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Théodore Nisard's Accompagnement Du Plain-Chant from Dictionnaire Liturgique, Historique Et Théorique De Plain-Chant Et University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of November 2006 Théodore Nisard’s Accompagnement du Plain-Chant from Dictionnaire Liturgique, Historique et Théorique de Plain-Chant et de Musique d’Église Au Moyen Age dans les Temps Modernes (1854): An English Translation Gerald W. Holbrook University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Holbrook, Gerald W., "Théodore Nisard’s Accompagnement du Plain-Chant from Dictionnaire Liturgique, Historique et Théorique de Plain-Chant et de Musique d’Église Au Moyen Age dans les Temps Modernes (1854): An English Translation" (2006). Student Research, Creative Activity, and Performance - School of Music. 6. https://digitalcommons.unl.edu/musicstudent/6 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Théodore Nisard’s Accompagnement du Plain-Chant From Dictionnaire Liturgique, Historique et Théorique de Plain-Chant et de Musique d’Église Au Moyen Age dans les Temps Modernes (1854) An English Translation By Gerald Wayne Holbrook A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professors Quentin Faulkner and Christopher Marks Lincoln, Nebraska December 2006 THEODORE NISARD’S TREATISE ACCOMPAGNEMENT DU PLAIN-CHANT FROM JOSEPH LOUIS D’ORTIGUE’S DICTIONNAIRE LITURGIQUE, HISTORIQUE ET THÉORIQUE DE PLAIN-CHANT ET DE MUSIQUE D’ÉGLISE AU MOYEN AGE ET DANS LES TEMPS MODERNES AN ENGLISH TRANSLATION Gerald Wayne Holbrook, D.M.A. University of Nebraska, 2006 Advisor: Christopher Marks Co-Chair: Quentin Faulkner Joseph Louis d’Ortigue (1802-1866), a music critic in Paris beginning in 1829, succeeded Hector Berlioz as a writer for the Journal des dèbats. He first published writings on opera, but after 1840 because of a fascination with religious music, especially chant, he devoted himself to the study of this genre, eventually undertaking his Dictionnaire Liturgique, Historique et Théorique de Plain-Chant et de Musique d’église au moyen age et dans les temps modernes (1854). For this work he commissioned Théodore Nisard, also known as Abbé Théodule Elzéar Xavier Normand, a Belgian organist and editor, to write a treatise on organ accompaniment of plain-chant. Nisard discusses basic rules of contrapuntal accompaniment of plain-chant according to theorists from earlier periods up to his present day. He includes numerous musical examples that provide much information about different manners and concepts for accompanying chant. CONTENTS PREFACE…………………………………………………………………………... iv ACKNOWLEDGMENTS………………………………………………………….. vi ENGLISH TRANSLATION……………………………………………………….. 1 1. The first step in harmonizing plain-chant………………………………. 2 2. Determining the mode………………………………………………….. 7 3. Tempo…………………………………………………………………... 10 4. Principles of fifteenth century harmony………………………………... 11 5. Precepts that support Cousu by other theorists…………………………. 22 6. Counterpoint in three and four parts……………………………………. 34 7. Counterpoint of the masters of the sixteenth century…………………… 52 8. Systems of accompanying plain-chant…………………………………. 57 a. When plain-chant is in the middle of harmony…………………. 57 b. The system of Alexandre Pierre Boëily………………………… 59 c. The system of Justin Heinrich Knecht………………………….. 61 d. The system of Padre Louis Lambillotte………………………... 65 e. The system of Sebastian Stehlin………………………………... 68 f. The system of Mr. Miné………………………………………… 70 g. Examining a system for the untrained musician………………... 71 CONCLUSION……………………………………………………………………... 75 Appendix……………………………………………………………………………. 78 FACSIMILE OF NISARD’S ACCOMPAGNEMENT DU PLAIN-CHANT………. 78 BIBLIOGRAPHY…………………………………………………………………... 104 PREFACE Gregorian chant began and developed as an a cappella art, but for the past several centuries it has at times been accompanied by various instruments, primarily the organ. A thorough history of accompaniment of chant has yet to be written, but that is not this document’s task. Rather, it intends to provide some insight into the practice of accompanying chant in Paris in the 19th century through a translation of a treatise by Théodore Nisard (1812-1888), written especially for Joseph Louis d’Ortigue’s Dictionnaire Liturgique, Historique et Théorique de Plain-Chant et de Musique d’église au moyen age et dans les temps modernes, (Liturgical, Historical, and Theoretical Dictionary of Plain-Chant and of Church Music from the Middle Ages to the Present Day), (Paris: Potier, 1854). Guillaume-Gabriel Nivers, in a 1689 treatise L’Art d’accompagner sur la basse continue pour l’orgue et le clavecin, which is considered “the first recorded codification of the French accompaniment practice that was developing in the seventeenth and early eighteenth centuries”,1 wrote: “In order to play the Church Plainchant, both simple and figured (ornamented), all of the same Rules apply with the Examples above; of which one can see the usage and practice in the Hymns of the second Livre d’Orgue.”2 But other accompaniment treatises of this period focus on figured bass for instrumental and choral accompaniment, with no mention of Gregorian chant. By the nineteenth century, great liberties were taken with chant performance, implied by the negligence of 1 [Guillaume-Gabriel Nivers, L’art d’Accompagner sur la basse Continue pour l’Orgue et le Clavecin, in Motets à voix seul, accompagnée de la basse continue et quelques auteres motets à deux voix, propres pour les religieuses. (Paris: The Author (and Ballard), 1689; Trans., Robert T. Kelley, Florida State University, 2001), p. 2.] 2 [Ibid, p. 18.] iv choirmasters and the indifference of ecclesiastical authorities. This led to a reform (even before Solesmes) and a return to historical sources, promoted by Louis-Felix Danjou (1812-1866), who founded the Review of Sacred Music, Popular and Traditional in 1845.3 The writings by Ortigue and Nisard stem from the same time. Théodore Nisard received his musical education at Douai and at the Cathedral of Cambrai after attending the seminary in Cambrai. He was ordained in 1835. He first worked at a Gymnasium (high school) in Enghein, then in 1842 became the second organist at St. Germain-des-Prés in Paris. While in Paris he was also employed to edit books of plain-chant by an ecclesiastical bookseller. He published many writings on liturgical music, as well as treatises on many composers such as Ockeghem, Palestrina, Lully, Rameau, and Pergolesi. His most important work was the revision and annotation of Jumilhac’s La science et la pratique du plain-chant (Paris, 1847). He eventually resigned his organist position and concentrated on his writings.4 The goal of this document is to provide an English translation of Théodore Nisard’s treatise on organ accompaniment of plain-chant written for Joseph Louis d’Ortigue’s dictionary. Because the Dictionnaire was published with two columns per page, this translation places the column number where it is found in relation to the French text. 3 [Yves Chartier, Danjou Felix (1812-1866) par Yves Chartier, musicologie.org/Biographies/danjou_felix.htm. (11/12/2006)] 4 [The New Grove Dictionary of Music & Musicians, 2nd ed. (2001), s.v. “Nisard, Théodore.”] v ACKNOWLEDGMENTS Many thanks to those who gave me support through this project and particularly those who assisted with their expertise in languages and in creating documents of this type. Most especially, Quentin Faulkner, Peter Lefferts, Christopher Marks, Rob McMaster, Thomas Rinkevich, George Ritchie, Alecia Rolling, Patricia Terpstra and Alain Truche. vi ENGLISH TRANSLATION THE ACCOMPANIMENT OF PLAIN-CHANT [The translation begins on p. 41 of Nisard’s article; see Conclusion, p. 76.] Our ears, avid for harmony, can no longer imagine the performance of liturgical chants without the solemn support of some accompaniment. || [42] Now, the harmony that one uses for this accompaniment offends two interests. Those who prefer to respect Gregorian tonality as an inviolable principle cannot accept the capricious fantasies of modern art applied to an order of musical ideas which are incompatible with them. Those who do not know the requirements of this tonality and whose ears are saturated with note-against-note chords of hopeless clumsiness, and this under pretext of tonal necessity, ask themselves if this is truly the final word in what is called classic harmony suitable to plain-chant. Situated between these two pitfalls, Gregorian tonality cannot continue to fight for long: it may suffer, and, let us state it, despite the current work in favor of the restoration of plain-chant, despite the efforts made today to know the ancient art in all its details and set this restoration on some secure foundations, perhaps we will not manage to save plain-chant from the ruin with which it is threatened. Among the various and numerous causes which prepare the imminent ruin of liturgical chant, we have pointed out two relative to the accompaniment of plain-chant, which form the special topic of this article: they are much more serious than one
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