DISC NUMBER 1 DISC NUMBER 2 Mass of the Catechumens 9. Colle" 1:13 Mass of the Faithful 12. Improvisation: Dialogue 2:03 Edward Schaefer, soloist Nasard et Bourdon Grand Orgue, Daniel Roth 1. Bells of Saint-Sulpice 4:30 10. Epistle (1 Corinthians: 5. 7-8) 1. Salutation & Offertory Verse 1:48 Charles Barbier, soloist 13. Confiteor 1:20 2. Le matin de Pâques 4:17 Terra tremuit (Ps. 75. 9, 10) Edward Schaefer, soloist Hervé Lamy, soloist Improvisation on Vidi Aquam 11. Graduel: Hæc Dies (Ps. 117. 24, 1) 2:51 Chœur Grégorien de Paris, and Resurrexi (Introit) Chœur Grégorien de Paris, 14. Free Improvisation 1:12 Grand Orgue, Daniel Roth dir. Thibaut Marlin dir. Thibaut Marlin Grand Orgue, Daniel Roth Orgue de Chœur, Eric Lebrun 12. Improvisation based on Hæc Dies 1:00 2. Improvisation based on 3:48 15. Communion Verse (I Cor. 5. 7,8) 1:57 3. Vidi Aquam 3:45 Grand Orgue, Daniel Roth Terra tremuit Chœur Grégorien de Paris, Chœur Grégorien de Paris, Grand Orgue, Daniel Roth dir. Thibaut Marlin JACOBUS GALLUS (1550-1591) dir. Thibaut Marlin 16. Communion Improvisation 2:50 13. Alleluia: Alleluia, in resurre!ione 1:51 GIOVANNI GABRIELI (1555-1612) based on 4. Dialogue 1:31 tua Christe 3. Jubilate Deo 5:22 Pascha Nostrum Edward Schaefer, soloist Chœur d’Oratorio de Paris, Chœur d’Oratorio de Paris, (Communion Verse) Chœur Grégorien de Paris, dir. Jean Sourisse dir. Jean Sourisse Grand Orgue, Daniel Roth dir Thibaut Marlin LOUIS VIERNE 14. Sequence: Vi!imae Paschali 3:52 4. Salutation and Preface 3:09 17. Tantum Ergo, Op. 2 2:45 5. Improvisation based on Resurrexi 2:13 Chœur d’Oratorio de Paris, Edward Schaefer, soloist Chœur d’Oratorio de Paris, Grand Orgue, Daniel Roth dir. Jean Sourisse Chœur Grégorien de Paris, dir. Thibaut Marlin dir. Jean Sourisse 6. Introit, Resurrexi (Ps. 138, 18, 5, 6) 4:06 Grand Orgue, Daniel Roth 18. Postcommunion 1:04 Chœur Grégorien de Paris, 15. Gospel (Saint Mark: 15. 1-7) 2:36 5. San"us from Messe Solennelle 2:18 Edward Schaefer, soloist dir. Thibaut Marlin Hervé Lamy, soloist 6. Free Improvisation during 3:04 Chœur Grégorien de Paris, the Canon LOUIS VIERNE (1870-1937) 16. Free Improvisation :38 dir. Thibaut Marlin Messe solenelle, Op.16 Grand Orgue, Daniel Roth Grand Orgue, Daniel Roth 19. Dismissal and Blessing 1:03 Chœur d’Oratorio de Paris, 7. Benedi"us 3:36 17. Credo 4:32 from Messe Solennelle Edward Schaefer, Hervé Lamy, soloists dir. Jean Sourisse Edward Shaefer, soloist 8. Improvisation: Récit de Cornet 1:54 Chœur Grégorien de Paris, Grand Orgue, Daniel Roth Hervé Lamy, soloist Grand Orgue, Daniel Roth dir. Thibaut Marlin Orgue de Chœur, Eric Lebrun Chœur Grégorien de Paris, 9. Dialogue and Pater Noster 1:34 20. Improvisation based on 1:57 7. Kyrie 5:28 dir. Thibaut Marlin from Messe Solennelle Edward Schaefer, soloist Gloria Patri, Psalm Tone V 8. Gloria from Messe Solennelle 7:05 Chœur Grégorien de Paris, Grand Orgue, Daniel Roth dir. Thibaut Marlin 21. Postlude Improvisation 7:23 Cover of Packaging: View down the Nave of Saint-Sulpice taken around 1900. 10. Improvisation: Chœur de :48 Grand Orgue, Daniel Roth Portrait of Louis Vierne from his 20s. voix humaines Orgue de Chœur, Eric Lebrun Cover of Booklet: Photograph of Louis Vierne sitting at his desk, taken in his early 20s. Grand Orgue, Daniel Roth 11. Agnus Dei from Messe Solennelle 4:58

2 3 work appeared, the Verset fugué sur “In exitu Israël.” In addition to this intensive training, Vierne continued private lessons with Widor until 1907. Vierne wrote:

“These lessons continued even after I left the Con- Louis Vierne servatoire during which time I received coaching in composition and instrumentation and perfe!ed my writing and improvisation technique. Until 1907 I did not write one page without showing it to the Messe Solennelle maître.”

The 1890s saw Vierne’s promising career as organ- Op. 16 by Mark Dwyer ist, teacher and composer unfold before him. The summer of 1899 found Vierne in Cayeux-sur-Mer with his new Louis Vierne standing wife, the beautiful 19-year-old Arlette Taskin. It was then at the console in The Messe solennelle, Op. 16 by Louis Vierne (1870–1937) rests squarely on the grand and there that he began work on his Messe solennelle, the Cathedral of tradition of the Church of Saint-Sulpice, Paris. It is often asserted that the work was writ- completed in 1900 and dedicated to Théodore Dubois (1837– Notre-Dame in Paris ten “with the Cathedral of Notre-Dame in mind” or even erroneously “in celebration of 1924). In February of 1900, Vierne began to substitute at Vierne’s new position at Notre-Dame.” It is more likely that it was influenced by the Notre-Dame and in May was appointed organiste titulaire. Widor encouraged Vierne to Messe à deux chœurs et deux orgues, Op. 36 written by Charles-Marie Widor (1844–1937) compete for this important position and had supported Vierne in competitions for several as well as Vierne’s eight years experience as Widor’s assistant at Saint-Sulpice. other important posts in the city of Paris; Vierne had been a competitor at the churches What organist-composer could possibly resist the opportunity to make composed music of Saint-Germain-des-Prés and Sainte-Clotilde. Vierne himself was relu"ant to apply for using all of the forces available at Saint-Sulpice together and in alternation: west-end organ, Notre-Dame. In his own words: east-end organ, four-part choir of boys and men and a unison choir of seminarian barytons? Saint-Sulpice organist Charles-Marie Widor wrote his mass for just these forces shortly “I confess at first I was unenthusiastic. I had been playing the organ at before assuming command of the organ class at the Paris Conservatory on December 11, Saint-Sulpice for eight years, had become attached to it, and was proud of 1890. And it was at this class that Widor first met the 20-year-old Louis Vierne, who was being the deputy of a man I admired and loved.” to become his new protégé. In 1901, the following year, Vierne’s Messe solennelle premiered at Saint-Sulpice on To the organ class at the Conservatoire Widor introduced the revolutionary play- Sunday, December 8. Widor played the grand orgue, Vierne returned from his new post ing technique of his Belgian virtuoso-teacher Nicolas-Jacques Lemmens (1823–1881); Louis at Notre-Dame to play the orgue-de-chœur. It is the work of a devoted disciple, composed Vierne became a dedicated pupil of Widor and advanced rapidly. In the fall of 1891, Widor during Vierne’s years of private composition study with Widor. The mood is serious but asked Vierne to teach technique and plainsong improvisation to the auditors of the class. In brimming with youthful promise; the tortured chromaticism of the third organ symphony February of 1892, Widor appointed Vierne his suppléant or deputy at the grand orgue of lay twelve years in the future. Widor’s own mass in f-sharp minor seems very much a Saint-Sulpice. Vierne was awarded his Premier Prix in July of 1894 and Widor immediately model for Vierne’s mass in C-sharp minor. Vierne’s work is scored for the same forces as appointed him his teaching assistant as well. In the same year, Vierne’s first published Widor’s but without the provision of a unison part for the seminarians from the Grand

4 5 LITURGICAL PRACTICE & TRADITIONS LITURGICAL PRACTICE & TRADITIONS

There are many fine presentations of the Vierne Mass available, but this recording is Of course there was only one form of Mass that Vierne knew, the standard Traditional the only one performed in Saint-Sulpice, the church in which Vierne played while the Mass celebrated between 1570 and 1962. In reconstru"ing this Traditional Mass, we tried work was being composed. But we wanted to take things one step further, and present this as much as possible to preserve distin"ive French historical pra"ices while acknowledging Mass as it would have been heard at the time: not as a concert piece, each movement sung that between 1899 and 1937, these pra"ices were quickly evolving and present in varying consecutively, but as one part of the larger, more complex musical fabric that is the High degrees within the Parisian parishes. For example, the slower-paced Gregorian chant ac- Mass. Thus, we have taken the Ordinary that Vierne set to music, and programmed a Mass companied by a contrabass would have been more readily heard in 1899 than in 1937, when as it could have been heard between the year of its composition and the year of Vierne’s the Solesmes reform had taken hold. Louis Niedermeyer’s ancient-music revival was also death (1899–1937). This means you will hear five different pieces of music that make up spreading; people were rediscovering Giovanni Pierluigi da Palestrina, Giovanni Gabrieli and this Mass, interspersed with organ solos, improvisations, motets, Gregorian chant in all its Josquin Desprez while continuing to program “new” works by composers like Théodore forms (the Proper, blessings, the Canon), and even the bells that the altar boys would have Dubois, Léon Bœllmann and Philippe Bellenot. rung. It should be noted that on our disc, the Vi!imae Paschali is sung by women. This Due to the nature of a modern CD recording, we had to make some compromises in certainly would not have been done at the time—women did not sing in the choir. The regard to performance pra"ice. Our 90-voice mixed choir is a group of trained choristers. treble voices (in Vierne’s time provided by a boys choir) could have sung the Vi!ima e In Vierne’s time, large parishes like Saint-Sulpice could boast of choirs composed of 40 or Paschali in the “Parisian style,” as heard on this disc, with singers performing the odd- so professional opera singers. numbered verses while the organ improvised on the even-numbered ones. This pra"ice continues today. Similar choices needed to be made for the Gregorian chant, as up until the 1950s there cœxisted two distin" types. We opted for the style resulting from the Solemnes re- form, which began in 1889. Although the oth- er interpretation was widespread and indeed sung at Saint-Sulpice, for a CD recording it was impra"ical. That chant was sung slowly, which would have caused the Gregorian tracks to disproportionately dominate the CD. The Tantum Ergo is a motet com- prising the last two verses of the hymn Pange Lingua heard at Benedi"ion of the Blessed Sacrament, not necessarily at the Mass. This was purposely done to illustrate how the ri- Thibaut Marlin condu!ing valries and politics between the musicians and his choir in the Plain Chant the clergy in the large fashionable parishes for the CD with Eric Lebrun at the Orgue de Chœur could result in liberties taken with the liturgy.

10 11 Solo (V) Pedalboard, 30 notes CC to f Grand Orgue Wind — CC to B: mm; c to g'' mm  Bourdon A 20 combination pedals (from left to right)  Flûte cônique C (The stops written in italics in the stoplist of Saint-Sulpice  Principal A/B/C speak only when the corresponding pedale  Violoncelle C d'anche is lowered.) Grand-Chœur (I)  Gambe B  Gambe C 1 I/P Wind — CC to cs: mm; d to g'' mm  Unda maris C  Kéraulophone C 2 II/P  Salicional B  Flûte douce B  Flûte harmonique B/C 3 IV/P  Octave C  Flûte octaviante B  Bourdon A/C 4 Anches Pédale  Bombarde A  Dulciane B k Quinte B 5-9 I II III IV V Octaves graves  Basson C = Quinte A/B/C  Prestant A/B/C 10 I/II  1ière. Trompette A  Doublette B 4 Octave C 11-13 V III IV Anches  2ième. Trompette A (d to g" 16') A M Tierce A  Flûte octaviante B/C 14-18 I/I II/I III/I IV/I V/I  Basson C < Larigot A n| Tierce C 19 IV/III  Clairon A/C (4'-8'-16')  Picolo A 2= Quinte C 20 Expression Récit  Clairon-Doublette C (2'-4'-8') III-VI Plein jeu C 2 @ O Septième D V Cornet A (d to c': 8', 16 Basson D 2 Octavin C Five combination knobs: Pédale, Récit, cs' to g": 16') 8 Trompette A V Cornet A (c to g") Positif, Solo, Grand-Orgue & Grand- IV Fourniture A 8 Baryton A 16 Bombarde C Chœur. IV Plein jeu A 4 Clairon A 4-8 8 Trompette A To engage a stop, one must first draw the VI Cymbale A 4 Clairon A/B 4-8-16 combination knob associated with its divi- Récit Expressif (IV) sion. Once retired, the combination for that Grand-Orgue (II) Wind — CC to B: mm; c to g'' mm Wind — CC to B: mm; c to ds' mm; e' division is “frozen,” allowing the next restira- Wind — CC to cs: mm; d to g'' mm  Quintaton A to g'' mm tion to be prepared by the assistants. Then,  Basson C  Diapason D  Trompette en Chamade B at the appropriate point in the music, the  Principal A 8 Flûte harmonique C knob is engaged and the new combination  Montre A  Violoncelle C Pédale takes effect.  Bourdon A  Bourdon A/C Wind — CC to f: mm  Flûte cônique C  Voix céleste C  Principal A/C A: Clicquot 1781  Montre A  Prestant A/B  Principal E B: Daublaine et Callinet 1845  Diapason B 4 Dulciana B  Contrebasse A/C C: Cavaillé-Coll 1862  Bourdon A 4 Flûte octaviante C  Soubasse A D: Mutin 1903  Flûte à pavillon B l Nazard A/B  Principal E E: Pleyel-Cavaillé-Coll 1933  Flûte traversière C d to g"  Doublette A  Violoncelle B  Flûte harmonique A/C 2 Octavin C  Flûte A k' Quinte A/B/C V Fourniture A  Flûte A/B  Prestant A IV Cymbale A 32 Bombarde A/B  Doublette A V Cornet A (c to g") 16 Bombarde A  Cromorne A 16 Basson B Positif (III)  Basson-Hautbois A/C 8 Trompette A Wind — CC to B: mm; c to g'' mm  Voix-Humaine A 8 Ophicléide A  Violonbasse C 16 Bombarde C 4 Clairon A  Quintaton C 8 Trompette C  Quintaton B/C 4 Clairon C  Flûte traversière C Trémolo 5 manuals, 56 notes CC to g''  Salicional A/B/C

16 17 XI. The Gospel TRACK 14 L SEQUENCE: Vi"imæ paschali laudes M Gregorian chant, COP

C. Vi"imæ paschali laudes immolent C. Christians! To the Paschal Vi"im offer Christiani. your thankful praises. O. Agnus redemit oves: Christus innocens O. The Lamb the sheep redeemeth: Christ, Patri, reconciliavit peccatores. who only is sinless, reconcileth sinners to the Father. C. Mors et vita duello conflixere mirando, C. Death and life have contended in that Dux vitæ mortuus, regnat vivus. confli" stupendous: the Prince of Life, who died, deathless reigneth. O. Dic nobis Maria, quid vidisti in via? O. Speak, Mary, declaring what thou sawest wayfaring. C. Sepulcrum Christi viventis, Et gloriam C. "The tomb of Christ who now liveth: vidi resurgentis. and likewise the glory of the Risen. O. Angelicos testes, sudarium et vestes. O. Bright Angels attesting, the shroud and napkin resting. C. Surrexit Christus spes mea: Præcedet C. Yea, Christ my hope is arisen: to Gali- suos in Galilæam. lee He gœth before you." O. Scimus Christum surrexisse, a mortuis O. We know that Christ is risen, hence- vere: Tu nobis, vi"or Rex, miserere. forth ever living: Have mercy, Vi"or King, pardon giving. C. Amen. Alleluia. C. Amen. Alleluia. Afterwards the deacon takes the book from the altar, and again kneeling down before the priest, asks his blessing, saying: The deacon incenses the open Evangelarium (Book of Gospels) before proclaiming the Gospel, recognizing that Christ, Who is the Word of God, is especially present in the words of the Gospel sung D. Jube benedicere. D. Sir, give me thy blessing. by the deacon. P. Dominus sit in corde tuo, et in labiis tuis: ut digne P. The Lord be in thy heart and on thy lips, that et competenter annunties Evangelium suum: In no- thou mayest worthily and in a becoming manner pro- ✠ mine Patris, et Filii, et Spiritus San"i. Amen. claim His holy Gospel: In the Name of the Father, TRACK 15 and of the Son, ✠ and of the Holy Ghost. Amen. L THE GOSPEL M The deacon and the attending ministers process to the north side of the san!uary. Then turning towards the Hervé Lamy Gospel book, with his hands joined, the deacon sings: D. Dominus vobiscum. D. The Lord be with you. And while saying: S. Et cum spiritu tuo. S. And with thy spirit. D. ✠ Sequentia san"i Evangelii secundum D. ✠ The continuation of the holy Gospel Marcum. St. Mark 16. 1-7. according to Saint Mark. St. Mark 16. 1-7.

The deacon signs the book, and himself on the forehead, mouth and breast; the attendants respond: S. Gloria tibi, Domine. S. Glory be to Thee, O Lord. The deacon sings the Gospel.

30 31 P. Per intercessionem beati Michælis Archangeli, P. May the Lord, by the intercession of blessed Mi- stantis a dextris altaris incensi, et omnium ele"orum chæl the Archangel, who standeth at the right side of suorum, incensum istud dignetur Dominus bene ✠ the altar of incense, and of all His Ele", vouchsafe dicere, et in odorem suavitatis accipere. Per Christum to bless ✠ this incense and receive it as an odour of Dominum nostrum. Amen. sweetness: through Christ our Lord. Amen.

The priest blesses the water, which the subdeacon pours into the chalice, mixing it with the wine to represent the blood and water that poured forth from Christ's side on the Cross, showing that He is both truly human and divine.

P. Deus, qui humanæ substantiæ dignitatem mirabili- P. O God, Who, in creating human nature, didst ter condidisti, et mirabilius reformasti: da nobis per wonderfully dignify it, and hast still more wonder- hujus aquæ et vini mysterium, ejus divinitatis esse fully restored it, grant that, by the mystery of this consortes, qui humanitatis nostræ fieri dignatus est water and wine, we may become partakers of His di- particeps, Jesus Christus Filius tuus Dominus noster: vine nature, Who deigned to become partaker of our Qui tecum vivit et regnat in unitate Spiritus San"i human nature, even Jesus Christ our Lord, Thy Son, Deus: per omnia sæcula sæculorum. Amen. Who with Thee liveth and reigneth in the unity of the Holy Ghost, God: world without end. Amen. The priest incenses the gifts of bread and wine at the altar. Then the priest takes the chalice, and with the deacon offers it, saying: Receiving the thurible from the deacon, the priest incenses the bread and the wine, while saying: P. Offerimus tibi, Domine, calicem salutaris, tuam P. We offer unto Thee, O Lord, the chalice of salva- deprecantes clementiam: ut in conspe"u divinæ ma- tion, beseeching Thy clemency, that it may ascend P. Incensum istud a te benedi"um ascendat ad te, P. May this incense, which Thou hast blessed, O jestatis tuæ, pro nostra et totius mundi salute cum before Thy divine Majesty as a sweet savour, for our Domine: et descendat super nos misericordia tua. Lord, ascend unto Thee, and may Thy mercy de- odore suavitatis ascendat. Amen. salvation and for that of the whole world. Amen. scend upon us. The priest makes the Sign of the Cross with the chalice, places it upon the corporal, and covers it with the Then he incenses the altar, saying: pall. Then, with his hands joined upon the altar, and slightly bowing down, he says: Ps. 140. 2-4. Dirigatur, Domine, oratio mea, sicut Ps. 140. 2-4. Let my prayer, O Lord, be dire"ed as P. In spiritu humilitatis, et in animo contrito suscipi- P. Accept us, O Lord, in the spirit of humility and incensum in conspe"u tuo: elevatio manuum mearum incense in Thy sight: the lifting up of my hands as amur a te, Domine: et sic fiat sacrificium nostrum in contrition of heart, and grant that the Sacrifice which sacrificium vespertinum. Pone, Domine, custodiam ori an evening sacrifice. Set a watch, O Lord, before my conspe"u tuo hodie, ut placeat tibi, Domine Deus. we offer this day in Thy sight may be pleasing unto meo, et ostium circumstantiæ labiis meis. Ut non mouth, and a door round about my lips. Incline not Thee, O Lord God. declinet cor meum in verba malitiæ, ad excusandas my heart to evil words: to make excuses in sins. excusationes in peccatis. Raising his eyes towards heaven, extending and then joining his hands, the priest makes the Sign of the Cross over the host and the chalice, while he invokes the Holy Spirit: Giving the censer to the deacon, he says: P. Veni, San"ificator omnipotens æterne Deus, P. Come, O almighty and eternal God, the San"ifier, P. Accendat in nobis Dominus ignem sui amoris, et P. May the Lord enkindle within us the fire of His et bene ✠ dic hoc sacrificium tuo san"o nomini and bless ✠ this Sacrifice, prepared for the glory of flammam æternæ caritatis. Amen. love, and the flame of everlasting charity. Amen. præparatum. Thy holy Name.

XV. The Incensing of the Offerings

The priest now blesses incense, saying the following prayers:

36 37 ARTIST BIOGRAPHIES ARTIST BIOGRAPHIES

THIBAUT MARLIN nized for its high-quality performances of chant and sacred polyphony. Dr. Scha efer has Born in Paris in 1971, Thibaut Marlin studied piano at the École studied chant at the Paris national conservatory, sung with the Chœur Grégorien de Paris, Normale de Musique de Paris. In 1994 he graduated from the Paris and authored Missa Cantata and Evangelia Cantata. national conservatory with first prize in Gregorian chant condu"- ing. A member of the Chœur Grégorien de Paris for the last 18 HERVÉ LAMY years, he began as a soloist and in 2007 was named dire"or. Mr. A versatile tenor, Hervé Lamy performs as both ensemble singer Marlin also teaches Gregorian chant at the School of the CGP. and soloist. His expertise has led him to work with such dire"ors as Philippe Herreweghe, William Christie and Jean-Claude Mal- JEAN SOURISSE goire. His interpretive skills include all styles of music, including Organist, composer, and voice teacher Jean Sourisse began his ca- Gregorian chant, baroque and contemporary opera, oratorio singing reer in music education. He perfe"ed his choral-condu"ing skills and lieder. His discography contains more than 80 titles, one of under Michel Corboz, Eric Ericson and Frieder Bernius. His vocal Photo by Guy Vivien which (Christus Rex) was awarded a Diapason d’Or. ensembles have excelled in all styles, from a cappella repertoire to large-scale works solicited by renowned dire"ors Colin Davis, DANIEL ROTH Mstislav Rostropovich, Neville Marriner and Yehudi Menhuin. Daniel Roth, international concert artist and teacher, has been the He has often collaborated with organists Marie-Madeleine Duruflé titular organist at Saint-Sulpice since 1985. Professor of organ studies and Marie-Claire Alain. With a large discography, Mr. Sourisse at the Frankfurt Musikhochschule from 1995 to 2007, Mr. Roth specializes in French sacred music of the 19th and 20th centuries. taught for more than 40 years before retiring to dedicate more time to composing. He has written works for solo organ; flute and CHARLES BARBIER organ; choir and organ; orchestra; and piano and orchestra. Most Chares Barbier began his vocal studies as a boy in Brittany and recently, he has been named Chevalier de la Légion d’honneur. He later studied Gregorian chant, choir dire"ion, acoustics and Laban continues to tour and give master classes all over the world. notation at the Paris national conservatory. He is currently at the Sibelius Academy of Helsinki, studying choral and orchestral ERIC LEBRUN dire"ion. Barbier sings both tenor and soprano, and his repertoire Eric Lebrun is recognized as one of the most accomplished musi- encompasses the Middle Ages through the present day. His per- cians of his generation: educator, composer, soloist, writer and formance tours have included Europe, South America, Northern titular organist of Saint-Antoine des Quinze Vingts in Paris since Africa and Asia. 1990. His endeavors have been crowned with the highest accolades, from the Grand Prix de Chartres to composition commissions and EDWARD SCHAEFER award-winning recordings. He and his wife, Marie-Ange Leurent, Edward Scha efer is a permanent deacon and Associate Dean of form a brilliant team, playing duos with four hands, and, more Fine Arts at the University of Florida. He spent 21 years as choral recently, recording the complete works of Buxtehude. dire"or at Gonzaga University, where he led a program recog-

56 57 ARTIST BIOGRAPHIES

CHOEUR D’ORATORIO DE PARIS JAV Recordings, Inc. Founded in 1989 by Jean Sourisse, the 90-voice Chœur d’Oratorio de Paris has an extensive sacred and secular music repertoire ranging from the baroque period to the Acknowledgements 20th century. Regularly called upon by the most cele- Paul Roumanet, P.P.S., Curé de Saint-Sulpice brated condu"ors (James Conlon, Théodor Guschelbauer, Alberto Zedda, Tamas Vasary and others), they have Daniel Roth, Titular Organist of Saint-Sulpice been honored to work with soloists such as Barbara Hendricks, Sandrine Piau, and Vero- Camille Hae dt, Proje" Manager nique Gens. In 2005, the choir recorded Beethoven’s 9th Symphony under the dire"ion of Jean Sourisse, Dire"or of Chœur d’Oratorio de Paris John Nelson and the Ensemble Orchestral de Paris. Thibaut Marlin, Dire"or of Chœur Gregorien de Paris Eric Lebrun, Orgue de Chœur CHOEUR GRÉGORIEN DE PARIS The Chœur Grégorien de Paris has a mission to culti- Michel Goussu, Organ Curator of Saint-Sulpice vate Gregorian chant today. The choir gives concerts, Christoph Frommen, Recording Engineer, Editing and Mastering participate in festivals, records, CDs, collaborates with Janice Walker & Dan Madden, Graphic Designers the CNSM de Paris in Gregorian chant education. Most Jœl Newman, Baronius Press Ltd., for use of the English translation of the Mass importantly to their mission they regularly sing Mass at Fr. Richard Cipolla, Britt Wheeler, Bill Riccio, Nicholas Renouf, Daniel Russbach, l’Eglise Royale du Val-de-Grace in Paris thus rendering Jacob Horvath, Michae l Nazzaro of the Saint Gregory Society, for staged photos of the profound and mystical Gregorian chant in its natural liturgical context. The choir tours the Traditional Catholic Celebration in the Missal part of the booklet frequently to such places as Colombia, Lebanon, China and Estonia. Fr. Michae l Perry, Fr. Revert, Fr. Peter Rocca, Fr. Ian McDole, Jœ Chapman, Mark Dwyer, Daniel Sheerin, and Britt Wheeler, for proofreading the Missal Fr. McDole, for captions for photos in the Missal Rollin Smith, for the historic photo of Vierne Yale University Organ Curators’ Shop, for the photo of the Nave of Saint-Sulpice, c. 1900 Harold Shaprio, Joseph Vitacco, photography Recorded O"ober 4, 5, 6, 2007

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58 59