CHICAGO MUSICAL COLLEGE

THE BENEDICTINES AND GREGORIAN CHANT

A THESIS SUBMITTED TO THE FACULTY OF THE CHICAGO MUSICAL COLLEGE IN CANDIDACY FOR THE DEGREE OF MASTER OF MUSIC

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BY SISTER URBAN GERTKEN OF THE ORDER OF SAINT BENEDICT St. Joseph, Minnesota

CHICAGO, ILLINOIS JULY, 1938 , . I

Thesis M 783.5 G384 c.1

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- -·- ·- - SEP 4 1958 PREFACE

Gregorian ohant, or in other words plain ohant, is church muslc sung in accord with the liturgy or regular prayers ot the Catholic church. It ls the special property of the Church inherited from ages past, and by her 1t ls to be reverently used and then transmitted to the tuture. Thls thesis is not a detailed history of church music but rather an exposition, showing the broad lines of the develop­ ment and adYanoement ot Gregorian ohant b7 members of the Order of St. Benediot. The aim ot the thesis ls not so much to lead the reader to admire Gregorian chant for its art1st1o value, but rather to create 1n the reader the desire to hear and to render plain song chant as the most titting musio for liturgical worship. This thesis was written under the direction of Doctor Gustav Dunkelberger whose assistance and encouragement were of great value. The writer wishes to acknowledge the courtes• of St. John's University for making source material available. Grateful acknowl­ edgment is a1so made of the hearty interest and encouragement of Mother Rosamond.

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I A TABLE OF CONTENTS

Page

PREFACE • • • • • • • • • • • 11 CHAPTER I. SAINT GREGORY • • • • • • • • 1 H1s Work and Teaching Gregorian Chant

II. THEORY OF THE CHANT • • • • • • • 13 Plain Chant Notation Artiat1o Value ot Plain Chant

III. EARLY CHURCH MUSIC • • • • • • • 23 Period ot Perteotion Period ot Deoadenoe

IV. REVIVAL OF THE ANCIENT CHANT • • • • • 28 ·; •, ! The Bened1ot1nes of Solesmes .I Summar1 of the Motu Proprio '' I v. CHANT AUTHORITIES • • • • • • • 38 Dom Jaus1one I1 Dom Pothier ~ i Dom Gueranger Dom llooquereau Dom Jeann1n • Dom rerrett1

VI. THE CHANT OF TODAY • • • • • • • 47 EYolution in Taste and Tradition 'l'he Place ot the Chant 1n Church Diff'ioulties

VII. OUTSTANDING GREGORIAN CHANT CENTERS • • • • 54 Solesmes Pius X School of Liturg1oal Music llonteerrat St. John's Abbey Convent of St. Benedict Other Gregorian Chant Centers

VIII. CONCLUSION • • • • • • • • • 73 APPENDIX • • • • • • • • • • • 84 BIBLIOGRAPHY • • • • • • • • • • 90

111 1

CHAPTER I SAINT GREGORY

Gregor1 was born in or about the year 540. He was ot noble parentage and therefore reoeived an excellent education in science, philosophy and music. He t1rst gave himself to the study ot law but when he was about thirty-five or forty years of age he became dis­ sat1st1ed with the world and took up religion using the heritage lett him by his father to found several monasteries. The Church, at that time, stood in need of active service and a man ot Gregory's education and ability in the political, social, and religious lite oould not escape the notice of the head of the seven pontitloal deaoons of Rome. This position involved certain mualoal responsibilities for a pontifical deacon had charge of the music in all the ohurches of his particular region. Thus, during h1s diaconate Gregory had many opportunities of noticing the imper­ feotiona which existed in the music of the Church. On the death ot Pope Pelagius in 590 Gregory.as chosen as pope. Pope Saint Gregory was a great lover of music. He had been a monk of St. Benedict before he became pope and had learned to practice the liturgical chant of the Churoh. Every day, seven times a day, with the other monks, he sang the divine office, praising God 1n song and prayer, praying tor all the people who had to live and work outside the monastery. Tradition has it that one night Pope Saint Gregory fell asleep and dreamed that he saw the Church appear personified in the form of a muse, clothed in exquisite vesture. She was occupied in writing out chants, and, as she wrote, she drew to her a11 her children trom every country ot the world and gathered them under the folds of her mantle. It seems that on the mantle were written all the principles of the art ot musio,--the notes, the neums, the

-1- -~ modes, and also a great variety of melodies. Following this dream Saint Gregory undertook to collect together all the beautiful melodies that had been in use by the Church since the days of the Apostles, arranging them in order and writing new ones where these were required. These melodies whioh have come down to us under the name of Gregorian Chant are the most precious heritage ot the treasures of the Church.

His Work and Teaching Pope Gregory's biographer, John the Deacon, and other his­ torians tell us how he set to work to accomplish the task of reshaping the whole bulk of Church music. The melodies which Saint Gregory collected were of a beauty so divine and possessed such charm that the people thought they must have been dictated by the Holy Ghost. It would be a mistake to consider Gregory as a professional musician occup7ing himself with questions of music simply from the artistic point ot view. Undoubtedly he was a musician but it seems that his work in the sphere of liturgical music was ~t of a great and divinely inspired plan for the administration and unification of the Church. Gregor7's work was a three-fold one. It was a revision of the liturgical text, which inevitably led up to a reform of the mus1o. It was a means of furthering the establishment of the chant, and lastly it was the maintenance of a right method of rendering it. Under Gregory's touch the song of the Churoh was raised from the state of merely melodic recitative, based on the vague and un­ precise rhythm of speech, into the sphere of music which exists, not ae an end in itselt--but rather as a vehicle for the text o~ the Latin liturgy. He also wished to reform the choral offices of the Church and therefore he rounded a singing school for the education of boys. He built and endowed two houses to be used in connection with this work. , -3- The noble Pope Gregory took a special interest in our Anglo­ saxon toretathers for his ambition was to make "not Angles but Angels" of them. Therefore, it was to the accompaniment of plain song that our English ancestors first heard the glad tidings of Christianity. In the year 596 Augustine, who was sent by Pope Gregory, came with his forty monks to the kingdom of Kent. As they drew near to Canterbury they formed themselves into a procession and with the crucifix raised aloft, they entered the city singing in the strong, manly tones of the Dorian Mode the following processional antiphon: Depreoamur te, Domine, in omni m1ser1oord1a tua, ut auteratur turor tuus et ira tua ao1v1tate ista et de domo sanota tua; quoniam peocavimus: Alleluia. Who oan doubt that the melodious strains, perfectly rendered by skilled Roman singers, tavorably disposed Ethelbert and his court to listen to the Joytul message these strangers had come to announce. One ot St. Augustine's first cares was to provide a dignified setting for Mass and office, for he realized the importance of making an impression upon those rough heathen minds by beautiful ceremonies and sweet music.l At about the same time that Augustine and Melittus were sent to convert the Anglo Saxons in Britain he also sent singers to the various churches of the west to spread the antiphonal.• One of the first things that Gregory did was to simplify the musical scale. He reduced the fifteen sounds and names of the ancient Greek eoale to seven, substituting the first seven letters ot the Roman alphabet for the mutilated, inverted and doubled Greek letters formerly used. These he brought within the limits of the diatonic scale. He then proceeded to reshape each piece, keeping the primitive framework, but reducing long, diffuse passages, amplifying others, rounding off, retaining, in the o1der responso­ r1al mus1o, all the beauty of the long drawn-out neums but readjust-

1V1lma G. Little, "How Plainsong oame to England," Mus1o and L1turg1, P• 76. No. 3, April, 1930. 1 -4- lng them so as to give to the whole proportion and balance. With regard to the connection between the Gregorian chant and 1ts predecessors, great masses of data tavor the theory that the Gregorian chant was a modification, carried out 1n accordance with uniform principles of the chant which was till then customary 1n Rome and throughout Italy. The organization of church music under Gregory marks an important stage 1n the complete lat1n1zat1on which church mus1o, eastern 1n origin, later transplanted to the West, underwent in the Middle Ages, and wh1oh was necessary if church music was to take a leading role 1n the musical development ot the West. Upon the Bobola Cantorum developed the task of spreading the Gregorian chant. The numerous schools of music which arose every­ where in 111l1tat1on or the Roman Sohola soon brought the Roman chant 1nto great vogue. Gregorian Chant According to Sunol we find that Gregorian chant ls the free­ r1l7thmed diatonic music which has been adopted by the Church for the solemn celebration of her liturgy. Dom Johner says,hat Gregorian chant is the solo and unison choral chant of the Catholic Church, whose melodies move, as a rule, in one of the eight church modes, without time, but with definite tlme-Yalues, and with distinct d1v1- e1ons. The Catholic Church has an official form of musical expres­ sion and 1t is called plain song. The one purpose of plain song ls to uplift the soul and enl1ghten the mind. Through the Gregorian chant the Church teaches, she prays, she meditates, she mourns, she rejoices, she implores, she beseeches. Because of this the realiza­ tion must come that plain song has as a :runction to "add 11:f"e and energy" to the 11 turgioal text. It must, as 1 t were, explain the doctrinal content ot lts message by a symbo1ic use o:r melodic theme. The main reason, therefore, why the Church declares p1a1n song, or Gregorian oha.nt, to be her off1o1a1 music a1one, is that , -~ the chant has a holy purpose to perform. It must lift and form the minds of the faithful to all sanctity. John Burke of Dublin has said that the law ot prayer must be the law of song and therefore the musio must pray and the prayer must sing. Therefore we must learn to pray 1n music tor its purpose is to ugive lite and power to thoughts," that is, to make us understand them better and carry them out 1n our lives. We are greatly indebted to Dr. Karl Weinmann for the early history ot the chant. He tells us that Undoubtedly Plain Chant theory originated in Syria, where, in the fourth century, saored music began to be cultivated. Thence the praotioe and the theoretic conceptions bearing thereupon spread to Egypt, Greece, and the Latin Church. It 1a a gross exaggeration to regard St• Ambrose as a great musical theorist and to ascribe to him the establishment ot tour modes. Such a thought never occurred to him ••••• With the growth of learning in the Carlovingian era, litir­ gical music passed from the singing school to the study. It would be surprising if the oldest Christian chants had escaped the influence of the chant of the Synagogue. The Christiane ot Colossae or Ephesus, to whom St. Paul wrote, used to sing psalms, hymns, spiritual canticles, and the apostles exhorted'\hem not to be satisfied with the concert of their choices, but 11 to sing and make melod7 in their hearts to God." The ancients employed several modes, each of them being limited by the extent of its scale on the one hand, and characterized on the other band by the d1spos1t1on of the intervals and the impor- tance of certain degrees. When after the Edict of Milan in 313, the Church emerged trom a long period of suppression and persecution, this root-form of the Chant, which had been slowly developing and strengthening underground, burst into flower and a more ornate and artistic form or psalmody soon spread all

lRev. Dr. Karl Weinmann, History of Church Musio, pp. 22-23. New York: Pustet, 1910. 1 -6-

over the Christian world. The antiphonal method of psalmody was introduced into the Western Church by St. Ambrose, the great Bishop of Milan. Thence it spread rapidly throughout France and Spain, and finally the Church in Rome itself adopted it in or about the year 432. This mention of st. Ambrose brings us to the First Great Name in the history of western 11turg1oal music. In addition to regulating and perfecting the psalmody in his own diocese, he it was who enriched the services of the Church with those beautiful metrical hymns which so quickly became popular, and which, a century and a half later, se­ cured a formal place in the Canonical office through the influence of st. Benedict. The importance of St. Ambrose 1n the history of western liturgical music is based on the taot that he introduced ohoral psalmody and regulated the Choir-offices, giving them a more artistic and shapely form than had hitherto been known. His work of reform led up to, and to a great extent was merged in, the reforms of that inspired legislator of liturgical ohant, st. Gregory the Great. The s1Xth century brings us to a decisive point in the his­ tory ot the liturgical chant. The importance of music in the 1iturgy is such that it can never escape the attention of the rulers of the Church. During the first four centuries of the Christian era diver­ gences of liturgical form were inevitable but after the liberation ot the Church under Constantine, serious efforts were eta.de to give some t1xed torm to the liturgy. The t1rst pope mentioned in connection with musical reforms is Pope Damasus. At the suggestion of his advisor, St. Jerome, he added the ohant of the Alleluia to the Mass in imitation of a custom

of the church at Jerusalem~ Pope Celestine introduced the introit and the gradual, and Pope Gelasius arranged the music for the entire year. In 1ts first period the art of saored chant was that of the "Ambrosian" (Milanese). The .seoond period began with Pope, Saint Gregory the Great, who oenton1zed, arranged, codified, and probably

lVilma G. Little, "The Origin and Growth of Plainsong," Music an4 L1t\lrg7, PP• 102-103. No. 4, July, 1930. -7- simplified the chant. He continued his work up to the sixteenth century. It was the era when the sacred chant was in its perfection, though the 11 golden age" of plain song really ended in the year 1000. The third period was one of decadence which lasted from the sixteenth to the nineteenth century. Then, in the middle of the nineteenth century a period of revival was inaugurated. Under Pope V1tal1en in 660 singers were sent into Gaul and Britain. Among them were John and Theodore. They were commissioned to bring back the clergy and monks to the original purity of the p1almod7. In 752 Pope Stephen II sent trom Rome twelve singers to King Pippin ot France. These singers were given the manuscripts of the Antiphoners which they were to introduce and establish there. In Germany St. Bon1taoe established singing schools in all the bishoprics and monasteries. In 770 Charlemagne established a court school through the assistance ot Alcuin, Eginhard, Deacon Paul and Peter of Pisa. They introduced the chant as well as other learned subjects. In 790 Pope Adrian was asked tor two singers to re-establish• the church sing- ing tor Kaiser Karl and he sent two singers of the Italian school who had two authentic manuscripts of the Gregorian to Metz. The work of establishing the Roman chant was completed by the Council of Cloveshoe in 747 at which time it.was ordained that the chant as contained in the books sent from Rome should be zealously studied in all the churches. This decree marks the steady rise 1n prosperity of the English church. Alcuin, the liturgical advisor of Charlemagne, drew up a manual containing the elements ot liturgical music and the theory ot the modes tor the use of the court school at Aix-1a-Chape11e. Ama.lar1us who reformed the Song School of Metz owed his liturgical training to Alou1n. Thus the study of the Canti1ena Romana, wh1oh had come direct :from Rome to Canterbury, passed -8-

through the intermediary of the oelebrated English school into Gaul and soon spread all over France. Another important enthusiast in the seventh century was 'the Anglo-Saxon Benet Biscop, the father and patron of the English Bene­ diotines. He was determined to secure the very best teaching for his monastery at Wearmouth and therefore he went to Rome and persuaded the Pope to lend him John, the arch-cantor of the papal chapel. John then taught the monks how the chant was sung at Rome. He taught them to sing sweetly, how to modulate their voices, which at first were somewhat rough and unpliable. Pupils flocked to him from all parts ot the country and were loud in their praises of his zeal for the stud7 ot the sacred chant. We know that no Bened1ot1ne can claim a monopoly on the liturgy, either tor himself or his Order. However, we know that the Benedictines have through all their history fostered the liturgy. It is gratifying to remember though, that "Father of Liturgies 11 is a title ot historical tradition which has often been given Gregory, the Great. It was Gregory's central aim to infuse Christ• into his world through the liturgy. The life of the Churoh is centered in her liturgy which is a wonderful cycle of prayer and praise. The text ot this liturgy, borrowed in part from sacred scripture, is in itself suffioiently beautiful to dispense with all borrowed ornaments. However, the Church is not satisfied with merely "saying" her praise; her loving enthusiasm urges her to sing her praises. 81nce the Church desired to 11 sing 11 she was obliged to de­ termine from whence she would derive her songs. She then borrowed trom the Hebrew and the Greco-Roman, taking from each what best suited her ends. To the Hebrew liturgy then she owes the form of her psalmody, and the melody she took from Greco-Roman sources. According to conjectures historians have made, the ear1iest Church chants were probably adapted to the soa1es and modes of the Greeks. -9- A popular tradition attributes to Charlemagne these famous words o1ted by Plus X, Reverentimini vos ad fontem Sanoti Gregori!. Is not liturgy essentially an affair of tradition? Should we not adore, pray, believe, sing and all this by the same formulas? It ls inoonoeivable that the same chant which was oomposed by Saints and was the fruit of their sanctity, ls too tame for us. Were we to set aside all prejudice and exero1se a little good-will, our surprised ear would be attuned little by little to the undulating oharm of the real Gregorian melodies. However, our eduoat1on has hardly pre­ pared us for this, sinoe we know now that the Gregorian melodies oan be Judged by praotioally no other means than Paleography.l Vilma Little assures us that plain song, the official litur­ g1oal mus1o of the Catholic Churoh, is coeval with Christianity 1tselt. It was not a spontaneous creation, but a gradual growth extending over several oentur1es. It was rooted in Jewish so11. It grew and developed 1n contact with Greoo-Roman oiv1lizat1on, attain­ ing to its full perteotion in the seventh century. In the very early days of Christian service we find that song p1a1ed a part. The early Fathers of the Church are witness to

this faot. The first Christian gatherings were d1st1~ished by the singing of psalms wh1oh were sung to the self-same modulations which might have been heard in the Synagogue. We agree with Dom Adelard Bouvilliers that the Gregorian art is but song and that the melody ot human lips is the music that 1east weighs down the words, that restrains and alters them. It is in reality musio flowing from the words and the words are not the s1ave of mueio but the mistress of 1t. Plain ohant existed long before Gregory the Great. Pope Sylvester in the fourth oentury founded at Rome a schoo1 tor singers. St. Ambrose with his system of melody, wh11e it fell short of the exoellenoe of its subsequent Gregorian

1Roland Boisvert, "Returning to the Font of St~- Gregory, 0 The Catholic Choirmaster, p. 9. Vol. XXIIX, No. 1, March, 1937. -10- method, possessed the enduring qualities of remaining un­ changed for two hundred years. Pope Gregory the Great simply gathered together this creation and reformed it. This re­ form had the effect of making all church music Gregorian. Under Pope Adrianus, from a request of Charlemagne to estab­ lish sacred music in the empire, two chanters formed at the Gregorian school of Rome were sent, each with an exact copy of Gregory's antiphonary, which was constantly exposed to the veneration of the people near the epistle side of st. Peter's. Both singers directed their steps tow~ds Metz which was to be the center of the new movement. The permanent element in the true music of the Catholic Church is what is commonly known as plain song, a musical notation and 1nfleot1on whioh has been used from time immemorial in our ser- vices and which has a olear right along with the liturgy. It is the simple recitative or more elaborate oantus and cadence of collects, versioles and responses. The ideal church music is grave, earnest and melodious. Our ideal is a music as belonging to our own church in harmony with her rank and state. We dream of a grave, earnest, churchly teaching through the art of musio that has a bearing upon the spiritual life of our people. We truly dream of the day when we shall hear Church music in the church, music written for the services oP the church of God, music that is truly made for and by devout hearts and reverent worshippers. Gregorian ohant is truly a basic type.

Charlemagne's cantors declared their pre~erence ~or their own chants, while the Romans rested their claims to super~• ority on the authority or St. Gregory, whose teaching had been oaretully preserved at Rome. The debate becoming ani­ mated both parties referred the matter to the King. Having heard the arguments on each side, Charlemagne asked his followers: "Tell me, where is the stream the purest, a.t its source or in its ohannel? 11 "In its source" was the unanimous reply. "ThenJ' rejoined the K1ng, 11 do you return to the source, for by your own argument you are proved to be 1n the wrong. 11 The practical result of the dispute was that Charlemagne resolved to reform the Church Music in his

lDom Adelard Bouvi111ers, "Church Music", The Caec111a, P• 335. Vol. 60, No. 10, October, 1933. l -11- dominions, and for this end obtained from Pope Adrian two cantors of the Gregorian School, each ot them provided with an authentic copy of the Ant1phonary. 1 We find that many attempts have been made to show how plain song developed from Greek, Hebrew, or Syrian music, but none of them is oonv1nc1ng. Like the earliest Greek poetry, the oldest plain song we know of appears to be as something perfect and an inquiry into the genesis of plain song has no practical use. Dom Mercure truly says that real church music should calm the mind and not minister to the senses. He also writes that it is with Gregorian chant as with the Missal prayers--prayers of the universal

ohurch--•hich frighten uninitiated souls by their apparent austerity. The cause ot music and its introduction into the service of the Church is ps7chologica1. The Church sings because she wants to give eXpress1on to the deep emotions and the burning thoughts that arise within her. We agree with Reverend Kelley that Gregorian Chant is primarily and truly ecclesiastical and therefore it is the most titting music tor the cll11s9ch ser­ vices. In tact, all true Church Music deserves t!fe name •ecclesiastical• onl1 insofar as 1t approaches the Chant, in construction ot melody, rhythm, mode of expression, st7le and devotion. It is tor this reason that Holy Churoh has alwa1s guarded, with a Jealous care, her own musio, second to that ot the LiturgJ alone. She has watched over its purity, and insisted upon its restoration whenever there was the least eign of deter1oration.2 Gregorian chant is truly the best calculated to help man forget the world, by raising his mind to higher and holier things. It is and should be of a different style than the music that man hears in his every-day life. In fact, it is the only music that finds its place in Church and nowhere else. Plain chant is all in unison and therefore it can have none of those dissonances on

lsenediot1nes of Stanbrook, Gregorian Music, P• 36. New York: Benziger Brothers, 1897. 2Rev. F. Joseph Kelley, 11 The Catholic Choirmaster and the Chant," The Catholic Choirmaster, P• e. Vol. VXX, No. 1, January, 1921. r -12- which modern musio depends for many of its finest effects. The Church has taken the Gregorian chant as her very own. She has enriched it, and all those portions of the holy liturgy which are to be sung have been set to this same Gregorian chant. It is indeed a prayer and therefore in its execution it should take on the spirit of prayer. This plain chant occupies the highest place in the theory of Church musio. It may be well to remember what St. Bernard said of the chant a little over 700 years ago. "Let the ohant," says the great Doctor, 11 be full of gravity; let it be neither worldly nor too rude and poor. Let it be sweet, yet without levity, and whilst it pleases the ear, let it move the heart. It should alleviate sadness, and oalm the angry spirit. It should not contradict the sense ot the words, but rather enhance it. For it is no slight loss of spiritual grace to be distracted from the profit of the sense by the levity of the chant; and to have our atten­ tion drawn to a mere vocal display, when we ought to be thinking of what is sung. 0 (St. Bernard, Epistle cccxv1i1)1 And it is well to remember that quite apart f'rom the important plaoe wh1oh it occupies in the history of civilization, Gregorian chant possesses a purely aesthetic appeal as great ast/"hat of any other torm ot art that has ever ex1sted--an appeal wh1oh defies all attempts at analysis or definitions. It has no determinate rhythm, no harmony or accompaniment ot any kind, and its melodic soope is severely limited and oiroumsoribed. The very voices themse1ves seem to undergo a curious transmutation and become very impersona1, sexless, superhuman and give expression to the inarticulate yearnings and aspirations, not only of the living but also of the departed and those not as yet born.

1Rt. Rev. J. c. Hedley, o.s.B., "Church Musio", The Catho1io Mind, p. 319. Vol. XXVII, No. lS, August 22, 1929. f.l

CHAPTER II

THEORY OF THE CHANT

Modern music is governed by measured time values. Gregorian chant is governed by the natural free rhythm of speech; hence thought unity and phrase unity of the text, condition the correct rendering of the chant. Alcuin (d. 804) is first among medieval theorists and in his manual on the fine arts he devotes a brief portion to music, mentioning only the four authentic and the four plagal modes. The characteristic or Church music as a distinctly ecclesias­ tical art has been made evident, and although the singers of Chant oan be spared much of the theoretioal study of the chant, the choir­ master must go properly into the teohnical analysis. Dom Ferretti haa written a monumental work, Estectica Gregoriana, and he shows clearly that we oannot expecttoo much light from medieval theorists. They brush aside all that ooncerna musical forms or they mention them in terms so nebulous that their mention of them is nothing in oompar1son to what we know ot them to­ da7. Gregc>rian musioal esthetios follow almost exclusively from the intrinsio and direct examination of the Gregorian melodies themselves. We find that the Humanists 1:.1susoitated the language of Cicero and tried to correct it acllrding to the rules of classical accentuation, but the Gregorian melo­ dies were written according to the popular Latin of the fourth and fifth centur1es.l

Plain Chant Notation We know from history that the ancient people were. in the habit of writing down their thoughts but that when it came to writing down their music they had difficulties. The Greeks had invented a system of writing their music by means of letters but the earl7 Christians handed down their melodies by oral teaching and memory. It can then be easily understood that it took the chanters a long time to learn all the beautif'Ul melodies which

lRoland Boisvert, HReturning to the Fount of St. Gregory," The Catholic Choirmaster, P• 9. Vol. XXIII, No. 1, March, 1937.

-13- f -14- were used in the liturgy of the Church. At the time when Pope St. Gregory was oalled upon to send cantors from h1s singing school in Rome to the great churches and monasteries in the world, it was found to be impossible to commit all the mue1o to memory. The teachers then found that they could mark the syllables with oertain letters in order to assist the memory ot the pupils. At first a little sign (/) showed that the melody

rose at that point. This sign was called a 11 virga, 11 or little rod, because of its appearance. In order to show where the melody dropped

the line sloped downwards from left to right (~) and came to be known as the 1punctum.• Later they began to combine these signs into groups whioh represented several notes and the groups were called •neuma. 1 In the Gregorian system of notation there are four lines. The notes tor the most part are square in shape and are placed on the lines or 1n the spaces. The pitch of the notes is fixed by means ot the clefs placed on one ot the four lines. Mua1oal sounds are distinguished by signs called ..tee. Their names are: do, re, mi, fa, sol, la, si. They are successively repeated in the same order. We owe these names to the Benedictine, Guido d'Arezzo (d.1050), who took them from th~ first syllables of the Hymn of Saint John the Bapt1st.l. It 1s well to remember that plain song has but two clefs, the Do (C) olet and the Fa (F) clet. Nowadays only two clefs are used in Gregorian chant. Praot1oal Rules for Plain song rhythm. Plato calls Music the most powertul of all arts. Qu1ntill1an sees in Music the revelation of supreme beauty. But Mus1o, either vocal or instrumental, must possess rhythm. This Rhythm may be defined ae the ebb and flow of

lDom Gregory sunol, o.s.B., Monk. of Montserrat, Textbook of Gregorian Chant (According to the Solesmes Method), P• 1. Tourna1, Belgium: Deolee & Co., 1930. f -15- sound. It is the life-giving principle of melody, the sine qua non of pleasing sound. (Right Reverend Lady lbbese of--st°anbrook Abbey)l The rhythm of the chant is tree, that 1s to say, the accented beat does not recur at regular intervals of time, but groups of two and three tones follow each other in free alternation. Dom GaJard tells us that rhythm properly called 11 in its frank and total accept1on, 1s the beautiful ordinance of movement, the vital principle which animates and informs the melodic line.u However, rhythm is not regular periodicity, or proper time, nor irregular but interplay ot all these which gives the sense of continuity. We find that the most disputed question, in the restoration ot traditional Gregorian ohant has been that of its rhythm. Solesmes prefer the definition, •rhythm ot Gregorian chant 1s an unhampered musical rhythm." There are two reasons why Gregorian chant ls free and un­ hampered 1n its musical rhythm. In this chant binary and ternary movements do not succeed each other 1n a mechanical order. They are

harmoniously blended and produce the effect of a plea~tly balanced musical prose. The Benedictines of Stanbrook insisted that to secure proper execution and expression it 1s absolutely necessary that the words of the text be correctly pronounced and grouped, that the rhythm be regularly kept up and that the singers fulfil their task with piety. If the singer's whole soul is in the ohant then plain song will have tull expression. It seems that the imperfections of chant notation in the early days made possible the deoay of its rhythm and resulted 1n oontrovers1es about it. As mentioned before, the chant was taught

1 Dom Adelard Bouv1111ers, 1 The Rhythm o~# Gregor 1 an Chant , " The Caeo111a, P• 59. Vol. 62, No. 2, February, 1936 •

.. hn#-e--· f -16- but orally for a long time. Even though they found methods of show­ ing little hints as to the rise or fall in tone, still these were very primitive means and not easily understood by everybody. In the eleventh century the neums were written on lines, in particular by Guido d'Arezzo and so then the intervals were exactly fixed. In the treatise R!!, Musica (II, I; Migne, P. L., XXXII, Col. 1099-1100) after having remarked that the quantity of syllables in Latin rest merely upon established usage, St. Augustine says: But to musio, according to its very nature, pertains the proportional measuring as well as the rhythmical movement ot tones; it shortens or prolongs syllables, wherever they may be, according to 1ts own standards ot measurement.! In the further course ot this passage St. Augustine adds that music in itself does not mind it, it a long tone talls on a short syllable. St. Augustine declares in unmistakable terms that music has not changed !ts nature sinoe the fourth century. To deprive it systematically or the variety produced by proportionally long and short tones ls to act against the very nature of music • The Benedictines of Stanbrook found that the study• ot the literary formula led to the oonolus1on that the Cursus was in use ahietly trom the end or the fourth to the middle of the seventh century trom which time "rhythm" seemed banished from prose tor tour oentur1es. It was only restored under Blessed Urban II (1088-99). The Abbe L. Coutre bears witness that "from the time of St. Gregory the Great rhythm seems to have been banished tor tour centuries from literary prose." The most disputed question in the restoration of' the traditional Gregorian chant has been that of its rhythm. In the neumatio manusor1pts of the early period the melody was indicated by the aoute and the grave accent and by the oombina-

lRev. Ludwig Bonvin s. J., "St. Augustine's Contribution to our Knowledge ot the Rhythm 1 of' Ancient Hymns,• The Fortnight11 Re­ !1aw, p. 223. Vol. 38, No. 10, October, 1931.

iiiin~M· -17-

tion ot these into various groups. Written abov~ the words they did not mark melodic intervals, but only rise and fall, being no more than an aid to the memory, and rhythmlo and dynamio signs in the form of letters or strokes were frequently added to them to guide the singer in his interpretation of the music. Due to the tact that it was necessary to commit so many melodies to memory because ot the lack or ability to print them we tlnd that in the course of centuries the Gregorian chant has been sadly impaired. Through the over-slow singing in parts, which oame into vogue at a certain period, it utterly lost its original rhythm. Gregorian ohant was handed down to us through the medium of square notation, and in spite of the various forms of characters employed, they do not indicate the various time values. However, former codices 1n neum notation are still in existence. It was a long time before they could be read, but in our day we have been able to de- cipher the cuneiform writing and the hieroglyphics, and have at last discovered the mysteries of the neumio notation and found in it the oonf1rmat1on and determination of the doctrines ot tile old Gregorian authors. There was one Benedictine monk, Dom Jeannin of Hautoombe abbey, who was very well versed 1n this field. The conclusions of this Benedictine monk are very interesting and important. The Gregorian Chant was composed and sung in measure. Th1.s measure comprehends three elements: ( 1.) the alternations of proportiona1 long and short tones, ( 2.) an arrangement of these long and short tones in groups conta1n1ng from two to eight primary beats, (3.) strong and weak beats. As Deohevrens did before him, Dom Jeannin proves the existence ot suoh notes among other sources, from the writings of the old Gregorian authors. Hucbald, an author living in the ninth century and the tenth century writes: 'To sing rhythmically means to measure out the t1xed durations to 1ong and short notes. A rhythmical proportion, determined by :f'ixed 1aws, should exist between the longs and shorts.... Every me1ody must be caretully measured off 11ke a metrioa1 text 1' In the -18- eleventh century Guido of Arezzo teaches: One tone must be twice as long or twice as snort as another; the duration, when it 1s to be long, 1s at times indicated by a horizontal stroke (ep1sema) appended to the note. 1 1

Then he found that Ar1bo, an author of the eleventh century, gives as examples two notes whioh, in duration, equal tour notes and that enabled the chant to be sung proportionally. However, Dom Jeannin proves from the neum1o ood1oes that only two proportional durations were 1n use in the original Gregorian chant, a short duration of one beat and a long one of two beats. In the Golden Age of the Gregorian ohant musiolans listening to the ohant had the sensation of peroeiving a succession of metrioal feet. Guido ot Arezzo testifies that the similarity between metrical poetr7 and the chants 1s by no means small since the neums take the place ot the metrical teet and the metrical phrases represent the verses. It may be well to remember that 1n the present reform of the Gregorian chant 1t 1s not the intention of the Holy Father and of the Sacred Congregation of Rites to leave to the direction of individuals such an important element as the rhythm of the melodies of the Church,. The relative independence of music in compartraon with the text that 1t accompanies, has been recognized and admitted from the remotest time. It is clearly understood that the· rhythm of melodies depends upon the ictus; the rhythm of the text, however, depends upon the accents. When the word aooent is directly fo1lowed by the ictus or strong beat it is said to be ascending. However, the strong beat does not mean more than emphasis. The rhythmical stress that succeeds the accent is soft because it comes in contact with a weak sy11ab1e. This manner of rendering the text rhythmically by means of music ls natural. When a section is rhythmical it unites the arsis and the thesis which are the two elements of rhythmical movements. Plato has said that rhythm has been given us to compensate for what is laok1ng in us of measure and grace. Rhythm is rea11y the

lRev. Ludwig Bonv1n, S.J., "Gr~gorian Rhythm," The Fortnightly

• Review, p. 129. Vol. 36, No. 7, April, 1929 • •. , -19- d1str1but1on of sound and silence according to the exigencies of the spatial movement of melody. Dom Mocquereau wrote a treatise on rhythm which is very im­ portant. H1s purpose was to explain the origin of rhythm, its theory and practice.

We know that there has been a great deal of uncertainty with regard to Gregorian rhythm. However, this uncertainty ls beginning to diminish and we can now trace its development clearly 1n broad outline. This rhythm grew out of the roots of classical Greek rhythm and spec1t1call7 Oriental and Hebrew elements. The Benedictines of Stanbrook insist that the whole execution ot s7llab1c chant may be summed up in the rules, (1) mark well the accents of words and phrases, (2) observe the various pauses accord­ ing to the sense of the text. Elaborate, or neumatic chants, are treated on the same principles as simpler melodies and great care must be taken to give the words their full force by bringing out the accented syllable. It 1s oerta1n that at the golden period of G~gorian chant there was unanimity not only with regard to the melodic line but also the rhythmic 11ne. The people sang the compositions just as they had been composed and the proof ot this is that the principal schools in­ d1ca ted practically the same melody and interpretation. The Gregorian melodies aooentuate the natural inflections of the voice 1n apeeoh. The rhythm is the rhythm of speech. The melody, rhythm and dynamics flow from the idea because they spring from the word expressing it, and do so in a manner that music, through the medium of Gregorian chant becomes the language of the sou1. It is indeed the glory of Dom Andre Mooquereau, o.s.B., recent1y deceased at his abbe7 of st. Peter, Solesmes, Prance, to have restored this lost beauty to the Church and society at large. l ' -20-

The Art1at1o Value of Plain Chant We agree with the Reverend Stephen Thuis, Q.S.B., that Gregorian chant is an external expression of the internal beauty and sanctity of the Catholic Church and that it 1s truly a barometer 1n­ dioating the state of religious fervor 1n the Catholic Church. We know that in the Old Testament the Church d1d sing. The monks of st. Benedict have been verr aot1ve in bringing the chant to the newly converted lands. The chant is the language of the communion of saints and when the fervor of the people diminished at the time of the Refor­ mation then the ohant, onoe the glorr of the earl7 Christians and the ages of faith, was driven out ot the churches to make way for the new 'r types of modern music. There are not many English books that conoern themselves with Gregorian ohant, its notation, history, and place in the musical world. However, we know that it was the best in cultivated music extant in the world, and that the time is not far distant when this same plain chant will have its place in musical circles. Of th\tsiX thousand chant compositions we find many are still in use today. All the chant compositions are available to those who are interested in the ancient melodies of the liturgy. The text book by the Reverend Dom Johner, o.s.B., of Beuron Abbey haa been translated from the German into English. Reverend Gregory H«gle, o.s.B., of Conception, Missouri has written a catechism ot plain ohant. There is a great wealth of materia1 written by the Solesmes monks who are authorities on Gregorian chant. These writings would not be oomplete without mention of the dissertation on the aesthet1os of ohant by the Bened1ct1ne Abbot, Dom Ferretti, President of the Pontifical School or Rome. An examination of chant compositions shows that they may be placed in one of three forms: psalmody, antiphona1, and responsor1a1a The psalmody deals with the 11turg1oal method of chanting the one- -21- hundred and fifty psalms and from a study of them the singer learns to recognize the eight psalm tones. These eight psalm tones are to

be found in any chant grammar or the liturgical books. The antiphons are not psalms but are short retrains taken from Holy scripture and form a sort of an introduction to the spirit of the psalm. The melodies can be traced back to the forty-seven original melodies which are made up ot small phrases. The responsorial chant is used 1n matins ot the ottlce of the day. They consist of a sort ot fore­ phrase which ls known as the "corpus" and this is generally followed by an elaborate verse which is sung as a solo in reply to wh1oh the choir repeats the first passage. The melodies ot the chant follow the text. The chant oom­ posi tions, as a whole, have well-defined form. The melodies also have symmetry in the development of the period and form in the com­ pos1 t1on as a whole. Chant is used to enhance the services of the Church and to simplit7 the rendition of the Divine Office. It has its own atmosphere a.nd surroundings. • The fundamental principle of the art of musical prayer: We want an adequate test of church music, an explicit standard of artistic value. Church music is an art made up of two elements, music and prayer, and it cannot be Judged by the value of one of its elements as a separate entity. We need a test that applies to the art as a whole, and we find it in the simple tormula: "Lex orandi lex cantandi. 11 Here is the crux ot the whole matter; the law of prayer must be the law of song, both that our prayer may be good art and that our art may be good prayer. Prayer and music must so combine as to make one art; the music must pray, the prayer must sing. Unless the prayer and song thus rise to heaven as a single "spiritual groaning," unless they become one, merged in a true marriage of the spirit, their aesoo1at1on is an offense both artistic and devotionai. This, then is the true test or a mus1oal composition, is the true test of a musical composition for the church. In the Catholic Church music is not mere1y an accessory, but an integral part of the ritual; words and music form together a complete artistic whole. The ritual of the Catholic Church is fixed, because the 1dea is fixed of which ritual 1s the outward manifestation. Ritua1 bears as natural and inevitable a relation to faith as the gesture I 1 -22-

...... does to feeling • The Catholic liturgy is fixed in its general character and scope; the form that best expresses it, then, need not be the latest fluctuation or popular taste; it need not even be the form which is most interesting, Judged from a purely mus1oal standpoint. But the highest art will be the form that beat fits the liturgical form. Modern music has two scales, or modes. Chant has eight. It is evident that eight modes give greater variety of eXpres­ sion than two. The eight modes of the ancients were designed to meet the requirements of prayer in an age when art was exclusively the servant of religion. They enabled the com­ poser of the period to seize the subtle prayer spirit, that elusive characteristic of Christianity, the rainbow tints of Joy 1n suffering. Chant is Jo7tul, but with the Joy of the Cross, as distinguished from the Joy of the revel. Chant is fervent, but with the passion of ascet1o1sm, as distinguished from the passion of the world. Prayer sorrow is never de­ • spair, nor is pra1er Jo7 ever frivolous. Chant is the artis­ -· t1o embodiment of this spirit; the minor idea and the major idea are so interwoven, their relation is so intimate that to disentangle them is impossible. This art had birth with the birth of the 11turg7. The liturg7 took its present form under st. Gregor7, to whom also is due the solid foundation of chant as an art. Prayer and music were thus the fruit or a common conception, and to­ gether grew to maturity in the centuries that followed; to­ gether they rfaohed their tull height in the golden epoch of Christianity.

1Justine Bayard Ward, "The Reform in Church Music", Atlantic Monthly, PP• 455-461. Vol. 97, April, 1906. ,

CHAPTER III EARLY CHURCH MUSIC

The music of the Catholic Church as it exists today 18 th~ result of a long process of evolution. The first period was one in which the unison chant was the only form of Church music. We find that during the first six oentur1es of the Christian era the Church was preparing for the first Gregory who was to become Supreme Pontiff. The period of formation extends from the end of the persecu­ tions up to the time of St. Gregory the Great. It seems a certa1nt\Y' that before Gregory's time the Church possessed her own collection ot 11turgioal melodies. The Fathers of the Churoh testify that the early Christians used hymns during their services. However, we are not certain whether these were merely the recitative chants or the more elaborate mel1smat1o ohants. Hymns oame to the West through St. Hilary of Po1t1ers (366) and were muoh cultivated by St. Ambrose (397) and widely spread through the rule of St. Benedict (543), who presori'd a special hymn for eaoh hour (hora) of the day. This shows that ohant was used extensively. We know that plain chant existed long betore the time of Gregory the Great. Pope Sylvester in the fourth century founded at Rome a school of chant for singers. St. Ambrose, with his system ot melody, while it fell short of the excellenoe of its subsequent Gregorian method, possessed enduring qualities which remained un­ ohan~ed tor a period or two hundred years. But, the reform had a11 the etteot of making all ohuroh music Gregorian.

-23- l' . -24- Period of Perfection The period of the Perfection of Gregorian chant lasted from the t1~e of st. Gregory down to the thirteenth century. We find that hlstor1oal cr1tio1sm has fully demonstrated the authenticity of the tradition which ascribes to Saint Gregory the compilation and final arrangement of the melodies to which his name is attached. The Golden Age lasted from the time of St. Gregory to the eleventh century, and then we note that the period of transition was from the eleventh to the thirteenth century. During the Golden Age Gregorian chant attained its zenith. The work ot Gregory spread rapidly. The principal share of the work ot perfecting the chant belongs to Guido d'Arezzo, a Benedictine monk. His work wae principally on notation. The chant was experiencing the fortunes of the Church it was serving so well. In ap1te ot all difficulties the chant was reach­ ing the zenith ot its perfection and glory until it became the very mue1cal oracle ot the Christian world. Gregorian chant held sway until the ninth cel\ury. It was eclipsed in the twelfth oentury by the new-born polyphony which reached its triumph 1n the sixteenth century. There was a· great oenter ot Gregorian ohant at Bt. Gall. It was here that the call came tor religious scholars and so we find many musicians of repute coming from st. Gall. Among them were Berno and Hermann Contraotus, I monk of Reiohnau. Period of Decadence Father Thuis, o.s.B. divides the history of the Gregorian ohant into tive periods. The first per1od--the time up to the year 600. The seoond period trom 600 to 1300. The first four centuries of this period are the golden age ot Gregorian music, the time of -25- the oldest neum oodioee and the Gregorian authors. The two remaining centuries mark the deoadenoe of the 11turg1oal chant, which then lost its rhythm.1

And it is well to remember that in spite of the muoh-o1ted "Lat1n1zation of the Gregorian Chant" 1ts transmission throughout the whole of the Middle Ages was wonderfully exaot. No one thought of making a substantial change. If any objections were raised on aesthetic grounds 1t was done so modestly that no harm ensued. How.. ever, a real danger arose for monophonous Church music through the introduction of polyphony and through the humanistic movement. In the eyes of those who favored the new tendenc7, the old liturgic style soon lost its own artistic interest and one by one the litur­ gic pieces were ousted by the polyphonic counterpart. When poly­ phonic music was accepted in the Church a carelessness regarding the peculiar character of liturgical music arose. It might be said that the immediate cause of the tall of the Gregorian chant was the 1ntluenoe of humanism on musicians of the sixteenth century, also their aesthetic criticism of the plain ohant. • In the eleventh century we find that there are the first traces of a falling otf both in the composition of chants and in

} the manner of singing, and it is very significant that the departure I trom the traditional interpretation of the music began at the time when the signs given in the earlier manuscripts tor the direction ot the cantors were no longer reproduced in those that employed the

'i Theoretioal writers turned ,I mus1oal staff invented in that oen t ury. :~1 ".~ their attention to the mysteries of time and counterpoint to the almost total neglect ot ohuroh music. The cantus f1rmus of the Gregorian melody poisoned by the measure had become a cantus 1nt1rmus.

A Barometer ot Re­ 1Ludw1g Bonv1n, s.J., "Gregorian Chant: Vol. 38, No. 5, 11g1oue Fervo~• !h• Fortnightly Review, P• 102. lla.7, 1931. -26- Then the Gregorian art tell into an exoees ot dryness. The new way of singing by d.1aphony very soon found favor 1n the churches tor 1t possessed qualities that were apt to render 1t popular, that is, suavity and its relative tao111ty. Then they finally forgot the s1gn1t1cance of the neums and the writers stated that in ohant there was no differenoe among the notes and that every singer was tree to utter them more or less rapidly or more or less slowly at his own pleasure. Here is where Guido ot Arezzo and Berno, Abbot of Reiohenau, 1n the eleventh oentury, protest, In the neumes it is necessary to pay attention where a de­ termined short duration is to be measured out to the notes, where, on the oontrary, a longer duration must be given them, lest the singer might execute them as fast and short what the authority of the masters has set down as long and drawn out. Nor should we listen to those who say that we have no reason for making the durations of a correct rhythm now shorter, now longer in our singing. As proportional measuring and rhythm1z1ng of sounds lie in the very nature of music, how should not the latter be filled with indignation, as it were, if you iid not observe the legitimate duration of the t1me­ values? However, fashion was stronger than authoritf9 The singers continued the use of diaphony and they neglected the chant. About halt a century after the time ot Berno we find Aribo bemoaning the ruin or the musical rhythm in the Gregorian melodies. The musical codices, trom the tenth century on, lose gradua1ly all the rhyth­ mical signs and letters of which the neum codices of the golden age it' ot the Gregorian chant offer such an abundance.

i Then came the infatuation tor polyphonic music and the Chant ~ ' ,. J ~ I~ fell into disuse., Rhythm had become the heritage of figured music 't and from this the Gregorian chant was sung somewhat rhythmically with a tew time-values arb1trar11Y applied. This completed the ruin

lLudwig Bonvin, s.J., 1 How did Gregorian Chant LOse Its Rhythm'l, u The Caecil1a, p. 144, Vol. 59, No. 5, May, 1932· -27- of the Gregorian rhythm and Gregorian ohant beoame plain ohant. Charlemagne oompla1ned because of the alteration and he sent chanters to Rome to search for the original text. He said, "Return to the source of St. Gregory, tor it 1s evident that you have corrupted the song of the Church.• Atter a searoh ot twenty years there was a reconstruction ot the text. This was then re-cheoked so as to prove the oorrect­ nees or the melodies transcribed• Two hundred manusoripts were photographed so as to reproduce without variation the text ot the original antiphonary.

Dom Mooquereau was not satisfied ~1th merely reconstructing the ancient texts but he added the interpretation of this religious mus1o. To that end Dom Mooquereau and Dom rernand Cabrol traveled through Europe to photograph manuscripts which the former embodied 1n his Paleographe Musicale. •

Il i i J CHAPTER IV REVIVAL OF THE ANCIENT CHANT

The music of the ancient people consisted of songs of a shrill and ha.rah quality. The music ot the Hebrews held an impor­ tant plaoe 1n the serv1oe of the Temple, with solo singing, huge choruses, and antiphonal singing in wh1oh the Psalms of David were used. Aristotle (384-322 B.C.), a pupil ot Plato, wrote many con­ cise answers to speo1tio musical problems of the day. The first Christian songs, a continua.nee of synagogue customs, were the Psalms. In the second century Pliny the Younser, writing from Bithynia, describes the Christians as singing psalms and hymns antiphonally, a similar practice having existed 1n the Church at Antioch, this oustom ot alternate singing having been carried from Syria to Milan and Rome. st. Cecilia, the patron saint of JDUsic, was put to death as a Christian martyr during the reign or Marcus Aurelius 1n the year 177. In the third century the first complete h7'was written by Clement of Alexandria. The most ancient piece of Christian music

now in existence, uHymn to the Trinity,• dates from the end of the third century; it is called the 11 0xyrhynohite Papyrus." In the fourth century, Constantine, the first Christian Emperor, erected large churches in which the new methods of chanting the Psalms were introduced. At the beginning of the century Pope Sylvester tounded a sohool tor singers at Rome and in 355 we find

the production of original hymns. · Saint Ambrose organized the existing chants, established definite authentic modes, known as the .. Ambros1an modes and established antiphona1 singing at Milan· All singing was done in unison or at the ootave. Then in the fifth century Pope Celestine introduced antiphonal psa1mody into Rome.

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In the sixth century Pope Gregory, the Great , wh o re 1gned from 590 to 604, reconetruoted church service into a harmonious whole. In his Gregorian ohorale, oalled plain song because ot the manner of movement of the melody, its lack of fixed rhythm and ot harmony, he laid the foundation ot a tree art. He founded the Schola Cantorum to prepare singers tor religious duties. In the early part of the seventh century the missions, in­ cluding trained •1ngers of the plain song were sent by Rome to England (604), to St. Ge.11 (612), to Ireland (620), and to Brittany (660). Irish psalmody and hymnody were distinctly Celtic by the end ot the first half of the centur7. Pope Gregory is said to have been a dlreot descendant of Cairbre Muse, son of Conaire, who was Head Xlng or Ireland from 212 to 220. In the eighth oentur7 singers were sent by Rome to the rranks. Charlemagne was active in the cause of music and he establish­ ed singing aohoola 1n man1 parts or France. In the ninth century we find Huobald, who was the first to write a detlnite second vo1oe part which was always placed at the interval of a fourth "9om the tenor part which was the principal melod7. He was the tirst to use parrallel linea indicating tone relationships and 1n that way to simpl1f7 the reading and learning ot music. These lines of Buobald•s were the forerunners of our present start. We find that while Huobald begall the use of parallel lines Saint Odo of Cluny suggested the use ot the seven letters of the alphabet. Guido ot Are~zo 1s one ot the remarkable personages of the eleventh century. To him is attributed the development of the four-line staff, the tirst uee ot s7llables, and the use of characters for notea. The Crusades (1095-1271) brought soldi.ers ot Europe 1n touch with the general culture and music of the Orient. Hew tJPes ot singing were carried into Europe by the returning Crusaders. However, there now began a period of decline of the -30- Gregorian ohorale and there was a r1se of the many-vo1oed type or mus1o whiob was called polyphony.

In the twelfth century we f1nd the r1se of the Troubadours while in the thirteenth century singers ot noble birth called the Minnesingers of Germany, culminated in notable song contests. The Me1sters1ngers also of the thirteenth century came from the folk, the tradesmen and merchants. This movement carried music into the homes and 1t affected that of Germany as well as the music of other countries. In the fourteenth century the Florentine school supplied original themes for use 1n composition. The first motets, written in contrapuntal style, often contained combinations of airs from Gregorian plain chant. Palestrina, a composer to the Papal Choir, Rome, represents the climax for fluency and ideal1ty in contrapun­ tal singing or vooal writing. Monophonous church music reigned supreme in the Church during the first thousand years. However, at the end of the ninth century polyphony appeared, and polyphony reached i11thighest peak in the works of Palestrina and Orlandus Lassus. The age of Palestrina was that in which the human mind took its first decided step in the march of modern civilization, that which witnessed the outburst of the great reform movement throughout Europe. Palestrina was not so muoh the founder as he was the per­ fector or a school. Be round his material, for the most part, ready to hand but he had his own way of treating that material. He took for his foundation the old Church scales, which St. Ambrose •as the first to weed out of the impractioable intricacies of the Greek theory or mueio, and wh1oh st. Gregory afterwards reduced to a definite system. He studied the old church tunes and developed out of these materials a style of church music calculated alike, from its grave dignity, to graoe the public worship or the •anotuar7 and to express genuine worship• -31- "Palestrina was a colossal genius," declares Monsignor Patrick F. O'Hare. 1 He was the great master of the angelic art. He placed the musio of the Church at such a sublime height that no musician or composer, at least to the advent of the instrumental polyphonic music ot Bach and Beethoven, even approached him, much less equalled him. The standard of polyphonic music and or the chant which he created inspired their pens and stimula­ ted others of lesser note to compose works becoming the house of prayer, increasing devotion, aiding the priest and the people 1n a holy communion of sentiment to reach the throne of God.111 To compose true Church music we must go back to the original chants. We know that Mozart regretted all his achievements in the face of the Gregorian preface. Speaking of the Gregorian Chant, Benedict XIV declared that pious men prefer 1t to mensural musio. No musical writer of any importance ever pronounced plain chant devoid of melody. The Gregorian melodies penetrate the soul tar more than most of our modern compositions written for effect. Many composers treat Gregorian as something t8Jlle to be livened up, and yet we find that The melodic outline of Palestrina's music is se-...e 1n itself. It is the constant repetition and Juggling ot 1t between voices that brings out its beauty. Though Gregorian 1s not severe 1n itself 1t ls severe as an element of olassioal polyphony. In other words, great masters like Vittoria and Palestrina realized that Gregorian was a finished and perfected product. They did not begin where Gregorian left off. They worked at something entirely ditterent and the use they ma.de ot Gregorian was not an elaboration ot Gregorian its~lt but the construction ot an entirely new musical form. After the unity of medieval Europe was broken up, Gregorian chant ceased to be appreciated and gradually fell into debased forms or total diauetude. The polyphony which the Pope praises so highly ob.ant in several may be detined in genera1 t arms as the Gregorian Parts. Michael Haller says that it is a "web ot melodies which

lThomas Walsh, •Palestrina (1525-1925).,: The1g~~hot~:pr1nted .Q)lo1rmaster, P• 44. Vol. XI, No. 2, Apr11-11ay-vune, ' troa the Commonweal). 2Rev. E. Barr1oott, D.D., •cantate Domino Oantioum Novum,•1933 The Catholic Kind, PP• 461-~45. Vol· XXXI, No. 23, December, • -32- have been actually borrowed from plain song." But, plain song is simple melody and polyphony consists ot several melodies combined so as to produce harmony. Polyphony agrees in tonality with plain song. The eight Gregorian modes are ta1rly equally emplo1ed, subJeot to certain mod1!1cat1ons and 1n!lect1ons necessary tor purposes of harmony. The Bened1ct1nes ot Solesmes

It was trom the ninth to the el~venth o~ntury that the first historical monument in sacred chant dated on account of its ta1thtul transmission to all the Churc~es and to all genera­ tions. This oomparison ot manusoripts was a pr1no1ule ot Dom Gueranger which dominated all researohes: At his death in 1870 he had brought to the work ot restoration the first sheaf ot the rich crop ot which today the Benedictine Order is so proud. With perseverance he had studied the precious manu­ scripts ot the libraries of Le Mane, Angers, and Paris; and the studio ot the Solesmee School of Chant keeps admirable copies done with the neatness and precision which are the character1at1ce ot Dom faue1ons's hand· They are master­ pieces ot reproduction. The great abbe7 ot st. Pierre at Solesmes near Sable-sur Barthe, Barthe, France, commonly referred to simply as the Abbey ot Solesmes, is one hundred years old· It waa founded by Geoffrey, Lord ot Sable in 1010. It was suppressed by the co.1ltituent Assembly during the French Revolution in 1790 and stood desolate until 1833. S1noe its restoration the abbey was dissolved four times by the French Government in 1880, 1882, 1883, and 1903· How­ ever, the monks always ouae back. When it was made a Benedictine Abbey in 1837 it began an era ot importance and influence never dreamed ot in the centuries of its existence as a priory. It may be said with truth that the Solesmes of the last one hundred Years ls the creation or the inspiring genius of Dom Prosper Gueranger. r of Benedictine While ver7 young, Dom Gueranger (the res tore olesmes life in France) purchased the old Maur1st Priory at S

8 B •An outlook on the lDom Louis Adelard Bosuovhoilollioerts~usio.,•.'The0 P1ao1d1an• P• 156. Sixty Years ot the Solesmes • Vol. 3, No. 3, Jul7, 1926. ,

-33- wh1ch was rounded 1n 1010. This priory was uninhabited b monks since the days of the French Revolution. Though a 7 secular priest and not a musician, Dom Gueranger (1805-1875) was nevertheless captivated by the sublime chant of the Church. Three years atter h1s ordination to the priesthood he gave vent to his keen and profound impressions regarding antique and religious melodies.l According to Bonaventure Schwinn we find that Prosper Pascal Gueranger was born April 4, 1805 at Sable, three kilometers from the former priory ot Solesmes. At the age of fourteen he went to the royal college at Angers and on leaving the college he entered the diocesan seminary at Le Mans. He bad contemplated entering the

I Benedictine order at Monte Cassino but he abandoned this plan when l his bishop, Monsignor de la Myre-Korry appointed him his seoretary. CJueranger was ordained to the priesthood at Tours, October 7, 1827. l In an article which he oontr1buted in 1830 to Lamenna1s's journal, Memorial Catholigue, he laid down the pr1no1ple that in order to be authent1o and legitimate a liturgy must have the four qualities of ! antiquity, univeraalit7, authority, and unotion.

' Bonaventure Schwinn tells us that one day 1n the spring of 1831 Gueranger read in a newspaper that the former pr1or1• ot I i Solesmes was tor sale, and that he immediately decided to try to I preserve the old plaoe tor religious purposes. In 1832 Gueranger I , I bought the buildings. M On July 11, 1833 he and siX fellow priests who shared his desire to restore Benediot1n1sm in Franoe took up residence at Bolesmes and began leading the monast1o life. Gueranger was the superior or this strange little community and he began wearing the Benedictine habit in 1836. In 1837 his work received the approval of Gregory XVI.

1Dom Louis Adelard Bouvilliers, o.s.B., 'An Out~~~:non the Sixty Years of the Solesmes School of Music," The Plac • P• 153. Vol. 3, No. 3, July, 1926· -34- Three qualities stand out most }rom1nently 1n the lite and work of Dom Gueranger. His love of 11turg h1 devotion to study, and h1s devotion to the Holy'se1 s Although what 1s known as the 11turgioal movement ~~ Europe and America was started by Pius X 1n the first deoade of the present oentur7, 1t was Dom Gtieranger who prepared the way for the revival ot interest 1n the liturgy whioh is taking place 1n our day. He was the prophet of the liturgical movement. In his Motu Proprio of April 24, 1904 Pius X entrusted the work of preparing the official Vatican edition ot the Church's ohant •par• ticularly to the monks ot the French congregation and to the monastery ot Bolesmes.•l The great Benedictine scholar, Abbot Gueranger, was the first to reoognlze th1a need ot •back to the sources of true Oatholio piet7,• and since his time the Abbey of Solesmes has been engaged in the restoration ot Gregorian chant, the important em­ bellishment of 11turgioal worship, to its original purity. The period of the restoration of the Chant began about the middle of the nineteenth oentur7 and 1s still going on. A1though numerous religious of different orders have taken part 1n paleo­ graphic studies, 1t 1s to the Benedictines of Solesmes that the ! honor of the Gregorian revival chiefly belongs. The first abbot ot Soleames, Abbot Pope Pius X he did not forget the neoessit7 of the restoration of the Gregorian Chant and his Motu Proprio became the guide of the peopie.

lsona•enture Schwinn, "The Solesmes Centenary,• The Common­ •eal., p. 342. Vol. XXVI, No. U, Jul7 30, 1937. ..

-35- A Summary of the Motu Propr1o Saored music must possess the qualities wh1oh belong to 11turgioal rites, especially holiness and beaut7 from which its other charaoter1stic, universaJ,it7, will follow spontaneouslr. These qualities are tound most perteotly 1n Gregorian chant and therefore plain chant has always been looked upon as the highest model or Church music. This chant should be restored so that the people may take a more active part in the offices, as they did in former times. The celebrant and the sacred ministers at the altar must always use the plain chant without an7 accompaniment. In eocles1astioal seminaries and institutions the traditional l Gregorian ohant recommended. must be studied with all diligence and love, aocordlng to the law of the Oouno11 of Trent. I It was Pope Pius IX who encouraged the restoration of the Roman Choral or Gregorian chant, while Leo XIII especially blessed the work of the monks of Solesmes; but it was reserved for Pius X to issue that famous and scholarl7 llotu Proprio on sacred music in 1903. In a letter to Dom Paul Delatte Pope Pius X 4felares that the time has come to deal authoritatively with the work ot restoring the Gregorian chant aooordlng to the traditional orders We have shown quite recently that we hold your labors in this department 1n very high esteem, as we have frequently testified at the tomb of st. Gregory the Great in honor of h1s centenary anniversary, when we wished, as it were, to consecrate the beg1nn1ngs of the restoration ot the Gregorian ohant, we ordered the Solesmes melodies to be used as an example. Now, moreover, there is a special reason why we should extol, in addition to this great skill of yours, 1our most devoted feeling toward the Roman Pontitt. For when we were thinking and deciding on a Vatican edition of liturgical melodies wh1oh should be adopted everywhere under Our authorit7, and appealed to your Zeal with this object, We received from you, Our beloved son, in the month of March, a most gratifying letter saying that you were not only ready and prepared to help on the desired work, but were willing for that pulrrpo~e to yield Us even the fruits of your toils whioh bad a ea 1 been published. It is then easy to understand how much t~~ signal 1nd1oat1on of your love and regard costs you, as we aa the gratit1cat1on 1t affords Us. tro~~ i:e~~:~ t~ 9 e~rg~~ the tharilts deserved by suoh an e xoep 1 re ~e Our said Motu Pro~r10. We have charged chotsien ;:nw~~hpitpto be the otrlola~e!ltion, so at the same me -36- work of the congregation of wh1oh you are the superior and especially the duty ot the community ot the Solesmes, !n their own manner and method, to go through the entire tield or anoient reoords now existing, and when they have thenoe elaborated and arranged the materials, ot this edition, to submit them to the examination and approval ot those whom We have appointed. And as to this toilsome but most honorable duty, although you had already been informed ot 1 t, We gladly apprise you by Our own hand that We have laid I it upon you, beloved son, whose oh1et oare it is to see that jl your oompanions oarry 1 t out. We know your great love tor .I the Apostolic Bee and Church, your zeal tor the seemliness of divine worship and your oare tor the holy rule of the monastic life. The further praot1oe ot these virtues will r assure you hereafter, as it has been done hitherto, a happy 1esue to your labours; and verily the saying which Gregory uttered concerning the Father of the Rule, may not unt1t­ t1ngly be applied to you hie children: 1Bis teaching could not differ from his lite.• But We trust that abundant aesiatanoe will be attorded you in your endeavours to oarr7 through the work oolllllitted to your care, and particularly that there will be no hindrance to your investigation ot the ancient Codices; and We are sure that the principal thing, the divine assistance, which We earnestly implore, •111 not be wanting. As a presage whereof, and as evidenoe ot Our singular good-will, We most lovingly dispense to 7ou, Our beloved son, and to your oompanlons, our apostolic benediction ln the Lord. Given at Rome at St. Peter's on the Feast of Pentecost, r l Ka7 22, 1904 in the first year of Our Pontificate. Signed Pius PP. x. l J I U• And thus we see that the work of bringing the chant back iii to 1ts purity was given to the Benedictines. • In the seventh year ot his Pontificate Pope Pius XI wrote the D1vi.n1 Cultua Sanotitatem in which he urges the people to return to the ohant. He deplores the tact that the wise laws ot Plus X, with regard to Ohuroh music, have not been obe7ed and in referring to the famous Guido ot Arezzo he s47s, We have decided to add a few things here which We have learned from the experience ot the past twenty-five years. We do this all the more gladly because in this year is celebrated not only the twenty-fifth anniversary ot the restoration of Sacred Music, as already mentioned, but also the memory ot the famous monk, Guido of Arezzo, who, when about nine hundred years ago, he had come to

1Dom Paul Cag1n, o.s.B. and Dom Andre Mocquereau, o.s.B., Plainchant and Solesmes, Preface. London: Burnes and Oates, 1904• -37-

Rome, at the order of the Pope, introduoed that ingenius 1nvent1on of h1s whereby the anoient liturgioal Chants were more easily published and, in the servioe and glory of the Church and of the art 1 tselt, preserved for poateri t7. In the shrine of the Lateran, where formerly St. Gregory the Great, after oolleoting, arranging and increasing the thesaurus or eaored monody--an inheritance and monument ot the fathers--had so wisely established that most celebrated Schola to perpetuate the true interpretation of liturg1oal Chants, the monk Guido made a trial or his marvelous inven­ tion in the presence ot the clergy ot Rome and the Supreme Pontiff. The latter, highly approving the work and pro­ moting it by deserved praise, brought it about that this innovation was gradually spread tar and wide. This torm of mueioal art in general received thus a great 1mpetus.l I

Special mention was made of the Pontifical school which was ! founded by Pius x. This school was also promoted by Pope Benedict ..~ XV and therefore Pope Pius considered this as a precious inherit- anoe. i... '" The Pope realized the labor that his wishes demand and ~ 7et he exhorts all to faithfully abide by the wishes ot Pope Pius X 'I~ 1n the llotu Propr1o, and again 1n his reiteration 1n the D1v1n1 : { i . j ' Oultua Sanot1tatem. I I • iiI, lpope Pius XI, •The New Apostolic Constitution, 'Div1ni

Cultua Sanot1tatem,•• The Catholic Choirmaster, PP• 38-39. i I. Vol. XV, No. 2, April-Day-June, 1929. .I: ,. i

I CHAPTER V CHANT AUTHORITIES

Dom Jausions Dom Jausions (1834-1870) was professed a Benedictine 1n 1856. He was charged under obedience to prepare an edition of the Gradual in conformity with the ancient texts. This necessitated his travel­ ing from place to place, visiting many libraries and reading and re­ II : copying the manuscripts. After ten years of intensive work Dom Jaus1on brought to the work of restoration the first sheaf of the rioh orop ot which toda7 the Benediotine Order is so proud. He had studied the precious manuscripts or the libraries of Le Mans, Anglers, and Paris; and the studio ot the Solesmes School of Chant has admirable copies done with the neatness and precision which are the oharaoterlatic ot Do• Jauaion's hand· They are masterpieces of re­ produotion. Dom Pothier Of the early members of the Solesmes Abbe7 tl1!t-e were but few who had exoept1onal aptitudes 1n regard to the worlt ot the restoration ot the Gregorian chant. The two monks who showed ex­ J ceptional competence in the work were Dom Paul Jausions and Dom r i Pothier. The fundamental prinoiple of the restoration was laid :! ; ~ i .:i down and formulated by Dom Gueranger himself and 1 t was under his direction and 1n obedience to him that Dom Jaueions and Dom Pothier were in their turn oharged with the work of investigation. However, these two men were never to see the practical outcome or their work· At the time of the retounding ot the Solesmes monastery we tind that Dom Gueranger's monks were obliged to make experimental use ot the very imperfect edition ot chant books whioh were then

-38- -39- avallabla. The first one he singled out to proceed with the work

was Dom Jauaion and later he assigned Dom Pothier to work in the

libraries of the great o1t1es examining and making manuscripts.

!\fter Dorn Jaueion' s death Dom Pothier threw himself into the task with renewed ardor. Dom Pothier took notes, studied the manuscripts, reproduced neums and oopied entire Graduals. In 1866 his Gradual

and Ant1phon~r was ready tor printing but Dom Gueranger preferred to wait and in 1880 it was published under the title ot Les Melodies Gregor1ennes and ainoe Dom Jaus1ons had already departed trom this

lite Dom Pothier was the only one to sign the work. Hie first I "'• Liber Gradualls was published in 1883. Then later oame his Liber -.. Antiphonarius, which contained the Vespers and all the Antiphons ot the ott1oe. Dom Pothier's three works were published during the government ot Abbot Couturier, the immediate successor of Dom Gueranger. In the work ot Solesmes we t1nd exempl1tied the elements ot success. The several attempts at restorlnf the tradi­ tional ohant that oo1nc1de with Dom Gueranger s aotivity, j •ere isolated ettorts and came to a premature end. Solesmes, :~ on the other hand, developed into a sohool with dlllr monks. added at times; trom twelve to fifteen ably trained men had • been working up to the present day under the famous Dom I Mooquereau who succeeded Dom Pothier • • • • • The condi­ ' tions requisite tor a thorough restoration ot the Gregorian Chant have thus been providentially provided by the combined ,, I efforts or a monastic community. ( I I Dom Gueranger .,I Dom G\Jeranger was very careful 1n the selection ot the monks who were to do the researoh work on Gregorian ohant. He did not wieh to get too tar away trom the Rheims-Cambray and the Medicean editions. The principles which were proJeoted by Dom Pothier into his book needed so1ent1fic establishment and ooordlna­ 1 t1ng. Thie work remained tor Dom Mocquereau to do.

1Benediot1ne Fathers ot Conception, •u1 ssour1 ' "TheVol Saored 52 6 Melodies or Holy Mother Churoh,• The Caeo111a, P• 20 • • I No. 9, September, 1925. -40-

The work done by Gueranger has born rich fruit. Booras of

monks have taken part in the work and are still taking part 1n 1 t todaY· While certain names connected with the restoration will re­ main immortal, those or Dom Pothier and Dom Mooquereau will stand out in particular, and justly so. However, their oontr1but1ona are but a part or the great work. Dom Gueranger was a great restorer ot the Benedictine Order in France. He 11tted h1• eyes above the petty and distracting th1nga or pract1oal poll tics and saw that it the Church were to make a mark in the world she must speak with one mind and voice. He notonl7 brought back France to the use ot liturg7 but laid it upon his sons to restore and revive the one Chant. Be published his Institutions I.. Liturgiguea in 1840. B1s thesis was that the introduction ot the ... 9 Roman liturgy was essential tor the restoration or the lite ot ta1th in France. ~.. Shortly before the middle or the nineteenth century a new era tor a better understanding tor the neoessity ot the sacred liturgy'

was opened by three men, Oueranger, Staudenma1r, andtfewman, who by their s7stemat10 work laid the corner-stone ot the present liturgical movement. or these three the most renowned was Prosper Gueranger, Abbot of Solesmes. Dom Schmitt was round side b7 side with Dom Pothier at the Congress of Arezzo. It is he who has the credit ot creating the Solesmes Press and its special facilities tor dealing •1th Gregorian Chant. And lastly, we have his archaelog1cal1 studies, interrupted by death, but sensequently made use of.

. Dom Mooquereau I The aot1v1ty or Dom Mooquereau may be divided into tour I ' ~ Periods:

loom Paul Cagin, o.s.s., and Dom Andre Moo4(1lereau, ~~~· Plainchant and Solesmes, P• 18, London: Burnes and Oates, -41-

(1) Paleograoh1e Musicale, begun 1890. Solesmes coll t d soo complete and 166 more or less complete manuaoript:o eA result of the studies ot this work--the Graduale Anti.ho and the L1ber Usualis. ' P na 1 e,

(2) Le Nombre Musicale Gregorien (1908-1927) 1n two volume This is the olass1ca! work ot the school ot Solesmes. s.

(3) Monograph1es Gre~oriennes. Studies on particular Chants IE med1o, Ostende No ia, Credo, Examen des critiques d1r1gee~ par Dom Jeannin oontre L'Eoole de Solesmes. Many ot these studies appeared in the Revue G~egor1enne. (4) Treatises appearing in the Tribune de St. Gervais. Rhythmi­ cal theories, Ch1ronomy.

Dom Andrew Mocquereau, whose parents were musicians, was born in Anjou in 1849. After having studied cello with Charles Danola at the Paris Conservatory he telt called to become a monk. Dom Mocquereau ls considered the originator and organizer of musioal renaissance and he bas put torth certain general principles which otter much tood tor refleot1on.2 His work is the oreation ot a philosophy of music baaed upon the assimilation of the forms of plain chant. Dom Mocquereau was not auooesstul ae a composer; he tell tar short ot Dom Pothier' a aoh1evement along that li... On the other hand, he was endowed with pedagogical qualities which Dom Pothier did not possess. The latter bad never succeeded in getting pertect control ot the nho1r. For this reason the Abbot appointed Dom Kocquereau ohotrmaster, while Dom Pothier l .• still dwelt in Solesmea. Norbert Rousseau (now Bishop) re­ •I ~ marks 1n his book on Solesmes: "it is bard to tell what to l admire more: the childlike simplicity with wh1oh Dom Pothier I ' listened to the lectures ot his tormer pupil, or the veneration ' ' ot the latter tor his esteemed master.3 !I

lDr. Egon Welleaz, •oom Mooquereau und se1n Werk," Muslca D1v1na, P· 30 tt. Wien, 1930. 2nom Louis Adelard Bouv1111ers, •An Outlook ~~ th; ~1X:7 Years of the Solesmes School of Music," The Plaoidian, P• 7 • 0 • ' No. 3, 1926. 64 3oom Gregory Hugle, "Editorial," The Caeo111a, P• 542. Vol· • I No. 1., Januar7, 1937. -42-

Dom Mooquereau ha• much in his favor as a Gregor!anist and a paleographer for he had been initiated in music and was an artist before his entry into the abbey. In his most important work,

Paleograohie Mus1oale, a veritable mine ot information can b~ found. It is 1nd1spensable tor the proper equipment ot all who seek to aoquire a thorough knowledge ot the theor7 and practice of the Gregorian ohant. M. Jules Combarieu in 1896 did not hesitate to hail Dom Kooquereau as the originator and organizer ot a musical renaissance. This he summed up in his work at that time: In order to restore the Gregorian trad1t1on 1n all 1ts purity, and to defend this tradition against all scepticism, they have become grammarians, scholars and philologists, paleographers and photographers •••• and in this wa1 they have provided the open-minded reader with a wonder­ ful abundance ot exaot demonstrations whioh allow him to check their teaching down to the emallest detail. The7 have published in photograph1o tao•l•1les about 300 passages in manuscript, proving that the un1t1 ot the liturg1oal chant was preserved for a thousand 7ears from 1ts origin. 1 :;· Dom Kooquereau brought us the fruits of an exceptional musical training. Dom Kocquereau and Dom Fernand Oabrol, 1n ~eir turn, travelled through Europe to photograph manuscripts whioh Dom Mocquer­ eau embodied 1n h1s Paleographie. His great work, Gregorian Musical t ,.'• Rhythm, oompr1ses three parts, (1) Origin ot Rhythm, (2) The Melody, and (3) The L1turg1oal Text; Its applioation to Melody and Rbythm. This work is ln two volumes and represents the labor of forty years of unceasing study and practical application of a master's mind· Dom Mocquereau • s name is synonomous with the best tradi- t1ona of the Bened1ot1ne school; and that school traoes its origin back to the very days of Pope Gregory the Great who himself was a lllOnk ot St. Benedict and taught hie monks the divine harmony of the

.. r au Plainchant lnom Paul Oagin, o.s.B. and Dom Andre .ocque e ' ~==o;;;;;.;~ .!lld Solesmea, P• 22. London: Burnes and Oates, 1904. -43- pastoral ministry.

' ~ When the publication of Les Melodies Gregor1ennes by Dom Pothier was attacked Dom Mooquereau oame to the defense by using j photographic reproduotione ot the manusor1pts, and before long it iI became clear to all that the Med1oean edition was a musical abnor­ mality. Dom Mocquereau oonoe1ved the idea ot the Paleographie 1 Musicale and up to his death was its principal contributor. The Paleographie made the Vatican edition possible by winning over to I'.•. its cause the Holy Father, Leo XIII, who h1mselt sounded the death knell or the Med1oean edition. I It was Just when, on the aide of Ratisbon, they began to dispute the traditional oharacter of Dom Pothier's work that Dom Mocquereau deemed 1t necessary to vindicate the honor of misunderstood eooles1astical tradition against this oall to arms. But he had already proved by experience I the penury of documents then at our disposal. The Journeys •h1oh Dom Couturier therefore made him undertake, and the Ir• acquaintances he formed, brought about an influx of photo­ ·~· graphs and copies of manuscripts to Bolesmes of every school, date, and church. From that time the rounding ot the Paleographie Musicale was a matter of neoess1ty, and its first obJeot was .a.ta1ned; 1t was in a position to show that all kinds of manus'1i-1pts gave evidence 1n tavor or the substantial unity of tradition. At all events the first edition of Bolesmes was henceforth be­ yond reproach on the ground chosen by its opponents. But at the same time the Journeys and studies of Dom Mocquereau had opened his eyes to the gaps and imperfeotions in the work which had only been attaoked on its main lines, and attacked wrongly, none or the antagonists of D~m Pothier being suft1c1ently equipped to carry the matter further. The Fischer Edition News printed the sad news of the death of Dom Mocquereau and 1n doing so reported that probably the world's greatest authority on Gregorian ohant was none other than this great I monk who had Just passed to eternity. He was a Bened1ot1ne monk I or the Congregation or France and died at his monastery, st. Pierre de Bolesmes, Sable-sur-Sarthe, which he had entered 52 years before as a nov1oe. He worked until the last days of his life with the His principal •ame luoidit7 and br1111anoe as when a young monk • .. u Plainchant 1Dom Paul Oag1n, o.s.B. and Dom Andre mooqueres ' and Bolesmes, p. 20, London: Burnes and Oates, 1904. ·1~ -44- work for the Churoh was embodied in the fourteen volumes ot the Paleographie Musicale, wh1oh, through tabulation and comparative study of the fundamental manuscripts of the Chant, le4 to a re­ capture of the ano1ent traditional rhythm, now offioially restored to the Church by Pope Pius x.

Dom Jeann1n A scholarly Benedictine of Hauteoombe Abbey, Dom Jeann1n, spent much time 1n the Near East registering and noting Syriac and Chaldean melodies wh1oh have been handed down through the ages by oral tradition. This problem was worked out by Dom Jeann1n and published under the title ot Melodies, L1turg1gues, Syriagues et Chaldeenes. This work was published about 1926 and created quite a stir among such Gregorianiats as are scientifically inclined. It is a very important work. The first volume treats mainly of Gregorian chant and especially ot his much discussed rh)rthm. Later he was advised to publish parts ot the volume, which he did. The work contains two parts. The first part is on Doubl.d1reot1on of the rbithmio movement and treats of matters ot general interest. The second part of Dom Jeann1n's Etudes is especially important to the Gregorianist; 1t has the title, The measure in the liturgical chant or the Gregorian golden age. The Bened1ot1ne mensuralist, Dom Jeannin, goes farther than we dared go with the paleographio facts. He does not only examine Dom Mocquereau•s opposition to mensuralism but also the various views prevailing among the mensu- ralists themselves. Dom Jeann1n died on February 15, 1933. By his death the so1ent1tic study of Gregorian Chant lost one of its brightest

I luminaries. " -45-

Dom Ferretti The Right Reverend Paul Ferretti, O.s.e., is president ot the Pontifical Institute of Sacred Music in Rome. Today he is the most influential figure in the Church on matters pertaining to sacred mueio. At the time the official Antiphonale was to be issued Pope Pius X called Dom Ferretti to Rome and thus he became special con­ sul tor to the Sacred Congregation. At the death ot Father di Santi the Abbot Dom Ferretti suooeeded him as President ot the Pont1t1oal Institute of Sacred Music.

Dom Ferretti did not confine his good work to Europe tor in 1926 he oonduoted a olass in Hew York in the Pius X School of Saored Mus10. He oonduoted a speoial course in Aesthetics of .... Gregorian chant. Since then each year finds increasing numbers of I students at the Pius X School and a true Liturgical atmosphere 1s i engendered. The earnestness of the students is the best tribute to the quality ot the instruot1on given. Since the Sacred Congregation ot Seminaries and Universities thoroughly understands the nature, the purpose, and ... method ot the Pont1t1oal Institute of Sacred Music in the City (ot Rome), by the authority granted to it by our Most Holy Father Pius XI, it has granted to this same Institute the power to confer a degree either in Gregorian chant, or in the composition of sacred music, or in the playing of the organ; and this degree, tor purposes ot teaching, is equiva­ lent to the doctorate. This degree can be conferred only on those students who have already obtained the licentiate, and who,--all other conditions having been fulfilled, whioh are prescribed by the Apostolic Constitution 1Deus Sc1ent1arum Dom1nua 11 and by the regulations annexed to this Constitution, as well as by the Statutes of the Pontifical Institute, with the exception of a doctoral d1ssertat1on,--shall have given special proof of their ability and theoret1oo-praot1oal skill either in Gregorian chant, or in the composition of sacred rnus10, or in the playing of the organ.1 Ferrett1's great work is Estet1ca Gregoriana: oes1a Trattato Delle Forme Mus1oal1 Del Canto Gregoriana, (Roma, Pont1- t1c1o Instituto di Mus1ca Saora, 1934). The work is a comprehen- 81Ye study in Gregorian musical torm. Dom Ferretti divides his

lcardinal B1slet1, Prefect, "statement given at Rome, March 12, 1936 on the teast ot st. Gregory, 11 The Catholic Choirmaster, P• 223. Vol. XXII, Ho. 4, December, 1936. -46- material into five parts. In the first part he treats of the fundamental charaoter1st1os of form which are to be met with in any piece of Gregorian mus1o. The second part is devoted to a study of the Psalmody. Parts three and four consist of a discus­ sion of responsor1al form and the method of psalm singing. The last part includes the L1turg1oal Recitatives, the melodies of the Common of the Mass, and also the Hymns and Sequences. As the greater part ot the 11turg1oal texts intended for singing were taken from the Book ot Psalms, the psalm tone or form may be said to be the root trom wh1oh liturgical art grew.

•

' ~- CHAPTER VI THE CHANT TODAY

The true mus1o of the Church 1s the Gregorian Chant. The chant is invariably set to words. Gregorian music disclaims all elements of confusion, agitation, or excitement: it courts all that tends toward peaoe and calm. The primary mission of music in the church 1e to awaken the worshipers' devotion. The famous and salu­ tary Motu Proprio of Pius X prescribes three different varieties of acceptable liturgical mus1o: (1) the ohant, pure and simple; used almost exclusively tor ten centuries, (2) the rich but difficult, poly-phon1o school ot the great Palestrina's time, and (3) modern mue1o which suggests the devout spirit of the other two. Doubtless • lI this last type 1s meant to encourage modern composers 1n their endeavor to clothe the liturgy 1n the spiritual idiom of our time. The marked d1tterenoe 1n character and effect between plain chant and polyphony shows a wonderful transition 1n musical growth, with- out any loss ot the true 11turg1oal spirit. • Evolution 1n Taste and Tradition Someone has justly said, 'The Gregorian is not only a form of rel1g1ous music, it is the only one adopted and prescribed by author1ty.11 It 1s the chant of the Church· The melody of human lips is the mus1o that least weighs down the words, that least restrains and alters them. Plain chant is really music flowing from words. Gregorian held sway until the ninth century. It was eclipsed 1n the twelfth century by the new type, polyphony' which reached Therefore, the fall of the its triumph 1n the sixteenth century.

-47- Gregorian chant dates from the coming ot polyphony. However, it would be more nearly oorrect to say that the most eff1cao1ous cause was the apnearance of mensuralism, the "ars nova." Plural melody developed from the Gregorian chant in the tenth

century and the first halt of the eleventh century as indicated 1n ;. I ~

i!I the ~1orologue of Guido d'Arezzo. The next development was called I organum which later resulted in discant in the early twelfth century.

Then appeared the two-part and three-part discant resulting 1n ochetto, also called hocket, 1n the thirteenth century. Then there followed secular adaptations of religious forms, 1.e., motets and I rondeaus, the precursors of the fugue. In the fourteenth century we find the falso bordone or faux I bourdon. Then followed the first steps in counterpoint, the canon, imitation, and tugue, as essentials of the polyphonic style. The fourteenth and fifteenth centuries are noted for the development of notation and time values. The alxteenth century brings the height ot the polyphonic type in church music, and the seventeenth is ex­ pressive of the decadence. The Gregorian melody poisoned~ the measure fell into an excess of dryness and rigor and during the seventeenth and eighteenth, and part or the nineteenth centuries was neglected. Toward the middle of the nineteenth century the sons ot St. Benedict, particularly the French, followed by the German Congregation ot the Beuronese, presented anew the Gregorian ideal. To assure the triumph of this ideal, re­ quired the initiative ot Dom G\leranger and his disciple, Dom Juss1ons Dom Pothier, Dom Schmidt, Dom Mocquereau, ~h~ 8 Gregorianist~, and Dom Delpeoh and Dom Legeay, the organ s • Under the !dance of their Abbot, Dom Pothier with his pioneers w~t to st. Gall, Oxford, E1n~1edel~~M~~i~~i!:r~~d London, in every plaoe where codex of regor the lett traces of its passage. The an~iphon~~f c:~~~~r~~d been Great was lost without hope of find ng. h n and carefully made, later, under the eyes of Popes Step e ,. -49-

Paul the F'1rst, to satisfy the pious wish of Pepin the Short for that typical ant1phonary.l And again we find statements like the following: While our Benedictine forefathers had practically complete control of the schools in their day, and no doubt eminent l '< names 1n the sciences are mentioned among them, yet Chant 1 ! has ever been closely assooiated with Benedictine life due to the importance it held with regard to the Divine Office. Such names as Gregory the Great, Guido of Arezzo and others are so well known and their bearers were actually world- f 1gures in the realm of music. You will find them mentioned 1n the smallest history of music and the most bigoted must confess that the world owes a debt of gratitude (particularly mus1oRl) to the so-called 1 laz7 monks. 11 And the decadence of the art of Gregorian Chant began to show itself when Benedictine influence in musio began to decline; and again, the revival of Gregorian oh.ant in the middle of the last century was due to the activity of the sons of st. Benedict 1n such persons as Dom Gueranger and Pothier, not to mention the fact that the reconstruction of the official chant books was placed almost entirely into the hands of the Benedictines. So, Chant grew up, declined and revived with the growth, the decline and revival of the Order. And today, the Bened1oti~e schools form the centers ot cultivation or Gregorian ohant.~

The Place of the Chant 1n the Church Reverend Kartin Hellriegel shows that Belgium is the oldest daughter of the liturgical movement inaugurated by Pius x. Under the leadership of the eminent Benedictine Lambert Beaudin• there sprang up in that little country a great liturgical revival. Holland soon followed the example of Belg1WD• Here the movement 1a led principally by the secular olerg7. They led them by a s7atem of building up congregationa1 s i ng i ng • In Germany the great center of activity ls the Abbey of Mar1a-Laaoh under the leadership or its eminent abbot, Doctor Herwegen.

"Cb: h M s1o 11 The lDom Adelard Bouv1111ers, o.s.s., ~~ u ' --- Caec1lia, P• 336. Vol. 60, No. 11, November, 33 • 2Dom Innocent Gertken, o.s.B., "Letter to one of his Bietera,11 193'7. -50- In Italy the 11turgioal movement is headed by Abbot Oaront1 and Cardinal Schuster. As for England, Donald Attwater of Wales tells us tbR.t England has no liturgical movement as it is under­ stood in Belgium. As tor the United States the year 1930 really marks the first ripple or the great liturgical wave. Since 1925 we have a well organized movement, due mainly to the unselfish labors or the Bened1ot1nes of St. John's and under the leadership .-( ot Abbot Alcuin. { (-;,_ The reform ot Church music presupposes music as a part of ""-·., ' general Catholic eduoat1on, beginning in the grade school and I ending 1n the university. As with almost everything else that is at one time highly prized and at another cllscarded, Gregorian chant •as tor ages ass1duous11 cultivated, then again looked upon I... Ii as an outworn thing to be superseded by oburoh music held to be .11"' ( __,., more beautiful. We know that 1f the Chant does not accomplish that for wh1oh it 1s intended, it is not the fault of the Chant itself. Sacred music ia a complementary part of the solemn 11turg7 and therefore participates in the general scope of the lituillllr• In fact, we find that It is as the Holy See has tw1oe solemnl1 declared, that form or song in whioh the voioe of the Universal Church 1n her solemn public worship of Almighty God, finds its most perfect expression. The holy rather, in his Apostolic Constitution on the Liturgy and sacred chant, has pointed out how great has been the influence of the chant, from earliest times, on the faith and piety of the people; and how, 11 1n the ancient basil1oas, where Bishop, clergy and people alternately sang the divine praises, the liturgical chant played no small part in ooniert1ng many barbarians to Christianity and o1vilizat1on. Albert Holzmann in an article in the Fischer Edition News stresses an important point when he says that God's service and not men's service belongs in the church. God's service means

11 1--... • B. MoElligott, 'Plainsong an d the Singer, Music and Liturgy; _ P• 12. No. l, October, 1929. p

-51- serving God, not according to one's own oonoeption and volition,

but according to God's will as He manifests it to us through His Church. Therefore statements such as this one must be true, Church music simply must be liturgical music. That is of primary importance. It is not a question of awakening sentiments of piety by mueioal means that are only more or less adequate, or even excellent in themselves; it is precieell a question of subordinating the art of music to worship.

Then 1t might be well to add that one of the most zealous in oarry1ng out Pope Leo's musical reforms was Joseph Sarto, successive­ ly priest, bishop, and patriarch ot Venice, who in 1903 ascended the Papal throne as Leo's successor. H1s great Motu Proprio is ev1denoe ot h1s zeal. Church music 1s not merely music in the church, but music ·- tor the church, that is, music which 1s in its spirit and its will ••~ ii 1n accordance with the inner significance of the liturgy. If the feeling of participation is lacking then the soul of Church mua1c w1th its inner sincerity is gone. We know that the liturgi­ oal text must be sung as it is in the books, without alt.tion or inversion of words, without undue repetition, without breaking BJllables and always 1n a manner intelligible to the faithfUl who listen. Again and again we t1nd that the Motu Proprio tells us that mus1o 1s employed tor the sake of adding force to the words and why then should the text not yield occasionally to a melody trom which it derives an increase of strength and beauty. It ma1 be stated as a general rule that the more olosely a composi­ tion tor the Church approaches in its movement, inspiration, and savour the Gregorian torm, the more sacred and liturgical it becomes; and the more out ot harmony it is with the supreme modei,

d u 10 Real.lY Ought to Be," 1Erm1n V1try, o.s.s., "What Sacre .us tember 3 1929 Orate Pratres, PP• 366-366. Vol• II, No. 12, Sep o, • p ' -52- :Illi I the less worthy it is of the temple. Grenville Vernon and others :I ! have voiced such opinions. The Church attaches great importance to her official music and so,

Plainsong, the music of the Liturg7, carries on the s~ream of its melodies the rich freight of prayer expressing the soul or the people in the highest human rites. The words of prayer which 1 t uses are not the words of a human author expressing his own individual feeling or thought but the solemn words of the universal Church in her public worship ot God. Plainsong is the worship not of an individual with the limitations or a single personality but of an individual as a living member of the Church. If plainsong were only a medieval form of song it would still be great music, but 1t 1s, however, tar more than mediaeval song.I i I

unison. sometimes it 18 austere in its dignity, and sometimes 1t 1a ornate with the ecstas1 ot uncontrollable Joy. This is best eXpressed in the words of a great Benedictine chant instructor. In concluding a paper on NWhy 1s Liturgical Mus1o so Austere," he says, To sum up permit us to saf: (1) that the liturgioa1 musio is aueter~ in the best sense of the word, beoause 1t is Msacramental" music, sacrificial 1n character, safeguard1 ng the !a1thtul against falling into th~ pi;s~{ Pi!::~r(~rl~hat self-enjoyment and losing the benefi 8 0 1 i of the the diatonic element 1s one of the tundamenta~a~!0 ~a~:ing and saored chant because it exo(ludes the !~~:)s!~d becomes there­ tlatten1ng of tonal steps the chroma fUl and dignified, by firm in 1ts melodic statement, repose

lJ.B. Mo1C111gott, "Plainsong and the S1ngell" Mus1o and #,iturgz, pp. 9-11. No. 1, ootober, 1929. p

-53- chaste (as our forefathers put it) and unworldly; (3) that the mov~ment (rhythm) ls that of solemn prayer which ex­ cludes playfulness and irregularity in speed, dramatic shouts and whispers; (4) that the singers lend their voices to holy Church, the Spouse of Christ, for which reason all retarding of rhythm in order to show oft vocal beauty or power is out of plaoe; (5) that the lack of harmonic parts, anj especially the absence of contrapuntal display, 18 a real blessing because the d1strese1ng repetitions, syncopa­ tions, and simultaneous utter1ngs of different words are ,· eliminated; 1n consequence the sacred text can be well .I understood •••• (6) that there is legitimate austerity-­ I. the word being taken in the sense ot firmness and determina­ I '' 1· / ' tion, as the teacher who presides over a large class must be :~ /1 tirm and determined to get satisfactory results.l !r. ''

..l. D1tt1oult1es ' I i I There has never been a movement towards a good thing which l•. ·i., has not met with d1ff'1oult1es and so also with the Chant and its place in the Church· There are alwa7s some who can never submit to the thing that is or the oorreot type. There will be one excuse after another, and so there will be difficulties. One ot the greatest d1ff1cult1es in malting the Chant take 1ts place in the Church was the lack of proper leadership. Those who were in charge ot choirs had not been trained to appreciate the great art of plain song and therefore when it was req"ftred for Church music they and their followers did their best in producing •hat they thought was Gregorian chant, but which was nothing but a •hacking" 1m1 tation. They showed lack of smoothness and the prayerful etf'eot. However, this was thought of by the great Pope and he susgested that in all seminaries and other houses of study tor the torma.t1on of the clergy, both secular and regular, that lessons 1n Chant should be given.

lnom Gregory Huegle, 0.s.B., "WhY is L1turg1oal Music so 9 l Austeret" Orate Fratres, PP• 59-60. Vol. VI, No. 2, December, 1 3 • p

CHAPTER VII OUTSTANDING GREGORUI OHO! ODTIRS

A few of the outstanding Chant Centers are at Solesmes, France, the Pius X School in New York, St. John's Abbey at College­

ville, Minnesota, the Abbey of Conoeption, Missouri, Benedictine Sisters at St. Joseph, Minnesota, Downside Abbey in England, the Abbey at Ampletorth, England, the Abbey at Maria-Laach 1n Germany, the Abbey de Maresdous in Belgium, Aro1bad1a, Monteoass1no, Italy,

and Quarr Abbey, R7de, Isle ot Wight, England, and Collegio de s. Anselmo, Rome.

Solesmea Today Soleemes 1• alwa1• thought of 1n connection with Gregorian ohant. It waa founded in the eleventh century by Geottre7, ••1gneur ot Sable. Solesaee was suppressed during the French Revo­ lu t1on but waa reTived again b7 Dom Gueranger 1n 1833· It is •T1dent then that Soleemes and Dom Clueranger cannot be thought ot

•1thout the mind reverting to Chant. !be task of Dom Gu~ger and hie co-worker a laJ not so 1111ch 1n the s tud7 ot the chant aa 1n the ao1ent1t1c studf tor textual restoration ot the Gregorian chant and the subsequent publication ot chant texts and 1n the •orth7 rend1t1on ot the Church's praJer-song. The work ot the tamous Gueranger and his monks was an answer to the needs ot the Church in the nineteenth centurJ'• The work did not stop with these t1rat workers. The next great man who has an important place beside the first workers is Dom Mooquereau. He had been 1nstruoted 1n

-54- -55- I tbe chant by Dom Pothier. The abbot Dom Couturier saw the remark­ I:: I' I able ability of the young monk and charged him with the training ot the monks in ohant. Men, such as Charles Bordes, the tounder of the Sohola I' Cantorum at Paris, Camille Bellaigue, the music or1t1c and writer, Pierre Lalo, violinists and composers, and Andrew Halleys, spoke with admiration ot the charm exercised by the rendering of the obant by the monks, and Dom Mooquereau was recognized as being tilled with the ep1r1t or the chant. His great work is the lluaioal Paleographi•· In 1910 came the first volume of his -Le I Hombre llua1oal Gregor1en, or Gregorian Rhythmic. This work was preceded by many books on methods and manuals of the ohant. There •ere two that were eapeo1ally popular, the Grammar of Plainsong by . j the Benedictine Dames ot Stanbrook Abbey, (1906) and Grammer of Plainsong by the Prioress of St. Mar71 s Abbey, Stanbrook. Then for the English reader there 11 the book, A New School ot Gregorian

Chant, by Dom Dom1n1o Johner ot the Beuron Archabbey. In 1927 Dom Mooquereau t1n1shed his seoond volume41if ~ lombre Kua1oal Gregorien. During the last week of his lite he •ent messages to Mrs. Ward, the worker 1n chant in the United States. About tive o'clock in the morning or Januar1 18 the great Chant Monk died. His memory and his work and the sp1r1t of his prayer is still here. Dom Mooquereau was not only a master 1n the art or the Chant but he was a holy monk• In 1906 a Gregorian Summer School was held at Appulduroombe, men of whom we sh.all Isle of Wight, England and at the school were d among the teachers hear later. Dom Yocquereau led the group an R 8 v Jam es A. Boylan ot and students are these: Dom Eudine, Th e • 0Terbrook, Pennsylvania, an4 11oola A. Montan1 ot Philadelphia•

• -56- II The principal work for the Church by Dom Mooquereau, com­

prises fourteen volumes of the Paleograph1e Musicale, which through i

/i ~I tabulation and comparative study ot the fundamental manuscripts ot ,, I' the Chant throughout the various centuries and oountries ot Europe ~· i· trom the ninth oentury on, led to the recapturing ot the ancient '' traditional rhythm wh1oh is not ott1o1all7 restored to the Church by Pope Pius x. Then there followed his two volumes ot Le Nombre

i Mue1oal Gregorien, wh1oh is the very t1nest authoritative stuc\V j': ot the interpretation ot the Ohant. Dom Mooquereau visited Allerioa twice. The tirst visit was J 1n 1920, to direct the Congress at St. Patrick's Cathedral, Hew • York City. The second tlme he oa.me to give a Summer Session at the Pius X School ot L1turg1oal Kusio 1n 1922. I The following authentio statement of the work ot Solesmee llOllka 8Xpla1ne their work: The ruling idea ot the Gregorian restoration at Solesmes has always been to return to the oldest tradition, alike 1n rhythm and in melod.7, and 1t there is a rh7thm1oal theor7 peoullar to this sohool, setting out to complete or interpret the positive ind1oat1ons supplied b7 the Dl8111- eor1pta, this theor7 only olaims to recognize and detl'fle llOre preo1sel7 the obJect1 ve rhJthm whioh naturall7 arises out ot the melody 1teelt. The Solesmes theor7 ls nothing else than a return to antiquity in order to understand and interpret the oha.nt, and this not in an1 arbitrary or personal tashion, but 1n atr1ot accordance with the melody as it was composed and oryetallised in the manuscripts that have oome down to us.l

lnom Herbert Desrooquettes, Rent• Gregor1enne, P• 160. 1923• p -57-

Plus X Sohool of Liturgical Music

The Pius X School is an example ot how Benedictine influence i . i " pervaded ~_nto the very heart of a large city and became a moving

sp1r1 t 1n the great work or not onl1 spreading the use ot the Chant

but 1n making 1 t loved and prared 1n song. The Pius X School ot Liturgical Music was founded 1n 1918 and established at the College or the Sacred Heart, Manhattanv1lle, New York C1 ty, by Mrs. Justine B. lard, author ot the Justine Ward Method or Teaching music 1n accordance with the deoree b1 Pope Pius X in his Kotu Propr10. J I· In its early 7ears the school owed muoh to the interests ,,.

and aseietanoe or the late Reverend J. B. Young, s.J., who super­ ~: it.a: ..... T1eed the work or vocal produotion. During the summer sessions ~i 3.1 noted authorities in Chant, such as Dom Kooquereau and others, «::JI!"'' would oome and assist 1n the work ot interpreting the chant. In

th1s eohool young an~ old were fascinated with the beaut1tul prayer­ ful song. Dom Mocquereau and Dom Sablyrolle taught at the school. The latter and Dom rerrett1 (Abbot) or the Pont1rical Schotll ot Rome spent three summers at the school conducting classes. Dom Mooquereau approved ot the work of Mrs• Ward, and this 1a •hown 1n his letter written to her. Your book on Gregorian Chant retleots truly and lum1nousl7 the most exaot dootr1nes ot Solesmes. Your zeal ot long standing tor the Gregorian cause • • • • b~u~t8 1°~tt~ight. Quar Abbey, the Solesmes ot our exile, on t e 1e t t You wished to understand wherein lay th:~~orgre!a~f rh~hm-- aweetness, that legato, that phrasing, in at broad and undulat1ng--wh1ch oharaoter1zes the sing g Solesmee.l the tact that even Pope Pius XI Mention m1ght be made Ot k en understanding realized that Justine Ward was blessed w1 th a e

1 tter written b7 him 1 nom Andre llooquereau, B:xtraot ot a e to llra. Justine B. Ward. Deoember 25, 1921· -58- and artietlc senslbil1ty wh1oh have enabled her to master the prinoiples of Gregorian chant aooord1ng to Solesmes. She .baa generously used her g1tts in the service ot the Church and all who

I . appreciate the 1mportanoe ot music eduoat1on will be glad to know 'J that Pope Pius XI sent her his special blessing tor her cooperation 1n the work ot the institute.

Montserrat Montserrat is a Benedictine Abbe1 1n Catalonia, Spain. 'l'he Abbey has 1ts tamous Escolanla, a kind ot conservatory tor aaored mua1o, which bas been fostered since the fourteenth oentur1. It may be interesting to note that the monastery had a m1ss1onar1 spirit, tor it was fro• this place that twelve Benedictines lett •1th their Prior to accompany Christopher Columbus in one or his •01ages to the new continent. An1one going to Montserrat would meet children provided •i th Gregorian ohant book• or other books on music. The JCsoolania or 'little school,' 1e a group ot some th1rt1 small bofs whose pr1no1pal dut7 1s the aerving ot the altar or Our Lad7· These• bo7s •1ng Gregorian and polJPhonic melo~es. One ot the outstanding lights at Montserrat is Dom Gregor1 Bunol, o.s.B., Monk ot Montserrat, and his great book is a text of Gregorian ohant according to the Solesmes method· Neither the well­ known Stanbrook Grammar of Plainsong nor lad.am Ward's valuable course oover as much ground as does Dom Gregor1 1n h1B Spanish Method&· Dom Sunol's Method on Gregorian Chant, oonta1n1ng the teaching or Solesmes is well known in Europe as well as in America. Two Benedictine convents were the oradle whence oame this l1 turgioal renaissance and the knowledge ot Gregorian obant; • on the other tJ:.e Montserrat on the side tor Catalonia and 0 a• tile' lllOnlte ot Silos on the tarther side of Castile• The school of p -59-

Soleemes gained entrance into the peninsula through the ef'f'orts ot Dom Gregory Sunol. For the chair or Li turglo Chant, Ambros1anl and Gregorian, Cardinal Schuster applied directly to the school ot Solesmes, to select the professor who would appl7 to the Ambrosian music the

same method employed by the sohool ot Solesmes in the restoration ot Gregorian music, 1n theory and practice, alkl the man ohosen was "" Dom Sunol. ', i

St. John's Abbey St. John' a Abbe7 ls situated at Collegeville, Minnesota. f II

-·.·.1 It is an important liturgical center in the United States. The .1 ..., ., famous organ, The Orate J'ratres, keeps liturgical and musical 1n­ r::f t tormat1on before the people which will make them understand the

IBOTemen t. The Li turgioal Press, which 1 t sponsors, 1s a means ot bringing muoh printed material on these important subjects to the attention ot laity and clergy. Stanislaus Pre1ser, o.s.B., who died in 1915, praotioall7 1ntroduoed the Chant at st. John's Abbey. Up to 1891 the• was praot1oally little ohant sung at the monastery outside or the Vespers. Therefore 1n order to establish uniform1t1 Dom Stanislaus published the Monastic Vesperale, and it took about five years to complete the work. He sent the proof sheets to three other musio author1t1es, Utto Kornmueller, o.a.B., prior ot Metten, Bavaria:

lRev. F. Jos. Kelly, "llus1c as an Art Developed b1~:h, Church," Catholic Choirmaster, PP• 7-8. Vol. II, No. 1 ' 1925. The birthplace or the Ambroaian Chant was A~:1~!i ~~o:ir=~c!nd St. Ambrose transplanted it into his own oa t e R The Amrbosian •h1ch Pope Damascus afterwards introduoediin of ~::·church tor Ohan' enjoyed undisputed sway in the serv oe 0 made to 1t of the Mo.at two hundred years, when an addition ~:ant and more pa.rt1- ••ll-known Gregorian Tones• The Am~ro:i~rJ' th; Great, may be OUlarly the ohange inaugurated by S • re sioal method; or 111 regarded as a pr111ar1 effort to evolve ; mureduce mus1o 1nto an art. other words, out ot existing knowledge 0 -60-

Herman Mueller, and John S1ngenberger, whose further 1uggestlons

and op1n1onA Dom Preiser valued h1EZ')lly. In 1893 there were almost no Chant Masses sung. The monks used two lRrge conies of the Yed1o1 Graduale, published 1n two huge volumes by the Pue tet Company. They bad no rhythmic signs and no 11quesoent notes. A large group could gather before one ot the volumes and all made efforts to see the notes. This graduale was used up to 1909. From that time on the monks used the new graduale, the Solesmes edition. By 1912 all the monks, nov1oes, and clerics Joined 1n the •1ng1ng for all the services. This then was the beginning ot the congregational Chant singing. Dom Gregorf Huegle had been of great

aaa1atanoe to the Fathers 1n the rendition of the Gre~orian chant. In 1922 Dom Innocent and Dom Norbert studied Gregorian ohan t under Dom llocquereau 1n New York. They came baok trom the •ohool imbued w1 th the ap1r1 t of this great leader and immediately began to put the pr1nc1plea into practice. They established the

Bobola Cantorum, conduoted the monaater1 choir, trained ~e •em1nar1sta 1n the proper rendition of the chant, and had regular claaaea in Chant tor the nov1oes and oler1os. Great efforts were made to have 11turg1oal summer sessions but arter two terms they were discontinued owing to unfortunate Ciroumstanoee. In plaoe of the summer sessions these two Chant lead.era, Dom Innocent and Dom Norbert, were asked to give speoiai inatruotlone 1n Chant at some of the convents. They spent time and energy 1n acquainting parishes with methods of congregational chant a1ng1ng, pariah choir work, and school singing which would lnolude the Gregorian chant. This method of making the children love the Chant is the best method of bringing it to the hearts of all. Dom Innocent and Dom Horbert have spent a great part of the1J'-t11le on this worlt. -61- Dom Innocent la still engaged 1n work at the monastery.

He conduc te the monastery "Sohola," prepares the sem1nar1sts 1n

the Chant Rnd in every way shows the beauty of this Gregorian

chant. He Rnd Dom Norbert 1ntroduoed oongregat1onal singing in the atudent body of the college and university of St. John. At present the third and fourth year high sohool students, which includes all students for the priesthood, diocesan or

mon8 stio, have two hours of 1netruot1on each week in Chant. The fifth and sixth year students also have two hours weekly of in- 1truot1on 1n Chant and belong to the Sanctuary Choir. The novices re•1ew the complete theory of the Chant using Sunol as a text, The7 practice the Proper and the Common ot the Mass. The Clerics ha•e Chant rehearsal once a week and the members ot the Sohola are •elected from the Clericate. This Sohola oons1sts ot twelve men. Once a week the entire oommun1ty rehearses the Chant tor halt an hour. Thie 1s done regularly. fathers Norbert and Innocent gave frequent programs 1n •h1ch the aem1nar1ans and all the chant groups sang beaut¥"1 ohant and polyphonic numbers. Much has been done to promote the lo•e ot the Chant and both Dom Innocent and Do• Norbert are still

aot1ve in the promotion of the proper rendition of the pra1ertul Ohant. Dom Innocent has been organist at the Monastery since 1893 and therefore he has had opportunity to watoh the growth of the Chant at the Abbey. Dom Roger has done a great deal of work on the Liturgy and lt 1a hie op1n1on that The reason why the ChUrch is so insistent upo~ ~!es~=~ •toration ot Gregorian Chant partioularl1 (no ll) 18 ~hat the great need ot reform in Pol{ihon!i;: •~or ore~t1ng t Gregorian ohant is pre-em1nen 1 8 All4 od saored a tru17 religious atmosphere of pra1er• ~t be- 11Ua1o must be able to do this, but Gre~~=e and ~uperiority, oauae ot its aoknowledged inherent exoe

' ~- -62- oan do this better than any other music. Henoe its re­ storation will not be injurious as some would believe but greatly benefloial to parish spiritual lite. Holy Mother Church realizes too well the excellent effects produced throutSh her own proper traditional chant, to let 1t be superseded by any other form of sacred music, or to be relegated to antiquity, as some would wish.l In addition to his work in instructing others in Gregorian obant, Dom Innocent maintains a speoial section in the music library of the Abbey where he bas copies ot the old chants and many photograph1o representations ot the work of the early Gregorian researoh workers. During the past few years Dom Norbert has devoted his time to introducing and establishing Chant in the parishes. He does th1a through personal instruction and gu1danoe. After he has one Parish oholr and oongregat1on established in the singing ot Gregorian Ohant he leaves 1t to work on a new parish but later he oomes baok to oheok up and assist in making the chant more fluent and beautiful. A letter from Dom Norbert to his Sister gives his reason tor the work he is doing: The reason tor my present aot1v1t7, t~aohing ohant in the parishes, 1e baaed on the words of Plue X in his Kotu Propr1o. 49Espeo1all.7 should this chant be restored to the use of the people, ao that they ma7 take a more active part in the oft1oes as they did in toraer times,• as also in the words of Pius XI in his Divin1 Oultua Sanot1tatem when he ea7s: 1 In order that the falthtUl ...1 take a more aot1ve part in divine worship, let the portion of the ohant whloh pertains to the congregation be restored to popular use. It is very necessary that the faithful taking part 1n saored ceremonies should not do so as mere outs1~ers or mute epeotatore but as worshippers thoroughly imbUed with the beauty of the 11turgy.•2 Dom Norbert realized that the parishes needed a booklet Which oould be used by the congregation and therefore he was in­ strumental 1n oomp111ng a booklet called Parish Kyriale· This

5 1Dom Roger Sohoenbeohler, The Chant of the Ohuroh, P• ·2 • The Liturgical Press, Collegeville, Minnesota. 1§30. J 2nom Horbert Gertken, o.s.s., •Letter to one of tue Slaters,• &nuar7 27, 1938. -63-

Parish _Ky_rlal.e c·>nt~ins the Asperges, V1d1 Aquam, Masses I, II, IV, VIII, IX, X, XI, XII, XIII, XV, XVI, XVII, XVIII, Credo I and Credo III, Mass for the Dead, The Absolution, The Subvenite, In Paradisum, Bened1ot1on Chants, and the Responses at High Mass.

This booklet for~e a valuable aid in parish singing, tor the people can part1o1pnte 1n the Chant. Some of the territory covered by Father Norbert ls Minnesota, Illinois, Missouri, Wisconsin, North Dakota, and South Dakota. These oalle he makes result in a spread ot enthusiasm tor the Chant. The art of oongrega t1onal singing is very important. One ot the leading Minnesota papers published an article on Church lluaio Art•, whioh brings out the importance of un1tied etrort 1n a aong-pra7er. It, tor lnstanoe, the habit ot training congl'egations were •tarted in our large ohurohes it would not be long before •11aller congregations would adopt the same methods and country churches quickly would follow. It this would be done there would be a nation-wide revival ot singing 1n ohurohee that could have no other result than general 1m­ pro•ement. Heart musio 1n place ot art music would brighten up many a dull ohuroh aeM'1oe. Less choir singing and more congregation singing and so trained as to put their h ..ts into it, would have tremendous influence in attracting those •ho would rather oontribute their share to a religious ••r•1oe than to sit quiesoent while choirs f1ng more or lees badly for their ap1r1tual edif1oat1on. Work s1m1lar to the type done by Dom Norbert ia being done in Germany and England by the Bened1ct1ne monks• P • Dr. Gregor Bohwake, O.S.B., from the Abbey St. Joseph in Gerleve, Westphalia, before 1929 had won over to the oause of congregational singing OTer one hundred twenty thousand people by parish courses which he ga•e. In England similar courses are given tor the spread ot oourees in congregational singing•

l.Jamea Daviea, •Church llusio Art,• 111nneapol1s Tribune, lullday, J anuar7 16, 1938. -64- Dom Norbert considered the summer courses in Chant as.very iDIPortant. He tells of the great good that was a result of the summer sessions at the Abbey during wh1oh men suoh as Dom Ermin V1try, Dom Ignatius, Dom Stephen Thu1s, Gregory Huegle and others assisted in the great work or promoting the Gregorian ohant. The influence of this Gregorian chant artist and teacher

11 very great. Many a oongrega tion is happier now that all have been instructed in partaking of the responsibility of the singing for they now real1~e that song in Chant is prayer. The people are realizing more fully that in actually participating 1n the liturgi­ cal eerv1ces, such as the Mass, they derive greater merit and a great aid to a richer spiritual lite. In a sketch wh1oh Dom Alex1us Hoffman made of the history ot St. John's Un1ve~s1ty we find that most of his material was taken trom the annals or the sohool and in these we find the following excerpt:

In the early days ohurch music was much of the same character ae •as found in the churches ot the country and the composi­ tions ot Lambilotte, Schmidt and Werner were in much de1'1Jld· When the Ceoilian reform reached the West in the early 7~'& 1t seoured some patrons at St. John's. The cho1r composed of olerios and seminarians sang Ceo111an music exolua1velY• Still the student choir adhered to the old school and it was only in the 90 • s that both Ceo 111an mus 1o and Gregorian chant •ere adopted as the correct forms or ecclesiastical chant, Chiefly throuf·h the efforts of' p •. Stanislaus Preiser and the late Norbert Hofbauer. Since 1890 the students' ohoir has been directed successively by p. Stanislaus, p. Edmund Basel, P. Louis Trautler and p. Riobard Simmer. The members a.re instructed in modern and choral notation and have besides, two rehearsals every week. The ~rganists are P. Innocent Gertken and Fr. Norbert Gertken. On this foundation, therefore Dom Innocent and Dom Norbert built the present high quality of Chant at st. John's and all the surrounding territory.

149 0011 1Dom Alexius Hottman, o.s.B., St. John's University, P• • egeville, Minnesota: Record Press, 19o7. -65-

Convent of St. Benedict

The Convent of St. Benedict is located at St. Joseph, Minne­ sota, which 1s about r1ve miles from St. John's Abbe1. This oonvent

18 the mother-house and has approximately 1300 members. The Sisters are not all stationed at the mother-house but are scattered through

11&111 states 1n mission houses of the Order. At present there are

11Xt7-eight of these m1ss1on or branch houses. It 1s here that leaders in Chant are trained so that all the branch houses will baYe teaohers and leaders ot Chant who oan assist 1n the parishes and thua make tor a un1 ted whole. It 1s tor this reason that the ReYerend Mother has been Y8%'J selective in bringing to the oommunit7, •' Yar1ous times, men ot great repute 1n the t1eld ot Gregorian chant,

10 aa to give the Sisters the best possible 1nstruct1on in Gregorian

'• Oh•nt. !'t

Sister Otto, who died 1n 1910, a tarted the impetus of Chant beoauae ot the inspiration which she received trom the Obant at st. Jobn•a Abbey. Through her etrorte Dom Gregor7 Buegle oame to give 1 .. a course 1n Chant at the oonvent. Aooord1ng to the report 1n the Caeo111a, we find that when rather Lukas Etlin was plaoed 1n charge of the Convent near Clfde, a •hort distance from Conoept1on, M1saour1, he 1ns1sted that the Bened1otine Sisters of Perpetual Adoration deYote themselves prin­ Oipally to the study of Gregorian Chant. Here Father Gregor7 ••?-Ted a twelve year apprent1ceah1p in Chant•

n Germany in 1866· Dom Gregory Huegle was born 1n Lellw~g: by the 01atero1an He attended oollege at Mehreau oonduo 8 wed the 1n­ rathera (White Bened1ot1nes). In 189& hetfo!h:1 newlJ tounded Yitation ot Abbot Frow1n Conrad and came 0 Abbey or Conoept1on, M1ssour1• -66-

Then when the oall ot the Kotu Proprio of Pius x came, Dom Gregory Huegle was prepared tor the task ot lending a helping hand· In the beg1nn1ng all hie work was done on a small scale.

He usually began his oourses w1 th the study ot the Latin words tor this assisted 1n the mas ter7 or syllable chants and in due time the oounterplay of melody was demonstrated. This Father devoted

10 much time to 1ntroduo1ng Gregorian ohant that it is titting that his eohedule, wh1oh began in 1905, should be given. Courses given by Dom Gregory Huegle, o.s.s. a) At Conoept1on Abbe7 In the year 1904 six Bened1ot1ne Fathers ot St. Benedict's Abbey, Atchison, Kansas, opened the long list of ohant ooursee. In 1905 two separate courses were held. Owing to the stern measures ot the Archbishop ot Cincinnati, priests and students trom that arohdiooeee were in the lead. At the Cl7de Convent a course was held tor Sisters

and lady organ1ate; ten different orders were represented, :•1 the C1no1nnat1 oont1ngent being 1n the lead. In 1906 two -, oouraes at the Abbey were followed by one course at the OonYent. (b) Awa7 from Conception Abbey 190& O'Fallon, Missouri, Preo1ous Blood Sisters, C1no1nnat1, Ohio, Notre Dame Sisters (Grandin Road.) Covington, XentuokJ, Benedictine Sisters (st. Wai1' burg's Convent). 1906 C1no1nnat1, Ohio, Notre Dame Sisters (Grandin Road);) Waltham MassaobuaettM, Notre Dame Sisters (Novitiate l 1907 Waltham: Massachusetts, Notre Dame Sisters (Nov1t1ate1; Columbus, Ohio, Dominican S1stera (Our Lady of the Springs Convent); St. Louis, Missouri, J'ranoisoan Fathers. 1908 St. Joseph, Minnesota, Benedictine Sisters; Bay C1t7, K1ch1gan, Dominican Sisters (Academy). 1909 Grand Rapids, Michigan, tor Sisters, c1t7 organist: and choir directors at st. Mary's School, under t e ausp1oes of Monsign~r J. Schrembs; St. Joseph, Minne­ sota, Benedictine S1stera; Omaha, Bebraska, at st. Mary Magdalen Church, conjointly dw1thinRe;; s!:~:~tthe Burkard, o.s.B., tor organists an s ge ' auspices of Rev• Bernard Sinne, Pastor. 19 d Alabama Bened1ot1ne 09 Deoember--1910 January, st. BernarOkl~ ma Be~ed1ot1ne Abbey. In April, Sacred Heart, o ' Abbey. -6'1-

l910 s1ns1nawa, W1aoons1n, Dom1nioan Sisters: !larfville, :J1Haour1, Franciscan Sisters; Iowa City, Iowa, brief oour8e for olergy ot deanery, under the ausp1oes ot Very Rev. Father Sohulte. 1911 Scranton, Pennsylvania, Sisters ot the Immaculate Heart of Mary. 1912 Omaha, Nebraska, Franciscan Sisters: assembled at the Creighton Hospital; Yankton, South Dakota, Benedictine Sisters. 1913 Yankton, South Dakota, Bened1ctlne S1aters; Sacred Heart, Oklahoma, Benedictine Abbey. 1914 Guthrie, Oklahoma, Bened1ot1ne Sisters. 191~ Ch1ougo-Evanston, Ill1no1s, oonterences with Bishop Schrembs oonoern1ng chant-supplement tor Catholic Ed1t1on of Progrees1Ye Serles (Silver-Burdett & Company). 1916 C1no1nnat1, Ohio, Mus1o Week oonJolntly with Bishop Schremba; Guthrie, Oklahoma, Benedictine 81stera. 1917 Mt. Alverno, near Manltowoo, W1eoone1n, Francieoan Sisters. 1918 LoCrosae, Wisconsin, Frano1soan Sisters; Mt. Alverno, W1soons1n, l'ranoieoan Sisters, St. Vincent Archabbeyf Latrobe, Pennsylvania, Bened1ot1ne Fathers. 1919 East St. Lou1a, 1111no11, Teaohers' summer School. 1920 Guthrie, Oklahoma, Benedlotine Sisters. 1921 Dee Moines, Iowa, beginning of periodical visits to St. Augustine's Choir, in the interest of Gregorian Chant; about three times a 1ear tor ten 1ears. 1922 New York, attending Dom Mooquereau's chant oourse at Pius X Sohool. 192"& Atchison, Kansas, Bened1ot1ne Sisters (Kt. St. Soholas­ t1oa Convent); Clinton, Iowa, J'ranolsoan Sisters (Mt. St. Clare CoaYent); Burlington, Iowa, Ohoir ot St. John's Church under the oare ot the Bened1ot1De rather••) 192& Clinton, Iowa, P'rano1soan Sisters (Kt. St. Clare Oqavent • 1928 L1ale, Illinois, Bened1ot1ne Sisters (Saored Heart lJon­ vent). 192? Cleveland, Ohio, OonJo1ntlJ with Bishop Schremba, tor the Sisters teaching in the diocese; first group at Notre Dame Convent; eeoond, at st. Joseph's Aoadem1; third at the Ursuline Convent. Short oourse at Hart- ) •ell-C1no1nnati, Ohio, Frano1soan Sisters (Mother-house 1929 Sturgis, South Dakota, Bened1ot1ne Sisters (St. Martin Convent). (u th r 1930 Hartwell-C1no1nnat1, Ohio, Frano1soan Sisters • 0 e - house) , 11 t st p aul ' s 1931 Cleveland Ohio uconventlon of Organists al • Shrine: short o~urse for Franoisoan Clerio&• The courses glven by Dom Buegle, as recorded in the schedule, •howa to some extent the work done bf this Benedictine to educate People 1n the rend1t1on of Chant•

1933 1141tor1al, •oaeo111a, 1 P• 228, Vol• 60 • No. a. August, • I 1 ! '' -68- '' Dom Huegle has published numerous art1oles on the Chant 1n magazines, such us Arthur Preuss' ReYiew; Eooles1astioal Review, Church Music, Orate Fratres, Catholic Register, etc. He is also the editor of the "0aeo111a"•

Thie then is the type ot a man who oame to St. Joseph, K1nnesota, at Sister Otto's instigation, to instruct the Sisters 1n Gregorian Chant. His t1rst Y1s1t was in 1908 and he came back 1D 1909 to strengthen the work of the previous year. In 1918 congregational singing was begun with the oommunit7 and the student body. Up to this tille the writer ot this paper was organ1e t, and ln 1922 she was g1 ven tull oharge ot all oho1r work Which also 1noluded congrega t1onal singing. Then began a gradual 'rane1 t1on from Ceo111an music to the Gregorian ohant and todaJ, 1n 1938, all mue1o that la rendered tor 11turg1oal services 1s •lther Gregorian chant or polyphonic music. The work or the Bobola Oantorwa ot the Sia tera, and that ot the students ot the college of St. Bened1ot, whioh 1• connected with the Mother-house is re- oognlzed ae being ot very high qualit7. llusio experts come·• to bear the quiet beauty or Gregorian chant or the rendering ot music ot •oma master or the sixteenth century. Dom Eud1ne, who worked •1th Doa Mocquereau, gave a series or retreats at the Mother-house and he remarked ag-aln and again that this Schola rendered the Gregorian ohant in a more etteot1Ye manner than an1 group ot women 1n the United States. The aim of the choirmaster has been to make the Chant aa impersonal as possible so that the true sp1r1t of

Pra1er 1n the word• would be stressed· At different times the aiaters ot the Schola ha.Ve given

•aored concerts wh1oh included 11&111 numbers ot plain chant and These ooaoerts are 8 0 .. nuabere ot Palestrina and other masters. looked ot this tJPe of ohUroh mus1o torward ~o b7 manJ a4111rera &ll4 t"'·t 1t will sow the seed 1 t 1• the hope of the obo1r leader MA j I I -69- ,, '

ot a love ror the Chant so that all people in the parishes will desire to learn lt and to love it.

In 1926 the Sisters ot St. Benedict decided to pra1 the Divine Office and eliminate the Little Ottloe ot the Blessed Virgin. It was then decided to have Dom Cuthbert ot St. John's Abbey address the Slaters. He gave some very helptul 1uggest1ons on the chanting of the D1v1ne Off1oe. Dom Cuthbert is now Abbot at the Assumption &bbe7, Richardton, North Dakota, where he 1a now continuing the goo4 work 1n Chant and 11turg7. Atter a number ot years the Sisters had as retreat-master,

for the summer, Dom Eudine, who bad been a oo-teaoher at the P1ua X School w1 th Dom Mooquereau. Be stayed in St. Joseph tor

'he entire summer and gave all hie attention to instructing the Slaters 1n the technique ot saying the Divine Ottloe and 1n slng­ lng the Chant. Dom B:udlne la from Parnborough Abbef in England• le outlined the important work which the clergy of rarnsborough Abbe1 are doing 1n plain ohan t. A colleotion of old manuscripts ct&ting from the ninth to the sixteenth oentur1 has been mad.rand 1D llally instances more than one thousand different selections are f01lfld in one ma.nusor1pt. In oonolud1ng one ot his talks Dom Eudine said:

The beautv # 1 i bant does not lie 1n exultant melodf, ., o"' P a n o ~ m the heart, bu t in the deep, unemotional Joy that comes .1.ro 1 abiding 1n an atmosphere of purity and calmness. --ers Dom Norbert, o.s.B. During the past tour or five Su 1111&1 OOnduoted classes 1n Gregorian chant and chironom1 at the College ot St. Benedict. His work is thorough and effective for in the 0 n the K1ss1ons •u11mer 1t 1e possible tor many Sisters who are away

- l B Presides at D1ooesa.n lao Humbert Pagani, •Dom Eudine, 0 • 8 • i;;..ster, P• 34, Vol· 16, red lluaio Oonterenoe, • The Oathol1o Oho ••• l, llar0 h ' 1930. . ~ :.1 : l·'

-70- r ~ '

dUring the yt->ar come and obtain expert assistance and instructions I in notation, rhythm, and recitation as well as in s1ng1ng the Chant.

Dom Norbert's training was under Dom Mocquereau and he 18 considered one of the most able ohant masters. The Sisters at st. Benedict owe muoh ot their skill in singing the Chant to his patient 1nstruct1on. Bishop Sohlarman ot Peoria, Illinois wished for a demonstra­ tion ot Chant singing 1n the grade or grammar schools. Reverend lother Louie e suggested the name ot Sister Gemma who had very

1uooesstu.lly taught the Chant 1n all the grades ot the village aohool, and accordingly Sister Gemma and a companion Sister went '° Peoria• At the session on Church Music, Sister Gemma then told her exper1enoe in establishing congregational singing. Her

••thod ot d1v1d1n~ the tllle tor Chant in the grades was ver1 in­ teresting and etf'eot1ve. Her talk is printed 1n the June, 1935

••ber of the CatL.olic Choirmaster. As already mentioned, in the Convent Chapel the Grecr1an With the polyphon1o msio holds t1rat place and all other music baa been d1eplaoed for the D1v1ne Services. When the present oho1r11aster wae 1n New York she studied under such able masters aa Dom Ferretti, the president of the Pontifical School of Muslo 1n Rome. She studied polyphon1o mus1o under Father Finn and She Ullder Mon tan1, and Chant aooompaniment under Aoh1lle Brager.

alao worked under Mrs. Ward, who 11 a great authority on the Chant, and 1t was she who did much to turther the work ot Dom

llooquereau 1n this oountr1• On coming baok to st. B~ne41ct's the oholrmaster's two Yer N bert worked with 1 able brother•, Dom Innocent and Dom or ' Jaei. to give Chant first place, resulting 1n a verJ fine 'begorJ.aa oenter 1n the mother-house•

...

. .... • ,. I ~ ; :

-71- I ~ . '. ' ~ '~ !i ':1· . The Holy Week Serv1oes or the Divine Ottice are sung ' I : ! aooord1ng to the Gregorian melodies. The Vespers are sung everJ

Sunday and feast day of the Church, and the Chant Masses whioh are proper to the season or day are sung bJ the oongregat1on and !: the Sohola. On great feast daya, auoh as Easter and Christmas, the D1•1ne Office is sung aooord1ng to the Gregorian melodies. In taot, Chant takes first plaoe in all the musio tor divine ser-

The College bas added a course in Gregorian Chant so tba t 1tudenta may learn Chant and be ot greater help to choir direotors 1n their own oommun1t1es. At present the oongregational singing la directed by B1s ter Cecile while the oho1rmaster not onl7 aooompan1ee the Chant but also d1reots the work ot the Sohola which alternates •1th the congregation in singing the Mass. The choirmaster assisted at one or the Chant summer sessions •'St. John's Un1•eralty and she oonduoted two ot the Gregorian ••ot1ona ot the summer eese1ona at the Diocesan College 1n St. Paul. Thia latter work she d1aoont1Dued beoause ot her own ..search •ork 1n Chant and other musical subJeota and therefore she turned OYer the olass work 1n st. Paul to Slater Leonore who is also an able instructor. Thus we find that the Sisters are oonstantl7 being made °Chant oonso1ous• beoause ot the taot that Chant 18 foatered at the mother-house.

Other Gregorlan Chant Centers Reverend Stephen Thule, o.s.e., ot St. Me1nrad AbbeJ, st. lleinrad, Indiana, has leotured on liturgical music and given i t at Notre Dame, oouraea in Gregorian chant and organ aooompan men Indiana University, and other 1nst1tut1ons ot the Middle West. le Oalla the Gregorian chant the •ever ano1ent and ret ever new

Gregorian obant.

- '. ,.; ... -72- , I Amon~ the musio a.ct1v1t1es a.t St. Me1nrad's we find that

Gregorian chant has first plaoe. There 1s a monastic aohola oan­

torum and a chancel choir. Many ot the fathers of the abbey have

partio1pat·3d in promoting the Chant. Among them 1s the Reverend I,

Stephen Thu ls who is Master ot Nov1oes at the abbey. As an organlat he hae won dist ino t1on through hie eohola.rl7 playing. He ls a pupil or M1ddlesohul te of Chicago. Be has written many articles on the Chant, leotured on liturgical musio, and has given ooursea 1D Gregorian chant at Notre Dame Un1vere1ty and throughout the 1114dle West.

Another Gregorian worker ls Dom Ignatius Groll who 1s

noted aa a oomposer and teacher. He studied piano, organ, and theor1 at st. V1noent College, Latrobe. He attended course• with the taaoua monks or Solesmea on the Isle ot Wight, England, and on returning to the United States devoted himself pr1no1pallJ to the 1ntroduot1on or the revised plain chant which was restored 'o the Cburoh by Pius x. It is to be regretted that this great

Chant enthua1aet 1 s career was short. In his lifetime he di... 11 he oould to promote the Chant literature and Chant classes to help people learn to love this pra1er. Abbot Severin Gertken of St. Peter's AbbeJ, Saskatchewan, •""ada 1 " .... t Bis monks are well in- a-a ' s an advooa te of the 0.uA£• • •tfttoted 1n the art of Gregorian musio and his clerics are all trained at the Abbey or St. John at Collegeville, Minnesota. Many other abbeys and convents are doing what theJ oan to Promote the love ot plain oh&nt and 1n :rurther1ng the desire

10 In America ot the Holy rather aa expressed in the llotu Propr • there la another organization that 11 of great importanoe, the Boo1e'1 o't St. Gregor1 ot Aaer1oa. This 11 an organization of Oa• ... l and those 111terested in the wuo 1o organists and oho1raasters acl•anoeaent ot the oauee of •aore4 mus1°•

" I~ ,,1

; ( ,, . : ,1, CHAPTER VIII I CONCLUSION

Let us AO stand to sing that our mind may be in harmonr with our volce.l I The quee t1on has often been asked as to whether or not there 1a a mus1o expressly designed tor and suited tor pra7er and worah1p. There 1e suoh a mus1o and 1t 1e none other than Gregor1an ohant or plain chant. It 11 thoroughl7 Catho11o and essentiall7 re- 11g1oua. It 1s a perteot medium tor pra1er because 1 t grew or1g1- aall1 and spontaneously as the natural war tor groups to pra7 1n ulaon. In the plain chant we t1nd that words and music are blended together like bodJ and eoul into a 1ung pra1er. The ver1 s1mpl1o1 t7 of the Chant add• to 1te beaut7, and thls is shown in a statement ll&de b7 the great Mozart when he orled out that "he would gladl1 uobange all h1e mus1oal 0011pos1t1ons tor the tame of having oom­ poaed the Gregorian preface.• '!'he ver1 sp1r1tual1tJ of this song begete prayer. Gregorian chant 1 pra7er, and its execution must take•• on 8 the •p1r1t of prayer. By means of the Chant the Christian spirit Of pra1er shows ltself in suoh a convincing manner that the heart glowa •1th the love of God, and finds in the melodies of the Chant 9Zpresa1on or 1ts fee11nge when the spoken word does not suffice. Gr r ot the ChUroh. egor1an Chant 1s pr1mar11Y the sung prafe tltulf nor ~ say ~ prayer and not .! pra1er howe~e~ ~::ent of pre.1er, o I sa1 that it 1e an ornament, an 811 8 1 true authentic, •011eth1ng secondary and 1no1dental, but the h N~r 18 1t OOllplete formula of the pra1er of the Churo •too o:tten Private pra1er• 1t 1s not 1ntended, as ltti8 ple• it 1s thought, tor a' speo1al privileged olankss ~ ~e~s, put it 8 to not even the exolus1ve monopoly ot mo ' 21 Plainly, the prayer of the Church as such•

( lated trom the Latin b lsa1nt Bened1ot, The HolY Rule tr•:~ot' 8 AbbeJ, Atohiaon, {..Rey. Bon1taoe Verhe7en, o.s.s., st. Bbene Student Press, 1912• •u • PP• 83-64. A tohieon iansa•: Ab ef !he Oaeo1lia, P• 57o. y 2Dom OaJard, •11ua10 aa4 frarer • • .!_!!!!...J4:!.:.=.::;.::;.;;;__. •l. 11, lo. 12, December, 1936•

-73- -74-

The ntt ture or the 11 turgioal ohant, in the early days of the Church, was no thing more than a psalmody, the modulations ot wbioh were borrowed from the Greeks, the Romans and the Hebrews. Dom A1.ie lard Bouv1111er1 has given us a ver7 tine word p1o­ tur• ot the flow or ohan t trom the early days until the present daJ. 111 summary 1s so perfect that it is quoted in its entiret7. What a eoar1ng ep1o poem--that of the Christiane in the oatacombe murmuring their psalm 11onodiea; the Egyptian monks who alternated their ohants in ohoruees; the aeries of cele­ brated Croziers, 5R1nte Augustine, Athanasius, Damasus, Allbroee, John Chrysostom, the two Benedictines: Gelaa1us and Gregory the Great, the first of the th1rty-s1x Bened1o­ t1ne popes, the Clar1t'1er, the Settler of the Li turgioal Cbant; the monks of St. Augustine ot Canterbury; Theodore, Bened1ot, Romanus, Adrian, and the others whioh in tiJle did ooapoae his band of th1rt1 Bened1otine monks going to England; to these m1ae1onar1es of the Gregorian expansion in l'.ngland aaa t be Joined those m1ss1onaries of the same ilk who went to l'ranoe and to Germany, under the high proteot1on ot Charleaa@'fte who followed st. Gregory 1 s art; the memorable 11at or lionae ter1e1 and abbe711hei-e the Gregorian reaohed a long and Jealously kept 1plendor, v1z, Y.etz, St. Gall Abbe7, llonte Caaetno'e Arohabbe7, Chartres, Clun1•a Order, Jum1efe• Abbe7 ln Normand.7, st. Victor AbbeJ, 1n Paris, St. Rupert s Abbe1 on the bank or the Rhine and hundreds of other taber­ naolee or fa1 th and mediaeval arts. In their abbeys lived and died the great oomposers and lWfted d1reo tore. The Benedictine Order had, after St. GregorJ the Great (d. 604) and the other monks mentioned, the tollowin(g: 849) Bt. Adhel.m ( d. 709), Bishop ot Sh1nburn; Walaf'rid Strabo d. trom Re1chnau Abbey• Tutilo (d. 898) trom St. Gall AbbeJ, a llOnk remarkable as ~ poet mu1io1an, painter and sculptor, While Notker Balbulus (d. 912) at the same time was a a:eol~~dic g1an, poet, astronomer, a musician who wrote bymn&, me a Bequenoes; st. Dunstan (d. 988), Arohbis~ of ~a:!:r=~tioal llOnlt who was an art1s t 1n the diYer• brano es 0 d • arts; St. Odo (d. 949), Abbot of' Cluny AbbeJ in Burgun 7 • d Buobald (d. 930), monk or st. Amandus' Abb~J· ~:· ~:;:n:0 mo( nk Gerbert or Aur1llao AbbeJ in Auver~e, Gui Berman4 8on- 18 d. 1050) , monk at st. Uaur Abbef • near ar • Abelard and tract (d. 1054), St. Hildegarde (d. i179 ), PeterFrom the hundreds or others could be mentioned· • • • ~eoe1ved from tirst to the fourth oentur1es, the psalmodYiater, antiphonal; the Synagogue, beoomes first responsori ~ tian h)'JIDodJ trees 1n the fourth and fifth oentur1es, the 0 18 itself 1n the ttaelt rrom the Greek torms, it sp1~itu:!i'!:tens1t1; then ~anatormat1on of the aooent, in va ue ant blooming with e P•almod7 de•eloped itself; its doll1 n duals eto. st. ~ente, begetting the flor1as, the graloal ~ttloresoenoe •gor7 the Great (4. 606- found hthis ;ur:it• art1st1o crop •nded. He had but to gather up t ese 'W1 th him the 'l'h• ot the oentur1ea the nearer to our Savi~~·8 d holJ Pope ""••ted 11 turn waa 4ete!'111ned and regu a • i. -75-

traf' but a C en tonlz..a tor. He completed the work ot st. Ambrose i " (d. 397) and oolleoted the d1tterent melodies and included them 1n hie Antiphonary; he established in h1a own palace in Rome a school of chant that be~ame Justly celebrated and 1n which hP tau~:ht chant himself.

This thesis 1s only a bird's-eye view ot Gregorian ohant A1story, without mention ot the work ot eaoh great Bened1ot1ne worker. It simply shows that Benedictines played a very important part in the early as well as the late h1etor7 ot Chant music.

The mus io or the Churoh as 1 t exists today is the result of a long prooeaa ot evolution, and Dickinson in his Music 1n the llatorz or the 'Restern Church truly says, 1The unison chant la •till the one of'r1o1ally reoognlzed rorm or 11turg1o musio. • In reporting on the First International L1turg1oal Con- 11'••• in Antwerp, Italy, 1930, Dom z. Vytoukal tells us that oom­ PU-ecl •i th other countries the llturgloal movement ls onl1 1n 1ts beginning 1n Czeohoslovakl1. The AbbeJ or Emmaus at Prague, founded in 1347 by Emperor Charles IV ha• been the 11turg1oal oenter tor r1 tty years. They claim to be the heirs to the best

11'urg1oal trad1 t1ons of Bolesmea and of Beuron° Pius XI T18'ed the Oburoh 8 t Prague in 1889. The Czeck people always chant Ter1 etrect1vely. They •ill •oon learn the Gregorian Mass obants and they will be sing- 2 lng the Ch.ant Massee 1n the entire area or Czeohoslovakia· In Switzerland 1t was women'• voices tbat supplied most ot the Churoh mus 1o and when the Ko tu Propr1o became known to the P eop 1 e, there was a little consternation at t1rst. When it Wae noted that there was a conoess1on wh1oh permitted women to

1nat1ona ot L1turg1- 0&l 1Do• Adelard BouT1111er1, •The D;n~m lfo· 11, November, 0 81 llae.0 bant, • The Caeo111a, PP• 488-4:89. • '

p_ 1R aseohoslovak1a, • -uom s. .YJkoutal, •i.1 t1lrg1oal lluslo ber 1932· 0 ••o1l':,a, p. 333. Vol. &9, No• 11, loYe• ' I ~~· ;t I .'1,··'•Ii ·. ' ~ --i I • ·l ~I iRI r -76-

oontinu e to sing in the choirs there was great joy. However,

there are alRo many male oho1rs in the 1eot1on ot Graubeunden. It is well to note that Switzerland points with pride to

the Gregorian Academy at the Cathol1o University at Fre1burg. The

man1 ac1ent1f1o publ1oat1ons are evidence ot the splendid research work that is being done. Thia is largely due to the 1nf'luence of' Dr· Wagner, and substantiated, as 1t were, by the many courses in Gregorian chant which he oonducta. As yet there is nothing like a Renaissance 1n Gregorian bu' there is a beginning ot suoh a movement.

In England the M1eea Cantata was a tunot1on wh1oh offered leg1 i111ate soope tor musical d1•era1on. Thie was a tact at the beginnlng ot the present oentur7. In 1860 the Cec111en•ere1n was aei up 1n Germany • In England the pre-'l'rao tar1an de Lisle 1ntro-

41aoed the plainsong at Clarendon 1n 1833· l'rom 1850 Pugln, the tamoue architect, and Dr· forabJ en- 4eaYored through the Preas to do tor the lltura in lngland what Felix Clement was doing in rranoe. Cardinal Manning 41am1aeed the woman ohoral1at trom the .Archcl1ooese ot Wese •1na ter 1n 1873 and oe trao1sed trom his Sohool at len11ngton all muaio but the Ra t1sbonne. • • • • Msgr. Parkinson, borrowing Dom Pothier• a Melodies Gregor1ennes from Erd1ng­ ton Abbey, stamped the Osoott divines with the culture of Boleames from 1896. Lae tlJ Cardinal Vaughan, failing to ••oure a Benedictine oommun1t7 to interpret exolus1V~ 8 t Gregorian 1n 1900, promoted Dr· Terr1 magister chora 1 taot the Metropolitan Cathedral, where to the extreme dis~tor all except the Anglican, the oonveri, the Alle~igan !n~ were and the condesor1pt mus1o1an, Tallie, Byrd ~ o; 1 was at once enthroned. • • . • The first dramat o mo e re uested llade 1n 1916 when Megr• Dunn, bishop ot lfotti~~d1es q to the ca thed.ral canons ohoral, who happened to e IC 1aie bUt retire and prohibited throughout his f~o:.=;: ~ ~see, good the Gregor 1an; w 1th the re su 1 t that a tive 0 ooun ties ot ~r bad, that filled the cupboards i~htheublio incinerator• ott1ngha.m have found their way tot t~ P English h1erarob7 11 ore important at111 as the aot o e 8 ver1 class the •hen 1n 1923, they imposed upon eohools ot 8 llabUs of 4ut7 of extending their aot1v1t1es bJ a giv::ek!daf Maes 0 of has bant; the etteot which been that a 0 8 ation t1ve tho• not intrequentlJ ohanted bf a Juve~;~:s :fe ~ working uaand strong, and halt a million f knowledge o t the llae a ot the .Angel•• -

! , I J ~d I r -77- We lPurn from the Summa of St. Thomas that •the human ' ·: ioul 18 movect 1n various ways aooord1ng to var1ou1 melodies of ioun4, as the PhiloAopher states (Pol1t1ca YIII) and also Boethius 1D the preface or his book on mus1o sa71,

Beno e the use or mus 1o in the dlTine pra11es is a aalutar1 1ne ti tut ion, th.at the souls ot the taint-hearted may be 110re lnol ted to devotion. Wherefore Augustine sa1a (Con- f eas lons X) : I am 1nol1ned to approve of the usage of sing­ ing in the ohurch, that so by the delight of the ears the weaker minds may rise to the feeling ot devotion: and he ..1• or himself' (1b1d IX): I wept in Thy bJmne and oan­ t1oles, touched to the quick by the voices of Th)' aweet­ attuned Church.l

Chant is oerta1nl)' not a d1straot1on but rather a pra1er­

tal •ong and a song that is a pra1er and therefore 1 t ls approTed. P 1ua X had the courage of oonv1ot1on 1n striving to win 1la8k tor the mus1o which Gregory loTed and taught, the position he

ualgned 1 t ln the 11 turgJ ot the Churoh. When Rome celebrated \tla Oentenary or st. Gregory and the glorious Alleluia was aung

the bearers could not help but adll1re the taste ot the late Oudlnal Vaughan 1n w1ah1ng to entrust the ohoral duties or West- lllaater Cathedral to a Bened1ct1ne community. 1lt When Albert Dooner of Philadelphia heard the monks at loleaaee obant, he knew that the choir was oomposed of individuals, ba' •hen he heard the chanting he remarked that the tone blending waa •o perfect as was also the accent, the rbythll, the rlse and fall, the sort endings or phrases that the tones seemed to h1JI

like that or clouds of 1ncense floating through a Cathedral• Benedict, i.ou111ana, there At the AbbeJ of st. J oseph , St • 18 ll'eat appreo1at1on or the work done by the Reverend Columban --~ tu Y and Chant to 681118 • o.s.e., who brought the work ot the 11 rg 'he •nka. The enthualaem of Dom ThU1& ha• resulted ln great ti and acceptance •\luaa1aaa tor the Chante S1noe the lntrod.UO on ... 1 (traaaiated bf ttt..- -11t. Tho-a Aqulna•, !he 811M& !htolog oi86-l86• Benziger ,.._.. Of the Eng11ah Do•'n1oaD rrovlaol), PP• ...... ~., ••• York, 1911· , -78-

ot the great prayerful song or song of prayer, Dom Abbot Columban bas been in oharge of the Gregorian chant. In 1937 he delivered an address on the Chant over the Loyola Station at the request ot the University.

Reverend F. J. Kelly has written again and again that plain chant 1s without a rival or competitor in the department ot sacred mus1o and that she occupies the highest place in the theory ot Church mus1o.

Now even though the plain chant 1s without a rival it has sutrered because--

As •1th almost everything else 1n this world that is at one time highly prized and at another discarded, Gregorian ohant waa tor ages assiduously cultivated, then again looked upon as an outworn thing to be superseded by church mua10 held to be muoh more beautif'u1.l It was this change that Pope Pius felt and therefore in his Kotu Propr1o he aounded the oall to return to the Chant or the Churoh. The Holy rather has said that it was the duty ot 11Ua1o to •clothe the 11turgioal text with suitable melody" and that suitability is certainly tound 1n the Gregorian~hant. With the Churoh the Chant will mourn, sigh, reJoioe, and thank. There la no music that ls more beautiful than the Gregorian. However, each type ot mus1o has !ts place. Other types ot musio may be

llO~e beautitul in other settings, but in the Church, or when at pra7er nothing can surpass the beauty ot Gregorian chant. The historians ot the modern art ot music 1nf'orm us that 1t had its birth 1n the Church: that 1t grew 1n strength and beauty there and at length reached such perfection that it burst 1ta bounds and spread. .And thus it ia readily understood that the glorious Chant ot st. Gregory is pre-eminently church music

1ReYeren4 Rembert Bularzik, o. s.s., •Gregorian Chant .1n 1ta L1turg1oal setting,• The Oathollo Choirmaster, P• 115. Vol. 20, Ho. 3, September, 1914. pt

-79-

1n 1ts highest and noblest torm. And, when will the reform 1n churoh mus1o beoome an aooompl!ehed fact? That is a big question. It is as d1!f 1oult to make some people appreciate and love physical and natural beauty as it 1s to make some realize beauty of sound and thought in sound. The solemnity and sanctity ot the Chant makes it moat appro­ priate to aooompany the saored liturgy. Church music must possess dignity, piety, power, and majesty and all this is tound in the Chant. These Gregorian melodies are d1st1notly the product ot the ages ot faith and the Chant 1a indeed a pra7er. Therefore, it was very titting that Pope Plue urged upon the Catholic world the restoration ot the ancient ohant to its proper place in the Church. ObJeot1ons to and opposition against Gregorian Chant spring from a misunderstanding ot 1t. The fault lies not in the nature ot Gregorian Chant but 1n our corrupted vitiated muaioal taste, which has been so long accustomed to the bad that 1t oannot appreo1ate or stand the good. We have never had the opportunity, or more truthfully, we have never taken the trouble to understand it. Wherever and whenever a serious ettort has been made to give it a fair trial, Gregorian ohant has grown on the ta1thtul, the7 have been educated up to 1ts standards, and have come to understand and appre~te that it 1s trul7 •anot1t1ed, eaored mus1c.l Solesmes, sa1d Abbe Rousseau, "1s not A school but it 1s the school ot Gregorian ohant.•2 In a talk given at the College ot St. Benedict, st. Joseph, Minnesota, Maurice Leah7 gave a word pioture of his impression of hearing the chant 1n the Solesmes manner. He claims to have been brought up on Gregorian and when the question was asked as to whether the Solesmes way is the tinal way he showed that things of that kind are not absolute. More Gregorian chant is needed, and the Solesmes interpretation may not be t1na1, but it w111 likely hold the tield tor a long time.

l.James r. JCelle7, •The True Purpose o-r Saored Jlus.10," The Cathol1o Cho1raster, P• 80, Vol. 22, No. 2, June, 1936.

2a8 v. Clement Donovan, •Baa So1esmes the Truth'" ~ Cath911o Olao1£!a•ter, P• 43. Vol. 6, No. 1, Januar7, 1919. , -so- st. Bened1ot enjoined on his monks the duty to chant the da11Y o.t'f1ce. He said: "Sing ye wisely.• "Let us so stand to sing, that our mind may be in harmony with our vo1oe.•l

It was a monk ot St. Bened1ot that in the eleventh centur7 brought about a revolution in musical notation, out of which grew our present statt and olets. A Benedictine ot today, Dom Stephan ot Buoktast Abbey, hae proposed another revolution which would abolish all the troublesome business ot aooidentala. His ideas are embodied 1n an eesa1 entitled, The Isotonic Notation, issued by Messrs. S7dne7 Lee, Exeter. Dom Kienle in hie book, Mass und Milde in IC1rohenmus1kal- 1aohen Dlngen, gives very tine word pictures ot the procession of Bened1ot1ne Monks who rostered the art ot Gregorian chant. He divides the work into tour periods as follows: I. The Evolution ot Gregorian Chant until the Time o'f Gregor7 the Great, 600. II. The Golden Age, 600-1600. • III. Deol1ne ot the Chant, 1600-1800. IV. The Time of Revival.

The tirst period ls represented b7 Saint Benedict, the founder ot the Order ot St. Benedict. The Golden Age 1s represented b7 St. Gregory, the Great, 604 St. Augustine ot Canterbury, 596 St. Adrian, and Theodore of Canterbur7, 669 St. Benedict B1soop, 679 St. W1ltr1d, Bishop ot New York St. Chrodegang, Bishop ot Metg

l&aint Benedict, The Rule ot St. Benedict, PP• _63-64· Atohiaon, Kanaaa: Abbe7 Student Press, 1912. -81- School or St. Gall, Switzerland Under th1s school there are men such as !so Marcellus Ra.tpert, 900 Tut1lo, 915, Inventer or the Proper Notker Balbulus, 912, author or man1 sequences Hartmann (Abbot) lk.kehard I and Ekkehard II, 990 Botker II, 995 Notker Labeo, 1022 Ekkehard IV, 1060 Sohools of Metz and Reiohenau Followers ot these eohools are Bede, the Venerable, 736 Alcuin, 804 Aurel1an ot Reome, 880 Re117 o t Auxerre, 990 (about) Regino ot Prewa, 916 Huobald, 930 St. Odo, 942 Herman Contraotus, 1054 Monasteries ot C1uny, H1rsau, Beo, Farta Noted Benedictines of these monasteries are men such as-- Leteld ot Mioy, 997 Guido or Arezzo, 1050 .. William ot Hirsau, 1091 St. Bernard ot ClairVeaux, 1153 Adam of St. Victor, 1173 (sequences) St. Hildegard, 1179 Engelbert or Admont, 1331 Zllas Salomon, 1274 Adam of l'tllda, 1460 Glareanua, 1562 The period ot Decline (1600-800) Jumilhao, 1682 Cardinal Bona, 1674 Gerbert or at. Blase, 1793 The fourth period, that ot the Revival, brings to us men ot great repute. Among the outstanding BenedJ.otines are such as Dom Prosper a.Jeranger Dom Schubiger Doctor Benediot Sauter Dom Ambros Kienle p

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Dom Pothier Dom Mooquereau Dom Johner Dom Gregory Sunol

These then are a tew ot the great Benedictines who not only loved the Chant but who put this prayer on the lips and in the hearts ot men. The Benedictines do not ola1m.th1s great art tor themselves but they are happ7 in saving it tor future generations. The great Gueranger, Kooquereau, ·and others purified the chant ot all the errors or oop71ets through their search tor the true source. In the words ot Dom Bouv1111ers we say that every one owes a debt ot gratitude to Dom Mocquereau for his energetic and com­ petent sense ot organ1zat1on, which hAve helped his admirable and tranaoendant qualities as an artist-mus1c1an, Gregorianist, and paleogogue, to give the entire Church the beautiful editions ot Desolee; also the Liber Usual1s Missae pro Dom1nio1s et Festis Dupl1c1bus whloh is a very praot1oal book. It is ll these books that ohoire rel7 to give an execution ot good quality. The Solesmes monks have done great things toward the re- storation or the Chant, Chief among the works done tor the Church by the monks ot Bolesmes ls the return to the Roman 11tu~8'1' agitated by Abbot Gueranger •hloh, 1n its turn, inevitably involved a restoration or the chant that gave voice to that liturg7; and it 1s in oonneotion with this that Solesmes has become world ta.moue. I need only refer to suoh names as Cardinal P1tra, Pothier, Kocquereau, Cabrol, Delatte, and GaJard to prove this. Their principle with regard to the textual restoration of the chant 1s the commonly accepted one among or1tios, namely that when MSI ot different periods and places agree upon a certain version 1t oan be affirmed that the Gregorian text has been discovered. This resurreotion enta11ed: a) the oollat1on of mu.s1oally notated MSS, rhythm and non­ rlqtilmio. b) the stud7 of mediaeval musioology, ,,.__ _

-83- o) the praotioal work of the choir by which the rhythmic theories could be put to the proof. d) the publ1cat1on of versions of the chant aooording to the MSB supplied with rhythmic signs. e) the publication of phototypical taos1m1les ot the MSS establ1sh1ng the grounds for the Solesmes editions of the ohant. Finally, as the result of over a century ot tireless and patient research we have Dom GaJard 1s Monast1o Antiphon&!', truly a monumental work ot the soundest paleograph1oa1 scholarsh!p.l

Church music is an art made up of two elements, music and prayer. Dom Shebbeare wonders how many realize the debt of music-­ even as we know it today in its most advanced development--to the eoolee1ast1oal and liturgical energies ot a monk and Pope--Saint Gregory. The glor7 ot restoring noble works 1e second only to that ot creating or rounding them, and so we may perhaps justly aoknowl­ •dge in the 11turg1oal aot1v1t1es or Dom Gueranger an eoho to those ot St. Gregory h1maelt. St. Gregory in seeking to teed the lambs ot Christ touched the roots ot all mus1o, and in his masterl7 ood1r1oat1on we may teel the germ ot all subsequent eohool... not only in design, but in fundamental mus1oal law. Dom

lDoa Aelred Hewett, "The Centenary or the Benedictine Congregation ot Solesmee,• The Buoktast Abbey Chronicle, PP• 112-l.13. Vol. 7, Ho. 2, June, 1937. 2Dom Alphege Shebbeare, "Dom Mooquereau,n Downside Review, P• 123, Vol. 49, 1930. APPENDIX

BENEDICTINES WHO FOSTERED THE GREGORIAN CHANT From the t1me of Gregory the Great to the ninth century Pope Gregory the Great (690-604) oolleoted the chants into one book. He added tour new modes to the authentic modes. The Chant was named after him. st. Augustine (596) brought the Chant to Canterbury, England and established a singing sohool there. St. Isidore, Archbishop of Beville, Spain (636). The tirst nine ohaptera of the third book ot his work Codex or1g1num sive Etymolo~iarum XX llbr!, treat of music partioular~y with respect to the reek theories. St. Benedict B1soop (690) brought Cantor John from Rome to Wearmouth· St. Wiltrld (709) was brought from Rome by St. Benedict Bisoop. St. Bede the Venerable (735) composed hymns and wrote a treatise, Mus1oa Theoret1oa. St. Bon1taoe (757-787). The Chant reached the land of the Franks and Germany through the etforts ot Eing Pippin, who sent St. Bonitaoe to preaoh the Gospel in these countries. Bt. Aldhela, Bishop ot Sberborne, England (639-709) was known for his compositions ot Church music. ~ John of Fulda (end of the ninth oentury)was the 1"1rst to set German songs to musio. St. Alouin, Abbot ot Tours (804) was a theorist and author of the t1rst sequence, Seguentia de s. Michaele, guam A1ou1nus oom­ poauit Carolo I!perator1. Theodulf ot Orleans (821) composed the Gloria La.us of Palm Sunday. Regino (840) was a composer and theorist. Aurel1an of Rome (850) wrote Mus1ca Diso1plina.

The Tenth Century Notkur Balbulus, the Stammerer (912) composed over fifty sequences and the famous Media Vita. Tut1lo (915) was a composer of tropes. Huobald (930) wrote llusioa boh1r1a41s, De Modls, and other works. John Langus, llonk ot st. Gall, Sw1 tzerland, author of me1od1ous pro••• and sequenoe•·

-&t:- -85-

Odo of Cluny (940) wrote Dialogue de Mueica. Remy of Auxerre (about 990) wrote De Musica.

Letald, French Monk (997) was the composer of an office. st. Dunstan, Archbishop of Canterbury and Primate ot England (988) 1s the reputed author of Maes VII of the Roman Kyr1ale, the official list of Masses. Engelbert, Monk at St. Mathias at Treves (987) wrote De Mus1oa et Proport1on1bus.

The Eleventh Century Notker Labeo ot St. Gall (1022) wrote Opusoulum Theotieoum de Musioa. Berno of Reichenau, Abbot of Reichman, poet, orator, philosopher and mue1o1an, wrote De Var1a Psalmorum atgue Cantioum Modula­ tione, Prologue in Tonarlum, and Tonar1us. Cktido or Arezzo, the most important ohoralist or the eleventh cen­ tur7, spread the use or staff notation which he had perfected and la1d the foundation ot our modern system of notes. His most 1mportant work was M1orologus de Disc1plina Artis Musioae. Berman Contractua (1054), the reputed author of the Salve Regina and of the Alma Redemptoris, invented a new s7stem of notation, ooapoaed many sequences, ohUroh songs and prose, and wrote De llonoohordo. William, Abbot of Hirsohau (1091), a theorist, wrote De llusioa •

The Twelfth Century • St. Bernard, Abbot or Olairvaus (1153) with the assistance of Abbot Guido of Cherlieu (1158) rearranged the choral books tor the C1atero1an order, in wh1oh the compass of the ohants was not unfrequentl7 curtailed. He wrote The brief Method of Greforian ~. Tonale Sanoti Bernardi, and lSomni OU1don1s in daro liooo AbD&tie Regulae de Arte Musioa. Frutolf (1103) was a theorist. St. Hildegard, Abbess of St. Rupertsberg near Bingen, Germany (1179) composed seventy sequences, antiphons, responsories, and hymns. I These works were ne•er made 11turg1oal • .A.elred, Abbot or the c1atero1an monaater7 (1150) wrote De Abusu llua1oua. Alberious (middle of the eleventh century), llonk of Monte Cassino and a Card1na1, wrote Dialogue de llusioa. Conrad, Benedictine llonlt at B1rsau (1131) wrote De Musioa et Difrerent1a Tonoram. He was a poet as well as a musiolan. -86-

The Thirteenth Century Elias Salomon (1274) wrote De So1ent1a Musicae. Walter of Od1ngton. Franco of Cologne.

The Fourteenth and Fifteenth Centuries Engelbert of Admont (1331). Adam of Fulda (1480 wrote several compositions and also a valuable treatise, De Musioa, of 45 chapters in four parts.

The 81.xteenth, Seventeenth, and Eighteenth Centuries Jumllhao (1682), a theorist, wrote a Textbook on Gregorian Chant. Dom Pierre Benoit. Cardinal John Bona, Abbot and General ot the Order ot the Reformed C1atero1ans (1609-1674) wrote Traotatus Historious, Symbol1cus et Aeoet1ous de Divina Pealmod1a, wh1oh treats of church music and the chiii=ch modes. Caramuel de Lobkowitz (1606-1682) wrote Arte Nueva de muaioa 1n­ ventada anno 600 por s. Gregorio. Jean llab1llon (1632) wrote L1turg1a Gallioana 11br1 tres, Annalee Ord1n1s Sanot1 Benedict!, and Iota Sanotorum Ordin1s Sanoti Benedioti. These works contain muoh 1nforilliiJ1on on ancient chUroh music trom an historical and arohaelogical standpoint. Gerbert von Hornau (1720-1793) wrote De oantu et mus1ca saora a prima eocleeiae aetate usque ad praeeena tempua. which pre­ sents interesting information concel'Ding the church music ot all times. He also wrote Scr1ptores eccles1aet1o1 de musica saora pot1ss1mum (1784). Lullus Beok (1715-1793) was the first to add a thorough bass accompaniment to the chant books he round at Fulda· He was an excellent organist and oontrapuntlst. He was a Benedictine monk and oho1r director at the Cathedral at Ful.da, Germany.

The Nineteenth Century Dom Schubiger, Monk ot E1ns1edeln (1888) was the author ot the very important work on Ohant, Saengeraohu1e in St. Ga1len (1858) It narrates the history of the :ramous scbOoi t'rom the eighth to the twelfth centuries. He proved that the f'amous Antiphonai-7 ot St. Ga11 is not the copy ot the Antiphonary ot St. Gregory. Be composed masses, songs, and wrote :ror musical magazines. -87-

Dr· Benedict Sauter, known particularly for his Chorale and Litur 1 was the founder of the School of Gregorian Oii&iit at Beuron I e died in 1908. · • e Ambrose Kienle, Monk. of Beuron, later Emmaus and Secltau (1852) devo­ ted time and effort to the study of chant and liturgy. Be ~rans­ lated Dom Poth1er's Melodies Gregoriennes into German. Dom Raphael Molitor was born in 1873. He entered Beuron in 1890. Since 1904 he bas been on the Papal Commission for the Vatican Edition of the official Gregorian Chant books. He 1s recognized as one of the foremost authorities on Gregorian chant. His works are Die Naoh-Tr1dent1n1sche Choral Reform in two volumes (1901-1902), Reform Choral (1904), Choral Wle~endrucke (1904), and Der Gregorianlsohe Choral ale LitUrsle un Kunst (1904). Gregor Ferdinand Molitor, Monk at Beuron, wrote Die Diatonisoh­ thmiaohe Harmonisation der Gre or1an1schen OhOral Deioa1en • • Peitro Altieri, Camaldolese Monk (1801-1863) wrote A Textbook ot Grffor1an Chant (1836), The AccWean1ment of Greforian C!h&iit (1 O), and The Restoration ot egorlan Charit ( 843). Gerold Zwyse1g (1807-1874) was an eminent authority on Gregorian Chant. llagnua Ortwein (1845--) was a teacher of Chant, and wrote Ueber Sprachgesang. Michael Horn, Austrian Monk., was an authority on Gregorian Chant. He wrote an organ accompaniment ot the ordJ.nary ot the Mass. He was the editor ot the Gregorianiso.he Rundsohau. Benedict Werner, Abbot in 1830, was the author 06 a large general h1ator7 of music written in Latin. Celestine V1vell, Monk at Beuron (1883) was the author of severa1 works on Gregorian Chant. He wrote Der Gregorisohe Gesang (1904). Dom Jaus1ons (1834-1870), a French Benedictine, pupil of Gueranger and Pothier worked at the restoration ot Chant in Ke1odies Gregoriennea (1880). Prosper Gueranger (1805-1875), Abbot of Solesmes and Pioneer scho1ar in Gregorian Chant, is the reformer of Roman liturgy and Gregorian Chant 1n France. He wrote L'.Annee L1turg1que (1840). Dom Joseph Pothier was born in 1835. He became a monk at Solesmee 1n 1860. In cooperation with his abbot, Dom Gueranger, he devoted his efforts to the restoration ot Gregorian melodies through the study ot the ancient manuscripts. He wrote Liber Gradual!• (1883), Les Melo!1es Gregoriennes (1880), La trad1- t1on diiie ~.notation du i ain oh&nt (1§82J, and De La •virsa 1 d&D• lea neumes (1882).e was the most eminent authority on Gi'egorI&n Chant 1n his time in Franoe. -ea- Dom

G. Cagin, Monk ot Solesmes was the author ot Ant1phonale 111ssarum ( 1890) • -----,---~;.-::::.:.:.:~::::

Utto Iornmueller, born 1n 1824, wrote Der lath911aohe Iirohenohor ( 1868) , Die Musi~. _be1m Li turg1sohen Hoohamte fl87l) , and Lexicon der I1rohliohen Toriltunat (1891). He was one of the Seat auth0r1t1es on Gregorian Chant or his time.

The Twentieth Century Abbot Delatte ot Solesmes. Leo XIII oft1o1ally recognized the labours ot the Bened1ot1nee 1n his br1et, Nos Quldem, May 17, 1901 to Abbot Delatte. Burkard, Monk or Conception Abbey, u.s.A., wrote a Manual or Plain Chant (1906). Suitbert B1rkle teacher at the Bened1ot1ne College at St. Anselm, Rome, wrote Cateoh1amus der Choralgesaenger {1903). Doa Aabroa1o Amell1 was born 1n 1848. In 1908 was made Abbot of the Bened1ot1ne Monastery ot St. Mary at Florence. He tounded the Singing School at Milan. Since 1877 he was the editor of Mua1oa Sacra 1n Milan. He was president ot tJle Italian So­ ciety ot St. Caeo111a. Maurus and Plao1dus Wolter, brothers, were founders ot the Beuronese Congregation in Germany. These two rounders ordained that at the Conventual High llass Gregorian Chant only is to be sung. The houses ot the Beuronese Congregation beoame the centers ot the cult or Gregorian Chant in Germany. Domlnlo Johner, Benedictine Monk ot the Abbey ot Beuron, was the author of several works on Gregorian Chant. He wrote !!:! Sohool of Gregorian Chant, Die Sonn und Festtagslieder der Roemlschen Graduale, and Erklli=Ung der Kiriale. Caas1ano RoJo, Spanish Benedictine of Silos, wrote Methodo de Canto Gregoriano (1906). Gregory Sunol, a monk ot Kontserrat in Spain, pupil of Dom Mooquereau wrote a textbook on Gregorian Chant. Germain Morin, Benediotlne ot Solesmes, was the author ot Les veritables orig1nes du Chant Gregorian, (Second edition;- 1905). -89-

Dom Paolo Ferretti, Abbot of San Giovanni at Parma wrote Pr1nc1,P1 teoret1ci et ftrat1oi de Canto Gre_goriano in 1906, and Il cursus metr1co e il 1tmo delle melodie del Canto Gregoriano. Gregory Huegle, Prior of Conception Abbey, wrote a Catechism of Plain Chant. The Benedictines ot Conception, wrote the English trans­ lation, The Art ot Accompanz1ng Chant. Charles Megret wrote a book on the history and restoration of Gregorian Chant (190&). The Stanbrook Abbey is conducted by Benedictine nuns. They wrote a Grammar of Plain song (1905). They have published the magazine, Gregorian Music, since 189?.

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