according to the last pre-Conciliar edition of the Missale
Romanum(1962), under very limited circumstances, and only with the agreement of the local bishop,
was granted by the Congregatio pro Cultu Divino in its letter Quatuorabhinc annos of 3 October 1984;
an English translation is published in Origins:NC DocumentaryService 14 (1984-85): 290. See also "Tri-
dentine Mass Permission Criticized," ibid., 334-35. More recently, in the Apostolic Letter Ecclesia Dei
of 2 July 1988, the Pope requested bishops to make "wide and generous application of the directives"
in the 1984 letter; see the translation in Origins 18 (1988-89): 149, 151-52.
25. A directory of churches in the United States where Latin liturgies are regularly or sporadically
celebrated is published from time to time by the Latin Liturgy Association and updated in its Newsletter.
Subscriptions can be obtained from the Secretary, John M. Spangler, at P.O. Box 575, Versailles, KY
40383-0575. On the present state of musical life in Benedictine monasteries throughout the world,
see note 56 below.
of chant specialists and musicologists.26 In fact, almost all the changes

and improvements that were made (except those dictated by liturgical
considerations) grew out of the ideas of the late Dom Eugene Cardine
(1905-1988), who exercised a wide-ranging influence on European
chant scholarship during his long teaching career at the Pontifical In-
stitute of Sacred Music in Rome.27 Cardine's understanding of the me-
dieval neumes, based on a lifetime of painstaking investigation and
comparison, is presented in the two textbooks he wrote for his courses,
the most important of which is his Semiologiegregorienne.28
NEW CHANTBOOKS FOR THE MASS

The new Missale Romanum was promulgated by Pope Paul VI in
1969.29 For the Order of Mass itself, this book contained a number of
priestly prayers and other texts that needed to be provided with new
music, either because they had not been part of the old rite, or because
they had formerly been recited quietly rather than sung out loud. The
music was supplied mostly by adapting the traditional prayer tones that
had always been used for the orations of the Mass. After some interim
26. See also Natale Ghiglione, "Graduale Romanum, Graduel neum6, Graduale Simplex, Graduale
Triplex, Psalterium Monasticum," Rivista internazionaledi musica sacra 4 (1983): 220-23.
27. Cardine's publications, and dissertations he directed, are listed in Ut Mens ConcordetVoci:Festschrift
Eugene Cardine zum 75. Geburtstag,ed. Johannes Berchmans Goschl (St. Ottilien: EOS Verlag, 1980),
488-94. His self-described "testament," dated 1984, was published posthumously as "Les limites de la
semiologie en chant gregorien," Etudesgregoriennes23 (1989): 5-10. See also: Jesus Maria Muneta, "La
semiologia, fuente de interpretaci6n del canto gregoriano," Tesorosacromusical 57 (1974): 44-46; Nino
Albarosa, "The Pontificio Istituto di Musica Sacra in Rome and the Semiological School of Eugene
Cardine," Journal of the Plainsong and Medieval Music Society6 (1983): 26-33; Associazione Amici della
Musica di Arezzo, L'interpretacidne del canto gregorianooggi: Atti del ConvegnoInternazionaledi Canto Gre-
goriano, Arezzo,26-27 agosto 1983, ed. Domenico Cieri (Rome: Pro Musica Studium, 1984); Johannes
Berchmans Goschl, "Der gegenwartige Stand der semiologischen Forschung," Beitrage zur Gregorianik
1 (1985): 43-102; and Jean Claire, "Dom Eugene Cardine (1905-1988)," Etudesgregoriennes23 (1989):
11-26.
28. For the first year, Cardine used the Liber Usualis and a textbook he had written, first published
under the title Primo anno di canto gregoriano (Rome: Pontificio Istituto di Musica Sacra, 1970). The
French text, in the author's native tongue, appeared subsequently as PremiereAnnee de chant gregorien
(Rome: Institut Pontifical de Musique Sacree, 1975). It has been translated into English by his student
William Tortolano and published under the title Beginning Studies in GregorianChant (Chicago: G.I.A.
Publications, 1988). The textbook for the second year appeared first in Italian as Semiologiagregoriana
(Rome: Pontificio Istituto di Musica Sacra, 1968). Shortly thereafter it was published in French as
Semiologiegregorienne,Etudes gregoriennes, 11 (Solesmes: Abbaye Saint-Pierre 1970). A Japanese trans-
lation appeared in 1979 according to Ut Mens ConcordetVoci, 488. The English translation by Robert
M. Fowells (misprinted "Fowels"!), is entitled GregorianSemiology(Solesmes: Abbaye Saint-Pierre, 1982).
It contains some revisions and additions, most notably the table of Messine neumes on pp. 14-15, and
thus appears to be the last and best recension of the work.
29. The first edition actually appeared the following year: Missale Romanum ex Decreto Sacrosancti
OecumeniciConcilii Vaticani II InstauratumAuctoritatePauli Pp. VI Promulgatum,Editio Typica ([Vatican
City:] Typis Polyglottis Vaticanis, 1970, repr. 1971); Editio Typica Altera (1975). See Documentson the
Liturgy, 457-551.
publications,30 this material finally stabilized in the book Ordo Missae in

Cantu.31
Of course the new Missal also contains the texts of many proper
"chants," though often these are different from the corresponding texts
of the Gregorian repertory. The case is somewhat understated in the
Pope's Apostolic Constitution, published in the front of the new missal,
which says, "The text of the Graduale Romanum has not been changed
as far as the music is concerned. In the interest of their being more
readily understood, however, the responsorial psalm (which St. Augus-
tine and St. Leo the Great often mention) as well as the entrance and
communion antiphons have been revised for use in Masses that are not
sung."32 In fact the responsorial psalms, which replace the Gregorian
graduals, are not found in the new Missal itself, but in the new three-
volume Lectionary, along with the epistle and gospel readings, the al-
leluias, and the versus ante evangelium, which replace the tracts.33 The
introits and communions, which are found in the Missal proper, have
had their psalm verses excised, which is what was meant by the statement
that "in the interest of their being more readily understood [they have
been] revised for use in Masses that are not sung." In most cases, of-
fertory texts are not given at all. In spite of all this, it is still permitted
to replace the text in the new Missal or lectionary with the traditional
30. Some of these had originally been published in Cantus Qui in Missali Romano Desideranturiuxta
Instructionemad ExsecutionemConstitutionisDe Sacra LiturgiaRecteOrdinandamet iuxta Ritum Concelebrationis
([Vatican City:] Typis Polyglottis Vaticanis, 1965), partially reprinted in the U.S. in Walter D. Miller,
Revised Ceremonialof the Mass (Paterson, N. J.: St. Anthony Guild Press, 1965), 287-92. Others first
appeared in De OrationeCommuniseu Fidelium (Vatican City: Libreria Editrice Vaticana, 1966), 170-72,
and Ritus Servandusin Concelebratione Missae et Ritus Communionissub UtraqueSpecie([Vatican City:] Typis
Polyglottis Vaticanis, 1965), the latter replaced by PrecesEucharisticaepro Concelebratione([Vatican City:]
Typis Polyglottis Vaticanis, 1972). See also Documentson the Liturgy, 553-64. On the creation of some
of these new melodic adaptations see: Michel Robert, "Les chants du celebrant," Revue gregorienne41
(1963): 113-26; Robert, "Le canon devrait-il etre chante?" Revue gregorienne 42 (1964): 84-90; and
Jean Claire, "Deux melodies pour le chant du canon," ibid., 91-101. The large number of new prefaces
were first published with the notation of the traditional preface tone in Praefationesin Cantu, Missale
Romanum Auctoritate Pauli Pp. VI Promulgatum (Solesmes: [Abbaye Saint-Pierre, 1972]).
31. OrdoMissae in Cantu, Missale Romanum Auctoritate Pauli Pp. VI Promulgatum (Solesmes: [Ab-
baye Saint-Pierre,] 1975). See also LiberConcelebrantium: Sanctuset PrecesEucharisticaein Cantu (Solesmes:
Abbaye Saint-Pierre, 1977).
32. Documentson the Liturgy, 460.
33. Lectionarium, Editio Typica, 3 vols., Missale Romanum ex Decreto Sacrosancti Oecumenici Concilii
Vatican II Instauratum Auctoritate Pauli Pp. VI Promulgatum ([Vatican City:] Typis Polyglottis Va-
ticanis, 1970, 1971, 1972). The prefaces and other documentation are translated in Documentson the
Liturgy, 565-92. This typical edition has now been superseded by OrdoLectionumMissae, Editio Typica
Altera (Vatican City: Typis Polyglottis Vaticanis, 1981). The most significant difference between the
new Lectionary and the pre-Conciliar rite is that, whereas formerly the same series of readings was
used every year, there is now a three-year cycle for Sundays and a two-year cycle for weekdays, so that
a wider selection of passages from the Bible will be heard by the people. A popularizing explanation
that I once wrote was published with the journalistic title "The Lectionary: What It Is, What It Does,"
Ligourian, January 1979: 51-54; reprinted in Aids in Ministry 7/3 (Fall 1979) 18-19, 31.
Gregorian chant as found in the current edition of the Graduale Ro-

manum if the Mass is celebrated with Gregorian chant.34
In 1973, to make it possible to perform Gregorian chant in the new
Mass rite, the Vatican published Ordo Cantus Missae,35in which many
chants of the pre-Conciliar Graduale are listed in a new arrangement,
reassigned to appropriate places in the new orders of service and the
new liturgical year.36 Some, but not all, of the modern compositions by
Solesmes monks were excised,37 and a few authentic medieval pieces that
were not in the Vatican Edition have been reintroduced.38 On the other
hand, the performance practice for many of the chants has been mod-
ified. For both the antiphonal chants (the introits and the communions)
and the responsorial chants (the graduals, alleluias, and offertories) the
performance has been simplified to a mere alternation, between the
verses sung entirely by the cantors and the refrain sung by the choir (or
34. See Documentson the Liturgy, 475, 478, 481, 484.

35. OrdoCantusMissae, Editio Typica ([Vatican City:] Typis Polyglottis Vaticanis, 1973), Editio Typica
Altera (1988). An English translation of the preface is given in Documentson the Liturgy 1344-47. See
also: Jean Claire, "L'«Ordo Cantus Missae>," Notitiae 8 (1972): 221-26; Mary Berry, "Ordo cantus
missae," The New Grove Dictionaryof Music and Musicians, vol. 13, 701-2.
36. In particular, it should be noted that on some Sundays there are two or three communions,
designated A, B, and C, corresponding to the three-year cycle of readings. This system is intended
to preserve the historical relationship between many communion texts and the Gospel readings from
which they are derived. More rarely, when there is a textual relationship between another chant and
a Bible reading, alternatives will be given for it too.
37. The preface is not entirely clear about this: "The elimination, particularly in the case of saints'
feasts, of passages that are late, neo-Gregorian imitations means that only authentically Gregorian
chants remain. Nevertheless it remains permissible, for those who wish, to keep and sing neo-Gregorian
melodies. None has been completely eliminated from the Graduale Romanum; in fact for several of
received usage no substitution has been made (for example, chants for the solemnities of the Sacred
Heart, Christ the King, the Immaculate Conception). On the other hand, melodies from the authentic
corpus and, where possible, connected with the same text, have replaced neo-Gregorian melodies." See
Documentson the Liturgy, 1344. While it was prudent to permit continued use of the "neo-Gregorian"
melodies for those few choirs that are accustomed to them, the rest of us would have been better served
by clear identification of all the non-medieval pieces. Even on the three feasts mentioned, not all the
chants are of modern origin; it would be better to list completely, or otherwise identify, all the chants
in the book that date from recent centuries. For a step in this direction, see note 50 below. Some of
the modern compositions and contrafacts in the Vatican Edition are discussed in: Joseph Pothier,
"<Alleluia f Discite a me» de la messe du Sacre Coeur," Revuedu chantgregorien6 (1897): 157-61; Alfred
Dabin, "L'Office de la Bienheureuse Jeanne d'Arc," La Tribunede Saint-Gervais21 (1919-20): 89-93,
113-16, cf. La Tribunede Saint-Gervais 16 (1910): 107-8, 118-19, 128; Pothier, "Introit <Dabo vobis
Pastores> sur le chant de l'Introit <Rorate caeli desuper>," Revue du chantgregorien20 (1911-12) 101-7;
Amedee Gastoue, "<L'Alleluia i Quasi rosa> en l'honneur de Sainte Therese de l'Enfant-Jesus," Revue
du chant gregorien 30 (1926): 45-47; G. Gontard, "La priere gregorienne: La fete de Notre-Seigneur
Jesus-Christ roi," Revue du chant gregorien 31 (1927): 144-50; Gontard, "La fete du Sacre-Coeur: Sa
derniere evolution liturgique," Revue du chant gregorien 33 (1929): 85-88; Joseph Gajard, "La messe
du Christ-Roi," Revue gregorienne 25 (1946): 168-76; Gajard, "La nouvelle messe de
l'Assomption,"
Revue gregorienne30 (1951): 121-40; and Jean Claire, "Notre Dame de Lourdes," Revue gregorienne36
(1957): 190-205.
38. Paul Ludwig, "Les sources des chants reintroduits dans 1' 'Ordo Cantus Missae,'" Notitiae 10
(1974): 92-94. The 1988 edition of Ordo Cantus Missae also identifies the sources of these chants, see
p. 243. See also Dominique M. Fournier, "Sources scripturaires et provenance liturgique des pieces
de chant du Graduel de Paul VI," ltudes gregoriennes21 (1986): 97-114, 22 (1988): 109-75, and 23
(1989): 27-69.
congregation). Formerly the alternation between soloist and choir was

more complicated, in both the antiphonal and the responsorial chants.39
Similarly, Ordo Cantus Missae follows the new Missal in changing the
shape of the Kyrie, directing that the phrases "Kyrie eleison" and
"Christe eleison" be sung only twice, except where the musical setting
requires the traditional three times each. This too may serve to make
congregational participation easier, and it brings the Kyrie closer in
form to the litanies from which it presumably developed.40
The Ordo Cantus Missae was expanded into a complete book at So-
lesmes and published as the new Graduale Romanum in 1974.41 For the
most part the melodies are simply reprinted from earlier editions of the
Editio Vaticana with very few changes. The two most common changes
seem to be (1) the more frequent use of slurs,42 and (2) the regularization
of differentiae in the introit psalm tones.43 A number of subsidiary pub-
39. The old rules were given in a section of Joseph Pothier's preface to the Vatican Gradualeof 1908,
translated as "Rubrics for the Chant of the Mass," in every edition of The Liber Usualis, xv-xvi. There
has been too little scholarly discussion of the historical basis for these rubrics, but see Pierre Thomas,
"Le chant et les chantres dans les monasteres benedictins anterieurs au XVe siecle," in Melanges bene-
dictinspublieesa l'occasiondu XIVecentenairede la mortde Saint Benoitpar les moinesde l'Abbayede Saint-JerOme
de Rome (S. Wandrille and Paris: Editions de Fontenelle, 1947), 405-47.
40. For the history see Peter Jeffery, "Litany," Dictionaryof the Middle Ages, vol. 7 (New York: Charles
Scribner's Sons, 1986), 588-94.
41. GradualeSacrosanctaeRomanaeEcclesiaede Temporeet de Sanctis, PrimumSancti Pii X Iussu Restitutum
& Editum, Pauli VI PontificisMaximi Cura Nunc Recognitum,ad Exemplar'OrdinisCantusMissae' Dispositum
(Solesmes: Abbaye Saint-Pierre, 1974 and subsequent reprints). See also Eugene Cardine, "«Graduale
Sacrosanctae Romanae Ecclesiae>," Notitiae 10 (1974): 404-7, and the book review by Helmut Hucke
in Die Musikforschung30 (1977): 363-64. The following multi-volume study of the Gregorian Mass
music, by Ferdinand Haberl, is based on this edition and is thus in effect a commentary on it: Das Kyriale
Romanum:Liturgischeund musikalischeAspekte,Schriftenreihe des Allgemeinen Cacilien- Verbandes fur
die Lander der deutschen Sprache, 10 (Bonn: Sekretariat des ACV, 1975); Das Graduale Romanum:
Liturgischeund musikalischeAspekte, 1: Die antiphonalen Gesange, Introitus und Communio,Schriftenreihe
des Allgemeinen Cacilien-Verbandes fur die Lander der deutschen Sprache, 11 (Bonn: Sekretariat des
ACV, 1976); Der responsorialeGesang des gregorianischenGraduale (Rome: Pontificio Istituto di Musica
Sacra; [Vatican City:] Tipografia Poliglotta Vaticana, 1979); Das gregorianischeAlleluia der heiligen Messe,
Schriftenreihe des Allgemeinen Cacilien-Verbandes fur die Lander der deutschen Sprache, 14 (Re-
gensburg: [Sekretariat des ACV?]; [Vatican City:] Tipografia Poliglotta Vaticana, 1983).
42. Though there is no explanation of the slurs in the book, they seem to have been added for two
reasons. Some have been inserted to indicate places where the medieval manuscripts indicate a
as
syneresis-that is, the same vowel at the end of one word and the beginning of the next is treated
a single syllable. The Vatican Edition, on the other hand, split the melisma or added notes to keep
the two syllables separate. For an example compare the medieval neumes of "Esto mihi" with the
modern printed notation on pp. 275, 301 (this comparison is most easily made by consulting the same
out
pages in Graduale Triplex, see note 49 below). Most of the slurs, however, are intended to cancel
barlines that the Solesmes monks judge to have been erroneously inserted in the Vatican Edition. See
for instance the gradual, alleluia, and offertory on pp. 320-22. Slurs were already being used for this
"terrae:
purpose (though much more sparingly) in the old Solesmes editions, for instance at the words
iustitia" in the introit Suscepimus(see p. 315 of Graduel neume, cited below, note 51). Compare Dom
Cardine's comment, "The Vatican [Edition] bar lines are generally correct, except for some quarter
bar lines which should be changed or even removed" in Beginning Studies in Gregorian Chant, 8.
43. In some modes, the old Vatican Edition directed that the differentiae, or "saeculorum amen"
endings, of the psalm tones were to be sung in full only after the Gloria patri and not after the psalm
verse itself. See for example, the very first introit, Ad te levavi for the First Sunday of Advent. The
new Graduale of 1974 has normalized all these cases so that the entire differentia is sung after every
verse (compare the same introit, p. 15); this practice seems to be more faithful to the early medieval
practice.
lications have been based on the 1974 Graduale,including an edition with

organ accompaniments.44 The section containing the chants for the Or-
dinary of the Mass has also been published separately, under the title
Kyriale.45It includes essentially the same Ordinary repertory as the last
pre-Conciliar editions of the Gradualeand TheLiber Usualis, though a few
pieces occur in a different order.46 However the melodies of the "Ite
missa est" and "Benedicamus Domino," which are generally melismas
excerpted from various Kyrie melodies, have nearly all been removed,
doubtless because they are absent from the new Missal.47
The Masses for Sundays and the most important feasts have been
excerpted in Missel gregorien, and its English counterpart The Gregorian
Missal.48Intended for congregational use, these books are regarded as
partly replacing the Paroissien and Liber Usualis, and they include ver-
nacular translations of the chant texts (for informational purposes, not
for singing). The book of greatest interest to scholars is the Graduale
Triplex,49a reprint of the 1974 Graduale with the neumes of St. Gall
manuscripts and Laon MS 239 added below and above the printed no-
tation.50 It is thus a successor to Dom Cardine's Graduelneume, in which
he added neumes from St. Gall manuscripts to a copy of the 1908 So-
lesmes edition of the Vatican Graduale.5'Cardine's pioneering work has
44. Ferdinand Portier, Graduale Romanum ComitanteOrgano, 3 vols. (Solesmes: Abbaye Saint-Pierre,
1984, 1985, 1986).
45. Kyriale (Solesmes: Abbaye Saint-Pierre, 1985).
46. For instance, the Kyrie that used to be printed as number X in the "ad libitum" section, actually
an early form of the Kyrie Orbisfactor, is now printed together with the more familiar Orbisfactor in
Mass XI. Similarly Kyrie 'ad libitum' XI is now printed with a later form of the melody in Mass XVII.
On the dates and interrelationships among the Kyrie melodies, see Michel Huglo, "Origine et Diffusion
des Kyrie," Revue gregorienne37 (1958): 85-87 and fold-out following 96; and Georges Benoit-Castelli,
"Bibliographie et discographie des Kyrie," ibid., 144-50.
47. See "De Formulis Melodiis Musicis Ditandis in Editionibus Vulgaribus Missalis Romani," Notitiae
11 (1975): 129-32.
48. Missel gregorien des dimanches,note en chant gregorien (Solesmes: Abbaye Saint-Pierre, 1985); The
GregorianMissal for Sundays, Notated in Gregorian Chant by the Monks of Solesmes(Solesmes: Abbaye de
Saint-Pierre, 1990). See my forthcoming review in Worship.
49. Graduale Triplex seu Graduale RomanumPauli Pp. VI Cura Recognitum& RhythmicisSignis a Soles-
mensibusMonachis Ornatum,Neumis Laudunensibus(Cod. 239) et Sangallensibus(CodicumSan Gallensis359
et Einsiedlensis121) Nunc Auctum, the medieval neumes ed. Marie-Claire Billecocq and Rupert Fischer
(Solesmes: Abbaye Saint-Pierre, 1979).
50. This book provides some assistance in weeding out the non-medieval pieces, since (of course)
these chants could not be provided with neumes from the St. Gall or Laon manuscripts. Further in-
formation is given at the beginning of the index, p. 893: "For the chants of the Mass, a handwritten
crossindicates more recent chants lacking neumes. Moreover, the alleluia verses which seem authentic,
and will be found in the critical edition of the Graduale, are marked with an asterisk."Even this ex-
planation is less than adequate, however. Some of the "more recent chants" existed in the Middle Ages,
such as the Alleluia i Dulce lignum, p. 598; they are not distinguished from the outright modern com-
positions and contrafacts, such as the two alleluias for St. Joseph on pp. 558-59. On the other hand,
the alleluias that have neither a cross nor an asterisk are still medieval pieces; it is not clear on what
basis they have been judged not to be "authentic" and excluded from the yet-to-be-published critical
edition.
51. Graduelneume, ed. Eugene Cardine (Solesmes, [1966, 1975]). This is a facsimile edition of a copy
of Graduale SacrosanctaeRomanae Ecclesiaede Temporeet de Sanctis Ss. D. N. Pii X. PontificisMaximiJussu
Restitutumet Editum,ad ExemplarEditionis TypicaeConcinnatumet RhythmicisSignis a SolesmensibusMonachis
inspired other neumated editions: Karl Ott's Offertorialehas been re-

printed with the neumes of Laon 239 and Einsiedeln MS 121,52 and
Dom Joseph Pothier's ProcessionaleMonasticumwith neumes from the
Hartker antiphoner.53 The old Solesmes anthology Cantus Selecti,which
contained a number of sequences and other interesting material from
outside the central Gregorian repertory, has been reprinted without
added neumes.54
NEW CHANTBOOKS FOR THE DIVINE OFFICE
The new Office of the Roman Rite was promulgated in 1970 with the
title Liturgia Horarum (Liturgy of the Hours), replacing the Breviarium
Romanumin use before the Council.55 However the Roman Office is used
mainly in secular or non-monastic churches. Many religious orders, par-
ticularly those of medieval origin, have their own traditional rites for the
Office, and have thus been responsible for undertaking their own re-
forms. Some of these orders, like the Dominicans, chose simply to adopt
the new Roman Office outright rather than attempt to revise their own
tradition. In the highly decentralized Benedictine order, however, each
monastery must decide for itself how to reform its own liturgical Office.
Not suprisingly, therefore, a broad spectrum of attitudes and practices
has emerged with regard to the continued use of Latin Gregorian
chant.56 To assist monasteries in reforming their liturgies, the Secre-
DiligenterOrnatum(Rome, Tournai: Desclee, 1908), in which Cardine added the staffless St. Gall neumes
by hand. In 1990 Solesmes announced the publication of Dominique Fournier, Semiologieesthetiquedu
chant gregoriend'apresle Graduelneume de Dom Cardine(Solesmes: Abbaye Saint-Pierre), but at press time
it was not yet obtainable in the United States.
52. The original edition, Offertorialesive VersusOffertoriorum:Cantus Gregoriani,ed. Carolus Ott (Paris,
Tournai, Rome: Desclee, 1935), was first reprinted with the title Offertoiresneumesavec leursversetsd'apres
les manuscritsLaon 239 & Einsiedeln 121, ed. Rupert Fischer (Solesmes: Abbaye Saint-Pierre, 1978), then
further revised and reprinted as OffertorialeTriplexcum Versiculis,ed. Rupert Fischer (Solesmes: Abbaye
Saint-Pierre, 1985).
53. ProcessionaleMonasticum(Solesmes: Abbaye Saint-Pierre, 1983). For the original edition, see note
10 above. The Hartker antiphoner, St. Gall MSS 390-391, was published in facsimile in Paleographie
musicale, 2d series, vol. 1: Antiphonalede B. Hartker, [ed. Andre Mocquereau] (Solesmes: Imprimerie
Saint-Pierre, 1900).
54. It was originally published with the title Cantus Selecti ad BenedictionemSanctissimiSacramentiex
Libris Vaticanis et SolesmensibusExcerpti (Paris, Tournai, Rome: Desclee, 1949). The reprint, entitled
simply Cantus Selecti ex Libris Vaticaniset SolesmensibusExcerpti(Solesmes: [Abbaye Saint-Pierre], 1989),
includes almost all the music but omits the detailed instructions for the Benediction service (formerly
on pp. v-xiii, no longer in agreement with current liturgical regulations), and the very useful list of
sources (formerly on pp. 280-91).
55. Liturgia HorarumIuxta Ritum Romanum,Editio Typica, Officium Divinum ex Decreto Sacrosancti
Oecumenici Concilii Vaticani II Instauratum Auctoritate Pauli Pp. VI Promulgatum, 4 vols. ([Vatican
of
City:] Typis Polyglottis Vaticanis, 1971-72); Editio Typica Altera (1986-88). English translations
the prefaces and other documentation will be found in Documentson the Liturgy, 1085-1145.
56. See the following books by David Nicholson: Liturgical Music in BenedictineMonasticism:A Post-
Vatican II Survey, 1: The Monasteriesof Monks (St. Benedict, Oregon: Mount Angel Abbey, 1986), and
2: The Monasteriesof Nuns (1987); Liturgical Music in CistercianMonasticism,3: The Monasteriesof Monks
and Nuns of the Orderof Cisterciansand the Orderof Cisterciansof the StrictObservance(1988); and Liturgical
Music in Anglican BenedictineMonasticism(1990).
tariat of the Abbot Primate of the Order of St. Benedict published The-
saurus Liturgiae Horarum Monasticae, an anthology of materials and
suggestions upon which each monastery may draw.57 Some have man-
aged to retain all or part of the traditional Benedictine Office, and for
that reason the old Antiphonale Monasticum has been reprinted.58 The
special edition for the Solesmes congregation, however, has not been
reprinted in full, except for a small book of excerpts, containing chants
for monastic saints.59
The Ordo Cantus Officii for the Roman Office did not appear until
1983.60 The completely different arrangement of the psalms has ne-
cessitated much rearrangement of the antiphons,61 and the drastic re-
duction in the number of readings means that only a small number of
great responsories are called for. The new AntiphonaleRomanum is still
in preparation, but parts of it have already appeared. It has been de-
cided to issue the new edition of Office chants in two volumes, entitled
Liber Antiphonariusand Liber Hymnarius. For volume 1, containing the
antiphons of the day hours, there will be two editions, one for the Ro-
man Office and the other for the Monastic. Though there is as yet no
sign of the Roman edition of volume 1, a number of publications exist
that can be regarded as preparing the way for the Monastic edition of
this volume. A monastic psalter that can be used with either the tra-
ditional Benedictine Office or the alternate schemata of the new The-
saurus was published in 1981; it contains the weekly cursus of psalms
with the melodies of the ferial antiphons.62 A Latin-French edition was
57. Secretariatus Abbatis Primatis OSB, ThesaurusLiturgiae Horarum Monasticae (Rome: Tipografica
"Leberit," 1977). See also Documentson the Liturgy, 1149-50. Portions of this book have been published
in English as Directoryfor the Celebrationof the Workof God: Guidelinesfor the Monastic Liturgyof the Hours
Approvedforthe BenedictineConfederation,ed. Anne Field (Riverdale, Maryland: Exordium Books, 1981).
I am indebted to Dunstan Moorse of St. John's Abbey, Collegeville, for information about the English
edition.
58. AntiphonaleMonasticumpro Diurnis Horisjuxta VotaRr. Dd. AbbatumCongregationumConfoederatarum
OrdinisSancti Benedictia SolesmensibusMonachis Restitutum(Paris, Tournai, Rome: Desclee, 1934, reprint
n.d.).
59. AntiphonaleMonasticumpro Diurnis Horisjuxta VotaRr. Dd. AbbatumCongregationumConfoederatarum
Ordinis Sancti Benedictia SolesmensibusMonachis Restitutum:Editio KalendarioAccommodataCongregationis
Sancti Petri de Solesmis(Paris, Tournai, Rome: Desclee, 1935, 1939). The booklet of excerpts is entitled
Excerptaex AntiphonaliSolesmensipro Diurnis Horis (Solesmes: Abbaye Saint-Pierre, n.d.). Instructions for
adapting the old Solesmes antiphonale to the current liturgical usage, along with some additional texts
but no music, were published in Documentapro CongregationeSolesmensiad Antiphonale et Breviarium
Accomodandum(Solesmes: [Abbaye Saint-Pierre], 1984).
60. Ordo Cantus Officii was published in Notitiae 20 (1983) 244-47, 359-528.
61. It should be pointed out that the Vatican Edition of the Antiphonaledid not follow the medieval
arrangement of the psalms either, but a different one promulgated by Pope Pius X in 1911. Thus there
is no modern edition of the Gregorian chant repertory for the non-Monastic Office that closely ap-
proximates the medieval usage, except for facsimile editions of medieval manuscripts.
62. PsalteriumMonasticumcum CanticisNovi et VeterisTestamentiiuxta Regulam S. P. N. Benedicti& Alia
SchemataLiturgiae Horarum Monasticaecum Cantu Gregoriano(Solesmes: Abbaye de Saint-Pierre, 1981).
The litanies at the end of this book were supplied with melodies in Litaniae in Cantu pro Laudibus
Matutinis et Vesperis(Solesmes: Abbaye Saint-Pierre, n.d.). But these are simply adaptations of a prayer
tone, even though medieval melodies survive for some of these texts.
published the following year, but only the Latin texts are printed below
notation for singing; the French translations are simply for informa-
tional purposes.63 Antiphons that were not in the old AntiphonaleMo-
nasticum are included, though we are assured these are all authentic
medieval pieces.64 Even the melodies that were published previously
have been revised, and a number of new notational symbols introduced.
But there is no explanation of this new notation in the book-for that
we must turn to the most important of the new chant publications, the
Liber Hymnarius.
For this second volume of the Antiphonale there is only one edition,
equally usable for the Roman or Monastic Office. Though entitled Liber
Hymnarius, it also contains the remaining great responsories and invi-
tatories for Matins, in addition to the strophic Office hymns.65 The texts
of the hymns are not the humanistic bowdlerizations authorized by Pope
Urban VIII in 1632, which were still used in the Vatican Edition, though
not in the Antiphonale Monasticum.66Instead, the Council authorized a
return to the original medieval texts.67 The restored texts were first pub-
lished in 1968,68 preparatory to the new Liturgia Horarum, which had
then not yet appeared. That edition has now been superseded by a
newer one.69 But the real innovation of Liber Hymnarius is its new no-
tational typography and the new performance practice it is intended to
support. These are explained in the preface (pp. xi-xvi), which is pub-
lished only in Latin, though translations into other languages have re-
cently appeared elsewhere.70 The annotated translation given here,
63. Psautier monastiquelatin-francais selon la regle de Saint Benoit & les autres schemasapprouves,note en
chant gregorien (Solesmes: Abbaye Saint-Pierre, 1982).
64. "All the melodies of this book come from the Gregorian tradition and are restored according to
the rules of modern musical scholarship. Indeed the antiphons provided in the Thesaurusthat are alien
to that [Gregorian] tradition have been replaced by others with similar meaning. In fact the same
method was used that is being followed in preparing the future AntiphonaleRomanum,to which we refer
the reader who desires a more ample explanation of this matter." PsalteriumMonasticum,viii. Psautier
monastique,viii.
65. LiberHymnariuscum Invitatoriis & AliquibusResponsoriis,Antiphonale Romanum secundum Litur-
giam Horarum Ordinemque Cantus Officii Dispositum a Solesmensibus Monachis Praeparatum, To-
mus Alter (Solesmes: Abbaye Saint-Pierre, 1983). See my review in Worship59 (1985): 462-65; Herve
de Broc, "Liber Hymnarius," Lettreaux Amis de Solesmes9 (1983), no. 3 (juillet-septembre): 21-24.
66. Yves Delaporte, "Un mot a propos de l'hymnaire: La Correction d'Urbain VIII et le chant litur-
gique," La Tribune de Saint-Gervais 10 (1904): 264-71; Delaporte, "Les hymnes du Breviaire Romain
de Pie V a Urbain VIII (1568-1632): Une reforme del'Hymnaire au debut du XVII siecle," Rassegna
gregoriana 7 (1908): 231-50; Aemilius Springhetti, "Urbanus VIII P.M.: Poeta Latinus et Hymnorum
Breviarii Emendator," Archivum Historiae Pontificiae 6 (1968): 163-90.
67. Constitution on the Sacred Liturgy, n. 93; see Documentson the Liturgy, 20. The "allusions to
mythology" mentioned herein are due to the seventeenth-century humanists who tried to bring the
medieval texts closer to classical Latin poetry.
68. Hymni Instaurandi Breviarii Romani ([Vatican City:] Consilium ad Exsequendam Constitutionem
De Sacra Liturgia, 1968).
69. Anselmo Lentini, ed., Te Decet Hymnus: L'Innario della 'Liturgia Horarum' (Vatican City: Typis
Polyglottis Vaticanis, 1984).
70. A German translation with extensive commentary was published in: Heinrich Rumphorst,
/
"Regeln fur die Wiedergabe des Gregorianischen Chorals im Vorwort des AntiphonaleRomanum II
made from the Latin, is the first one in English.71
THE NOTATION OF THE NEW ANTIPHONALE

The purpose of the new notation is not simply to represent the me-
dieval manuscripts more accurately, but also to support a new perfor-
mance practice, based on the ideas of Dom Cardine. In Cardine's
thought there is no longer any concept of ictus, the basic rhythmic unit
of the old Solesmes method72 as developed by Dom Mocquereau.73 In-
stead we have basically three rhythmic values: (1) "temps syllabique
moyen," or "regular syllabic beat," (2) "temps diminue," or "shortened
LiberHymnarius,"Beitrdgezur Gregorianik2 (1986): 26-73. Besides the published Latin text, Rumphorst
also had access to an unpublished French text that served as the basis from which the Latin was made;
this text seems to be the same as the French "translation" published in: Jean Claire, "La notation
musicale de l'Antiphonale Romanum," ttudes gregoriennes23 (1989): 153-56. A Spanish translation by
Herminio Gonzalez and an Italian translation by Nino Albarosa follow on pp. 157-61. My own English
translation published here has been made from the Latin.
71. This English translation is a revision of the one I published in "The New Chantbooks from
Solesmes," Liturgical Chant Newsletter2 (1987): 16-25.
72. The classic English-language account of the old Solesmes method is Andre Mocquereau's (un-
signed) "Rules for Interpretation," published in all editions of TheLiberUsualis xvii-xxxix; see especially
xxvi-xxxii. See also the signed Latin preface to the Solesmes publication of the Kyriale, in which
Mocquereau's rhythmic signs were added to the neumes of the Vatican Edition: Kyrialeseu Ordinarium
Missae cum Cantu Gregorianoad ExemplarEditionis VaticanaeConcinnatumet RhythmicisSignis a Solesmensibus
Monachis Diligenter Ornatum(Rome, Tournai: Desclee, Lefebvre, 1905) v-xvi. Mocquereau's ideas were
spelled out most fully in Le Nombremusicalgregorien,ou Rythmiquegregorienne:Theorieetpratique, 1 (Rome,
Tournai: Desclee, 1908) and 2 (Paris, Tournai, Rome: Desclee, 1927). Only the first volume was trans-
lated into English: "LeNombreMusical Gregorien":A Studyof GregorianMusical Rhythm,in 2 parts, transl.
Aileen Tone (Paris, Tournai, Rome: Desclee, 1932, 1951). Beginning in 1934 a different account of
the Solesmes method, Dom Joseph Gajard's preface to AntiphonaleMonasticumxiv-xix, replaced Moc-
quereau's preface in new editions of the French Paroissienand Latin Liber Usualis; the French text was
also published as "Un precis de la rythmique gregorienne dans la preface du Paroissien romain n° 800,"
Revue gregorienne 19 (1934): 146-52. Though Gajard's 1934 preface never got into the English Liber
Usualis, both Mocquereau's and Gajard's ideas were explained in many other English-language pub-
lications, including: A Benedictine of Stanbrook [Laurentia McLachlan], A Grammar of Plainsong
(Worcester: Stanbrook Abbey, 1905), 2d ed. (1926), 3d ed. (Liverpool: Rushworth & Dreaper, 1934);
Gregory Sufiol, Text Bookof GregorianChantaccordingto the SolesmesMethod,transl. from the 6th French
ed. by G. M. Durnford (Tournai: Desclee, 1930); Joseph Schrembs, Sister Alice Marie, and Gregory
Huegle, The GregorianChant Manual of the CatholicMusic Hour (New York: Silver Burdett, 1935); Lura
F. Heckenlively, The Fundamentalsof GregorianChant (Paris, Tournai, Rome: Desclee, [1950]); and Jo-
seph Gajard, The SolesmesMethod: Its FundamentalPrinciples and Practical Rules of Interpretation,transl.
R. Cecile Gabain (Collegeville, Minn.: Liturgical Press 1960). The last is a translation of Gajard, "Le
chant gregorien et la «<Methodede Solesmes>," Revue gregorienne 29 (1950): 22-30, 70-94, 121-40,
161-84, which in turn was originally a series of lectures, see "Le mouvement liturgique et gregorien:
Le Congres de Musique Sacree du Mexique, novembre 1949," ibid., 219-32. An American derivative
of the Solesmes method is known as the Ward method, see: Gabriel M. Steinschulte, Ward-Bewegung:
Studienzur Realisierungder Kirchenmusikreform Papst Pius X. in der erstenHilfte des 20. Jahrhunderts,Kolner
Beitrage zur Musikforschung, 100 (Regensburg: G. Bosse, 1979); Gregorian Chant in Liturgy and Ed-
ucation: An International Symposium,June 19-22, 1983 (Washington, D.C.: Center for Ward Method
Studies, Catholic University of America, 1986); and Pierre Combe, Justine Ward and Solesmes(Wash-
ington, D.C.: Catholic University of America Press, 1987).
73. The "ictus" concept, central to Mocquereau's theory, was the focal point of much criticism, since
it had no palpable basis in the writings of medieval theorists. Its supporters were thus inevitably driven
to the position that Dom Gajard attributed to Dom Paolo Ferretti: "I remember him saying to me in
his cell at Solesmes: 'There is nothing to be gained from the writers of the Middle Ages-nothing,
nothing, nothing!'" See Gajard, The SolesmesMethod, 8. Mocquereau's own disclaimers were in much
the same vein. See also John Rayburn, GregorianChant:A Historyof the ControversyConcerningits Rhythm
(New York: by the author, 1964; Westport, Connecticut: Greenwood Press, 1981).
beat," and (3) "temps augmente," or "lengthened beat."74 In the Liber

Hymnarius these are rendered in Latin as "valor syllabicus medius,"
"valor deminutus," and "valor auctus" respectively. Cardine explained
his concept of the regular syllabic beat as "a duration essentially related
to the text and to its exact pronunciation .... This syllabic beat is not,
however, a beat which is rigorously measured and always equal. It enjoys
a certain elasticity as a consequence of the modifications which are im-
posed upon it by the varying weights of the syllables themselves."75 Thus
the duration of a lengthened or shortened beat is also relative. To better
represent this relativity, Liber Hymnarius adds two more values that do
not seem to be explicitly labeled as such in Cardine's Semiologie,though
they are certainly consistent with his theory: "valor syllabicus deminu-
tior," or "more shortened syllabic beat," which is even shorter than
"deminutus," and "valor syllabicus recuperatus," or "recovered syllabic
beat," for a note that would normally be shortened, but instead has re-
turned to the regular syllabic beat. The differences among these various
kinds of beats are explained during the course of the introduction.76
The title of this part of the introduction, "On some rules to be ob-
served in the chant, proposed by the Solesmes monks," suggests a less
dogmatic and more cautious stance than was usual in presentations of
the old "Solesmes method." Clearly the new rules, like the new note
values, are meant to be quite flexible.
I. On the neumes
For this edition of the renewed RomanAntiphonale,the typographicforms
of the acceptedmusic notation have also been renewed. A neume, which con-
sists of all the notes sung on a single syllable,can take up a longer or shorter
period of time. These are the various figures of which the neumes consist:77
There follows a chart78 (reproduced in fig. 1) listing all the "neumes
or elements of neumes"79 used in the new typography. The introduction
comments briefly on some of the new and unfamiliar forms. The list of
basic neumes (figurae rectae) has been expanded to include other no-
tational symbols that occur in the medieval manuscripts but were not ac-
74. Semiologiegregorienne, 16; Gregorian Semiology,31.

75. Semiologiegregorienne, 10; Gregorian Semiology,23-24.
76. See also: E. Cardine, "Faut-il distinguer valeur syllabique et valeur melismatique?" Studia Mu-
Rivista
sicologicaAcademiaeScientiarumHungaricae 21 (1979): 277-79; and again with the same title in
internazionaledi musicasacra 1 (1980): 9-15; and Luigi Agustoni, "Valore delle note gregoriane," Rivista
internazionaledi musica sacra 1 (1980): 49-60, 129-70, 275-89.
77. Liber Hymnarius, xi.
78. Liber Hymnarius, xii. I am grateful to the Rev. Jean Prou, Abbot of Solesmes, for his permission
to reprint this page.
79. "Neumae aut neumarum elementa," so called because an individual neume can also be combined
with others, thus becoming an element in a more complex neume.
NEUM,A EXEMPLA FIGURARUM

AUT
NEUMARUM ELEMENTA FIGUR FIGU LIQUESCENTES
RECTIE
AUCTAE DEMINUTAE
i. PUNCTUM ^ ¥i *
2. VIRGA
3. APOSTROPHA
4. ORISCUS
5. CLIVIS \ h F n
6. PODATUS 3 r
7. PES QUASSUS / 0
8. QUILISMA-PES r
9. PODATUS INITIO DEBILIS ^
io. TORCULUS f > J
ii. TORCULUS INITIO DEBILIS ^4
12. PORRECTUS
13. CLIMACUS
14. SCANDICUS if }'
15. SALICUS *Rg
16. TRIGONUS
Fig. 1. Neumes or elements of neumes, from LiberHymnarius(1983), xii.

curately distinguished in the Vatican Edition: the apostropha (number

3), oriscus (4), pes quassus (7), salicus (15), and trigon (16).80 The trigon
is described as a neume "the three notes of which are light in themselves,
but the second note, on the same pitch as the first, is to be reper-
cussed."81 The quilisma (8) is now treated as a type of pes, and thus
called "quilisma-pes."82 The podatus or pes and the torculus also have
special forms called initio debilis,or "weak at the beginning" (9 and 11),
"the first note of which, while it may be light, more usually died away
in the course of time."83 The torculus "initio debilis" evidently corre-
sponds to Cardine's "special torculus."84 Though Cardine did not in-
clude a section on the "special pes" in Semiologie gregorienne, he did
describe a kind of pes in which the first note is especially light.85
Following the figurae rectae are the figurae liquescentes,or liquescent
neumes, which include "a greater number of liquescent notes according
to ancient tradition."86 Many neumes are now available in two liquescent
forms: one, figura aucta, to indicate lengthening, the other, figura demi-
nuta, to indicate shortening. The basis for this distinction in medieval
notation is readily apparent in Cardine's table of the St. Gall neumes87
and his discussion of liquescence.88
It was not considered necessary to provide a typographical equivalent
for every type of medieval neume: "Moreover, several figures that in the
primitive notations indicated the melodic shape, no longer need to be
represented (for example, the virga simplex, which indicated a higher
pitch, or the oriscus extremus, which indicated descent). For them the
80. Whereas the Vatican Edition, reflecting the policies of Dom Pothier, printed all these ornamental
neumes as simple squares, indistinguishable from the punctum and other ordinary neumes, Solesmes
editions that were not edited by Pothier and not dependent on the Vatican Edition always attempted
to distinguish at least the apostrophe and oriscus typographically. The most significant examples are
the AntiphonaleMonasticum(which also distinguishes the liquescent punctum) and the editions of Am-
brosian chant prepared by Dom Gregorio Sunyol, the most important of which is: AntiphonaleMissarum
juxta Ritum Sanctae Ecclesiae Mediolanensis(Rome: Desclee, 1935).
81. Liber Hymnarius, xiii.
82. See Semiologiegregorienne, 123; Gregorian Semiology, 199-200.
84. Semiologiegregorienne,29-34; Gregorian Semiology,50-58. See also Godehard Joppich, "Der Tor-
culus specialis als musikalische Interpunktionsneume-Vorbereitete Endartikulation als Mittel zur In-
terpretation des Textes," Beitrdge zur Gregorianik2 (1986): 74-113.
85. Semiologiegregorienne, 19 (the second type of pes, with the horizonDal episema) and footnote 10,
the
p. 145; GregorianSemiology,36, 232. There is, however, an apparent mention of the special pes in
discussion of the special torculus, Semiologie gregorienne, 30, and Gregorian Semiology, 52. See also
Rumphorst, "Regeln," 37.
87. Semiologiegregorienne,4; GregorianSemiology,12-13. GregorianSemiologyalso adds a table of Mess-
ine neumes, 14-15.
88. Semiologiegregorienne 133-38; Gregorian Semiology,215-23. See also Johannes B. G6schl, Semi-
alteren
ologische Untersuchungenzum Phdnomen der gregorianischenLiqueszenz,2 vols., Forschungen zur
Musikgeschichte 3 (Vienna: Verband der Wissenschaftlichen Gesellschaften Osterreichs, 1980).
position of the note on the lines of a modern staff tells enough."89 The
preface continues:
II. How the neumes should be read

In the primitive notations, the expressive nuances are indicated by:
-certain signs (episemata) or letters added above the notation,
-alterations in the neumes themselves,
-the joining of notational elements or their separation (i.e. neumatic breaks).
There is further discussion of the horizontal episemata, which have

long been used in the Solesmes notation, but not of the letters, which
were never used as such in the Solesmes editions, but were instead rep-
resented by episemata and other signs.
A. On the horizontalepisema
Episemata lengthen the value of the notes they lie above (as the clivis, cli-
macus, porrectus) or below (as the podatus, both notes of which are then to
be lengthened; but if the episema lies above the podatus, only the higher note
is to be lengthened).
If a single note precedes a quilisma, [the presence of] an episema is to be
understood. In more extended neumes, for the sake of greater simplicity in
writing, the episema is sometimes drawn out over several notes, so that the
note properly preceding the quilisma, even though placed in the middle, is
never in fact able to be affixed with an episema.90
The preface then proceeds to explain the "diremptiones neumaticae,"

Cardine's theory of "La coupure neumatique," or the "neumatic
break."91
B. On the neumatic break

There is another reason for increasing the value of a note, one that is in
fact universal and common to all [medieval] scribes, namely the neumatic
break. When the melodic line is made up of ligated or discrete signs (an ex-
ample of the latter would be a series of lozenge-shaped puncta), there is no
neumatic break. On the other hand, when an ascending or descending series
of signs is interrupted, then the scribe of the melody is understood to have
advised a lengthening of the notes that precede the neumatic break. A break
that is made after the highest note [of a group] has the greatest weight. But
after the lowest note of a melody line, so-called "neutral" breaks are often
found, which have no expressive force in themselves. Now that the concept

91. Semiologiegregorienne,48-55; GregorianSemiology,79-91. Cardine, "Preuves paleographiques du
principe des <coupures» dans les neumes," Etudes gregoriennes4 (1961): 43-54.
of the neumatic break is more clearly known, the signs hitherto used to ex-
press the effects of the breaks can be used more sparingly.92
The "signs hitherto used" in the last sentence are apparently the rhyth-
mic markings of the older Solesmes books.93 The next paragraph ex-
plains the two different types of liquescent neumes.
C. On liquescentfigures
Liquescent figures point to the presence of pronunciation difficulties in
passing from one syllable to another (for example omnis, autem). When pro-
nouncing such a syllable, the last note of the neume is lightly extended if the
liquescence is "aucta," but shortened if it is "deminuta."94
There follows an explanation of the various durational values.
III. The Rhythmic Values of the Various Notes

A. On the value indicated by the notation itself
When an ordinary syllable is set to one note, this represents the funda-
mental rhythmic value used in Gregorian chant (i.e. valor syllabicusmedius).But
when a syllable is set to several notes, the sound of each one is rightly made
shorter than the aforesaid syllabic value, since it is lightened when the con-
sonants are being pronounced (valor deminutus).Nevertheless, the last note of
a neume tends to regain the regular syllabic value [valorem syllabicumrecu-
perandum], especially if it ascends again [after a downward movement].
In places where only one note is to be sung to a syllable, the presence of
a horizontal episema indicates that the syllabic value is to be lengthened (valor
auctus). Moreover the last syllable of any word, if it is set to only one note,
tends just by its weight toward this augmented value.
On the other hand, when an episema falls within a neume of several notes,
the shortened beat is to be brought back to the regular syllabic beat.
Of even shorter value [valoris deminutioris]as such is the first note of any
initio debilis neume and the quilisma: the use of the two is connected.95
The relationship between the quilisma and the special torculus is shown
by Cardine: Under some circumstances the first note of the special tor-
culus tends to become a quilisma, while under other circumstances both
"have a tendency to disappear in the MSS, precisely because of their
weakness."96
Just as liquescence tends to occur where the Latin text has diphthongs
or other special combinations of letters, so the notation can be affected
when the same vowel occurs twice in succession, as in the Latin word
92. Liber Hymnarius, xiii-xiv.

93. See Semiologiegregorienne, 49, Gregorian Semiology,81.
94. Liber Hymnarius, xiv.
95. Liber Hymnarius, xiv.
96. Semiologiegregorienne, 127; Gregorian Semiology,205.
"tuus." This problem did not emerge in the Vatican Edition which, re-
lying on a modern humanistic spelling and the Italianate "Roman" pro-
nunciation, assumed that both vowels would be pronounced, as two
different syllables. But it is clearly an issue in the medieval manuscripts.
At times, medieval scribes seem to have treated the two vowels as one
(syneresis), while on other occasions their separation into two syllables
was preserved (dieresis-as in the two o's of the modern English word
"cooperate").
B. On the balancing of values in a syneresis

In any formula that can be subjectto syneresisand dieresis, the horizontal
episema indicates a syneresis of notes; but the verticalepisema represents a
dieresis on the first note. By the use of both signs conjoined, it can be un-
derstood that the syllabicvalue persistsin the syneresis,or that the integrity
of the structure is to be observed in the dieresis.97
Perhaps the last sentence means that to some degree the two signs
"cancel each other out," so that the two vowels of a syneresis are not
completely merged into a single syllabic beat, and the two vowels of a
dieresis not fully separated into two syllabic beats. Actual examples are
difficult to find in the Liber Hymnarius itself. The vertical episema, of
course, is one of the signs of modern origin that were used in the old
Solesmes books, but that had no graphic counterpart in medieval no-
tation. Its use to mark the first syllable of a dieresis (i.e. a disjunction
between the syllable bearing the episema and the following syllable)
grows directly out of the new more general function assigned to it in
the Liber Hymnarius:
C. On the interpretativeforce of the values

The vertical episema, the smallest disjunctivesign, is used to indicate the
ends of textual or melodic elements; it does not necessarilyfollow that there
should be any lengthening of the rhythmic value.98
The use of this sign to mark the end of a "textual or melodic element"
may seem to contradict the meaning it had in the older Solesmes edi-
tions, where it marked the beginning of the rhythmic ictus. In practice,
however, the theory of Mocquereau was such that this beginning often
fell on a final syllable, and thus the new usage can be considered a de-
velopment in continuity with the old.
Another traditional Solesmes sign is the dot following a note, obvi-
ously derived from modern notation. It formerly indicated that the du-
97. Liber Hymnarius, xv.

98. Liber Hymnarius, xv.
ration of the note was to be doubled, but it now seems to have been given
a more flexible meaning.
The dot after a note [punctummora]is used to express an interpretative length-
ening at conclusions.99
The use of the word mora ("delay," "pause") to refer to this lengthening
or slowing at the ends of phrases derives from the expression "mora
ultimae vocis," used by Guido of Arezzo in a much- discussed passage.100
The new instructions also call for repercussion when two notes of the
same pitch occur successively on the same syllable; previously the So-
lesmes practice was to tie them.101
IV. On repercussion and elision of vowels

From the primitiveGregoriannotation it is evident that two or more notes
on the same pitch and the same syllableare never to be conjoined into one
sound: hence each of the notes in the strophicus, trigon, and every other
grouping of this sort is to be repercussed.
In passing from one word to another on the same vowel and on the same
pitch, a repercussionis made. But if the pitches are different, the two vowels
are elided (crasis).102
The use of barlines is the same as in earlier editions:
V. On the kinds of pauses in the barlines of the notation

There are severalverticallines for expressingthe relativeweights [momenta]
of the different pauses. To them is added the breath mark [virgula], which
is the least weighty of all.103
99. Liber Hymnarius,xv.

100. Joseph Smits van Waesberghe, ed., Guidonis Aretini Micrologus,Corpus Scriptorum de Musica,
4 ([Rome:] American Institute of Musicology, 1955), 163. See the English translation in Warren Babb,
Hucbald, Guido, and John on Music: Three Medieval Treatises,ed. Claude V. Palisca (New Haven and
London: Yale University Press, 1978), 70. Chapter 15 of the Micrologus,where this expression occurs,
was regarded in the late nineteenth and early twentieth centuries as the most important medieval
discussion of Gregorian chant rhythm. See for instance: Combe, Histoire, 111-12; Mocquereau, Le
Nombre, vol. 2, 556-62; Utto Kornmuiller, "Etwas zum 15. Kapitel des Mikrologus von Guido von
Jahrbuch 20 (1907): 116-21; Coelestin Vivell, "Handelt das XV. Kapitel
Arezzo," Kirchenmusikalisches
des Mikrologus Guidonis vom Gregorianischen Gesange?" KirchenmusikalischesJahrbuch 21 (1908): 143-
44; Lucien David, "La <Mora ultimae vocis» de Guy d'Arezzo," Revue du chant gregorien 40 (1936):
79-85; and Dom Daras, Etude de rythmiquegregorienne:Retourd la rythmiquetraditionellegreco-romainedu
chant gregorien sous la conduite de Gui d'Arezzo (XIe s.), 1: Mora vocis, quilisma, et episemes horizontaux (histoire
et critique) (Louvain: Abbaye de Mont Cesar, 1959; 2d ed. 1964). A more objective and historically
accurate interpretation of the chapter is presented by Nino Pirrotta in "Musicade sono humano and the
Musical Poetics of Guido of Arezzo," in his Music and Culturein Italyfrom the Middle Ages to the Baroque:
A Collectionof Essays, Studies in the History of Music, 1 (Cambridge, Mass.: Harvard University Press,
1984), 1-12, 363-68. See also Mathias Bielitz, Musik und Grammatik:Studien zur mittelalterlichenMusik-
theorie, Beitrage zur Musikforschung, 4 (Munich and Salzburg: Musikverlag Emil Katzbichler, 1977),
196-205.
101. See Semiologiegregorienne,56-89, 159-52, especially footnotes 26, 31-33, 35-36; GregorianSemi-
ology, 92-143, 238-42.
102. LiberHymnarius, xv.
103. Liber Hymnarius, xv. Compare fig. 2 with The Liber Usualis, xiii-xiv (from Pothier's preface to
the Vatican Edition), and xxv-xxvi (Mocquereau's preface).
e· t
5- i~~~~~~~~
virgula, divisio minima, minor, maior,finalis.
Fig. 2. From LiberHymnarius(1983), xv.
Last of all an example is given to illustrate how to perform from the

new notation:
The following example, taken from the responsory PraecursorDomini for June
24 [the Nativity of John the Baptist], illustrates most of the preceding state-
ments:
8 16
9 15 8 23 24 26 27 3° 32
i 2 3456 7 10 11ii 1314 17 19 20 21 22 25 2829 31 33
C - a · . «..- a.· d
aa" "J
IiTn ** **^AB '** ~j
de quo ip- se te- sta- tur:* Nullus maior

- a neume made up of discrete signs: 8-10;
- a neume made up of ligated signs: 3-6;
- ascending neumatic break: 11;
- descending neumatic break: 28;
- regular syllabic beat: 1, 2, 21;
- recovered syllabic beat
because of a horizontal episema: 8, 17-19, 27-28,
because of a neumatic break: 11, 28,
before or after a quilisma: 12-14, 16,
on the last note of a neume: 6, moreover 16;
- lengthened beat
at the end of a word: 7,
at the end of a phrase: 33,
at the end of a sentence: 20;
- shortened beat: 3-5, 9-10, 29-32;
- more shortened syllabic beat: 15-22.104
The best way to understand the new notation, however, is to study the
notation of the great responsories (which are more complicated nota-
tionally than the hymns or antiphons) in three sources. That is, the new
edition in the Liber Hymnarius should be compared with both an earlier
edition (in the Liber Usualis, Liber Responsorialis, or Processionale Mona-
sticum) and with the Hartker antiphoner, the most important source of
104. Liber Hymnarius, xv-xvi.

these chants in St. Gall notation. The easiest way to do this is to compare
the responsories of the LiberHymnariusdirectly with the same chants in
the new reprint of ProcessionaleMonasticum,in which the neumes of the
Hartker MS have been added directly above the staff notation.105
The preface closes with a statement of belief:
The rules given in this preface grow out of the premise that equal importance
should be given to both the sacredtext and the Gregorianmelody. Therefore,
anyone who, while singing, gives diligent effort to Latin diction will already
by that fact have masteredthe many requirementsfor performing Gregorian
chant correctly.106
Throughout this preface there are, of course, many points that call
for more debate and clarification. At least two features of the new per-
formance practice will probably be welcomed by many scholars and
scholarly performers. First, the new rules allow for much greater flex-
ibility than the old Solesmes method did. Second, the new notation rep-
resents at least somewhat more accurately the notation of the earliest
manuscripts. On the other hand, while Dom Cardine certainly showed
a greater sensitivity to Latin phonology than some of his predecessors,
the new proposals still derive in part from questionable presuppositions
that need more discussion among scholars. For instance, the glib ref-
erences to "Latin diction," and such concepts as "regular syllabic beat,"
seem to imply that we know much more than we really do about the way
Latin was pronounced and sung during the formative period of Gre-
gorian chant. In fact we know hardly anything about this, in part because
we do not agree on when or where this formative period took place
(sixth-century Italy? ninth-century Frankish kingdom?).107 Other issues
105. Three responsories that are especially rich in the various notational signs are: Vidi dominum
(ProcessionaleMonasticum, 201, Liber Hymnarius, 524), Vidi speciosam(PM, 178, LH, 522), and Virtute
magna (PM, 217, LH, 500). Ponis nubem(PM, 84, LH, 502) offers an example of a syneresis on the word
"tuum," and Repleti sunt omnes (PM, 90, LH, 502) an example of a pes initio debilis on "sunt." Missus
est Gabriel (PM, 23, LH, 517) offers examples of the special torculus on "expavescit," "timeas," and
"concipies." Tu es pastor (PM, 160, LH, 519) exhibits an especially large number of editorial changes
between the older and the newer editions, and raises some questions: Why wasn't the word order at
"tibi traditae sunt" revised to conform to the Hartker MS? Why weren't the pes neumes at "omnia"
and "solutum" printed as "initio debilis?" Other responsories appearing in both books are: Ecce vicit
leo (PM, 68, LH, 512), Fundata est domus (LH, 239, PM, 514), Sancta et immaculata(PM, 38, LH, 491),
and Super nuros (PM, 116, LH, 509).
106. Liber Hymnarius, xvi.
107. Aspects of this problem are dealt with in the following publications, among many others: Pierre
Damas, "La pronunciation francaise du latin avant la reforme du XVI siecle," Revue du chant gregorien
37 (1933): 71-82; J. Dupont, "Le<<faux visage> du latin," ibid., 177-78; Damas, "La pronunciation
francaise du latin depuis le XVI siecle," Revue du chant gregorien 39 (1935): 17-21, 31-32, and also
as a booklet with the same title (Paris: Societe del'edition 'Les belles lettres,' 1934); Frederick Brittain,
Latin in Church:Episodesin the Historyof its Pronunciation,Particularlyin England (Cambridge: Cambridge
University Press, 1934) and the 2d ed., as vol. 28 of the Alcuin Club Tracts (London: A. R. Mowbray,
1955); W. Sidney Allen, Vox Latina, 2d ed. (Cambridge: Cambridge University Press, 1978); Allen,
Accent and Rhythm,Prosodic Featuresof Latin and Greek:A Study in Theoryand Reconstruction,Cambridge
emerge from the attempt to preserve so much continuity with the no-
tational typography of the older Solesmes editions. For instance, the
great variety of rhythmic signs in the medieval manuscripts is repre-
sented by a far smaller number of signs in the modern prints. Thus one
cannot always tell from the printed notation alone what the manuscripts
actually contain. A horizontal episema, for instance, may represent an
episema in the manuscript, or the "Romanian" letter t, or almost any
other kind of lengthening. Similarly, the initio debilisand the dotted note
can indicate shortenings or lengthenings that are notated in a variety of
ways in the manuscripts. Sometimes these two signs do not represent any
notational sign in the medieval manuscripts, but rather the application
of abstract rules formulated in our own century. Of course these prob-
lems are alleviated in the GradualeTriplexand the other editions neumees,
where one can study the medieval neumes and the modern printed signs
at the same time.
Thus the new LiberHymnariusand PsalteriumMonasticum,despite their
innovative attempts to represent the medieval notation more faithfully,
are nevertheless the beginning of what is still intended to be a perform-
ing edition rather than a truly critical edition. However, this performing
edition is of considerable interest to musicologists for a number of rea-
sons. First, it marks a new stage in the attempt to recover the authentic
performance of the chant, an advance over the Vatican Edition that
reflects decades of painstaking study. Second, when the Antiphonalehas
been completed it will be the most extensive new edition in a century
of any part of the central corpus of Gregorian chant-an edition in
which a more profound understanding of the earliest notation has been
applied more consistently than ever before. Third, the attempt to render
the nuances more accurately, even if ultimately judged imperfect, nev-
ertheless offers a considerable challenge to any would-be performer.
Whether used for performances in church, concert hall, or classroom,
this performing edition requires much more than most from the per-
formers who use it. One could perhaps have learned the old Solesmes
method merely by reading the preface to the Liber Usualis and listening
to Solesmes' classic recordings-at any rate some people tried. But any
serious attempt to perform from the new notation will require lengthy
study of Cardine's writings, and probably at least some familiarity with
the medieval manuscripts themselves. An edition that promotes greater
interest in the primary sources should surely be welcomed.
Studies in Linguistics, 12 (Cambridge: Cambridge University Press, 1973); Ross W. Duffin, "National
Pronunciations of Latin ca. 1490-1600," Journal of Musicology4 (1985-86): 217-26; and H. A. Kelly,
"Pronouncing Latin Words in English," Classical World 80 (1986): 33-37. As this article goes to press,
advertisements have been circulating for a new book on the history of Latin pronunciation, which I
have not yet seen: Harold Copeman, Singing in Latin (Oxford: by the author, 1990).

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The New Chantbooks From Solesmes (1990)

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THE NEW CHANTBOOKS FROM SOLESMES

For Helmut Hucke

As many musicians know, the use of vernacular languages and pop-

gorian chant . . . should be given pride of place in liturgical services,"

REASONS FOR THE NEW EDITIONS

The Constitution on the Sacred Liturgy of Vatican II authorized three

and AntiphonaleRomanum7served as the basis of all later official editions

the less important parts of the Processionale." The publication of this

17. KyrialeSimplex([Vatican City:] Typis Polyglottis Vaticanis, 1965). GradualeSimplex([Vatican City:]

completely rewritten and reorganized, so that the Order of Mass, the

einem aufschlussreichen Rechenschaftsbericht," TheologischeRevue 80 (1984): 266-84; Armando Cuva,

of chant specialists and musicologists.26 In fact, almost all the changes

NEW CHANTBOOKS FOR THE MASS

publications,30 this material finally stabilized in the book Ordo Missae in

Gregorian chant as found in the current edition of the Graduale Ro-

34. See Documentson the Liturgy, 475, 478, 481, 484.

congregation). Formerly the alternation between soloist and choir was

lications have been based on the 1974 Graduale,including an edition with

inspired other neumated editions: Karl Ott's Offertorialehas been re-

NEW CHANTBOOKS FOR THE DIVINE OFFICE

made from the Latin, is the first one in English.71

THE NOTATION OF THE NEW ANTIPHONALE

beat," and (3) "temps augmente," or "lengthened beat."74 In the Liber

74. Semiologiegregorienne, 16; Gregorian Semiology,31.

NEUM,A EXEMPLA FIGURARUM

9. PODATUS INITIO DEBILIS ^

io. TORCULUS f > J

ii. TORCULUS INITIO DEBILIS ^4

14. SCANDICUS if }'

15. SALICUS *Rg

Fig. 1. Neumes or elements of neumes, from LiberHymnarius(1983), xii.

curately distinguished in the Vatican Edition: the apostropha (number

II. How the neumes should be read

There is further discussion of the horizontal episemata, which have

The preface then proceeds to explain the "diremptiones neumaticae,"

B. On the neumatic break

89. Liber Hymnarius, xiii.

There follows an explanation of the various durational values.

III. The Rhythmic Values of the Various Notes

92. Liber Hymnarius, xiii-xiv.

B. On the balancing of values in a syneresis

C. On the interpretativeforce of the values

97. Liber Hymnarius, xv.

IV. On repercussion and elision of vowels

The use of barlines is the same as in earlier editions:

V. On the kinds of pauses in the barlines of the notation

99. Liber Hymnarius,xv.

virgula, divisio minima, minor, maior,finalis.

Fig. 2. From LiberHymnarius(1983), xv.

Last of all an example is given to illustrate how to perform from the

de quo ip- se te- sta- tur:* Nullus ma- ior

104. Liber Hymnarius, xv-xvi.

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