to ancient texts, and adding certain norms Ordo Cantus Missae: the revision makes use of this corpus easier Introduction to the and more varied. The first concern was to retain the Roman Gradual authentic Gregorian treasure in its entirety. Chants for Masses no longer forming part DOL 535. SC DIVINE WORSHIP, Ordo Cantus Missae, Introduction, 24 June 1974: Vatican of the liturgical year have been employed Polyglot Press, 1972. to compose other Masses (for example, Masses for the weekdays of Advent, for INTRODUCTION the weekdays between Ascension and Pentecost); or have replaced other chants I. REFORM OF THE GRADUALE that were repeated often during the year ROMANUM (for example, during Lent or on the Sundays in Ordinary Time); or, when their Reform of the General Calendar and of style permitted, have been assigned to the liturgical books, particularly the celebrations of the saints. Roman Missal and Lectionary, has resulted in the need also to make a number of In addition, nearly twenty authentic changes and adaptations in the Graduale Gregorian chants that, because of changes Romanum. Thus, the suppression of in the course of time, had fallen into disuse several celebrations in the liturgical year— have been brought back into the repertoire. for example, the season of Septuagesima, Measures have also been taken against the the octave of Pentecost, the ember days— distortion or mutilation of any authentic required taking out the corresponding chant; when elements have been removed Masses. Transference of saints to a that were not suited to a particular different liturgical season entailed making liturgical season, for example, in an appropriate modifications. The antiphon text of the Alleluia having notes introduction of new Masses called for that form an integral part of the melody. supplying new proper chants. And the new plan of biblical readings required The elimination, particularly in the transferring a number of texts (for case of saints’ feasts, of passages that are example, communion antiphons) to other late, neo-Gregorian imitations means that days more closely connected with the only authentically Gregorian chants readings. remain. Nevertheless it remains permissible, for those who wish, to keep The criterion for the present and to sing neo-Gregorian melodies. None rearrangement of the Graduale is the has been completely eliminated from the prescription in the Constitution on the Graduale Romanum; in fact for several of Liturgy art. 114: “The treasure of sacred received usage no substitution has been music is to be preserved and fostered with made (for example, chants for the great care.”1 The revision has thus done no solemnities of the Sacred Heart, Christ the harm to the authentic corpus of Gregorian King, the Immaculate Conception). On the chant, but has in some ways enhanced it, other hand, melodies from the authentic since by eliminating certain later corpus and, where possible, connected imitations, giving a more appropriate place with the same text, have replaced neo- Gregorian melodies.

1 DOL 1 no.114.

Introduction to the Roman Gradual / Lt 504 / Collection of Readings / 21

Finally, the authentic Gregorian When the choir has sung the antiphon, repertoire, freed of the nonauthentic the cantor or cantors sing the verse, then melodies, was carefully allocated the choir repeats the antiphon. throughout the Graduale in order to avoid excessive repetition of the same texts and The alternation between antiphon and to replace them with other beautiful versicles may go on as long as is necessary selections that appear only once during the to accompany the entrance procession. The year. The utmost care was given in this final repetition of the antiphon, however, regard to enrich the commons, assigning to may be preceded by the Gloria Patri and them all the chants not proper to any Sicut erat, sung as the one, final versicle. particular saint and thus available for all When the Gloria Patri and Sicut erat have the saints of the same class. The commons a special musical termination, this must be have been further supplemented with many used with each of the other verses. chants deriving from the Proper of Seasons that were seldom used. The rubrics make If the Gloria Patri and the repetition of provision as well for use of the newly the antiphon would cause the chant to last arranged commons for the sake of greater too long, the Gloria Patri is omitted. When flexibility in meeting pastoral needs. the procession is short, only one psalm verse is used or even the antiphon alone, For pastoral reasons also there is an without verse. option regarding the chants for the Proper of Seasons: namely, as circumstances Whenever a liturgical procession suggest, to replace the text proper to a day precedes the Mass, the entrance antiphon is with another text belonging to the same sung as the procession enters the church-or season. is even omitted, as the liturgical books indicate in each case. The norms for the singing of the Mass in the front of the Graduale Romanum 2. Each acclamation of the Kyrie may have also been revised and emended in a be assigned to a different cantor or part of way that brings out more clearly the the choir or congregation. Each function of each particular chant. acclamation is as a rule sung twice, but may be sung more than twice, especially II. RITES TO BE FOLLOWED IN by reason of the music itself, as is SINGING THE MASS indicated in no. 491.

1. When the congregation has gathered Each acclamation is preceded by a and while the priests and ministers are brief invocation when the Kyrie is sung as going to the altar, the entrance antiphon part of the penitential rite. begins. Its intonation may be shorter or longer as the circumstances warrant; better 3. The hymn Gloria in excelsis is still, the whole assembly may begin the intoned by the priest or, if more chant together. Thus the asterisk in the convenient, by the cantor. It is sung either Graduale marking off the part to be by cantors and choir alternating or by two intoned is to be regarded merely as a choirs antiphonally. The division of the guide. verses indicated by a double line in the Graduale need not be followed, if a better

Introduction to the Roman Gradual / Lt 504 / Collection of Readings / 22

division, compatible with the music, is During Lent the tract replaces the devised. Alleluia. Two parts of the choir sing the verses antiphonally or the cantors alternate 4. Whenever there are two readings with the choir. The final verse may be sung before the gospel, the first—usually from by all together. the Old Testament—is chanted according to the lesson or prophecy tone, with the 8. When there is a sequence, it is sung usual termination for the final period. The in alternation either by the cantors with conclusion Verbum Domini also is sung choir or by the two parts of the choir; the with the same final termination; then all final Amen is omitted. When the Alleluia sing the acclamation Deo gratias in the and its verse are not sung, the sequence is manner usual for the end of lessons. omitted. 9. Whenever there is only one reading 5. The gradual response is sung after before the gospel, it is followed by either the first reading by the cantors or the choir. the gradual responsory or the Alleluia with The verse is sung all the way through by its verse. During the Easter season one or the cantors. To be disregarded, therefore, is the other Alleluia is sung. the asterisk in the Graduale indicating the choir’s coming in at the end of the gradual 10. The conclusion Verbum Domini, in verse, the Alleluia verse, and the last verse the way given among the common tones, of the tract. When it seems appropriate, the follows the proper termination of the first part of the response may be repeated singing of the gospel; all then sing the as far as the verse. acclamation, Laus tibi, Christe.

During the Easter season the gradual 11. The Credo is sung as a rule either response is omitted and the Alleluia is by all together or in alternation. sung in the way that will be indicated later. 12. The singing of the general 6. The second reading, from the New intercessions follows local custom. Testament, is sung in the epistle tone with its proper termination; the second reading 13. After the offertory antiphon, may also be sung in the tone of the first versicles may be sung, depending on reading. The conclusion Verbum Domini is tradition; but they also may be omitted, sung according to the melody given among including the Domine, Iesu Christe in a the common tones; all then sing the Mass for the dead. After each verse there is acclamation Deo gratias. a repetition of the part of the antiphon marked for repetition. 7.Either the Alleluia or tract follows the second reading. The arrangement for 14. After the preface, all sing the the Alleluia is this: the cantors sing the Sanctus and after the consecration all join entire Alleluia and its neumes, then the in the memorial acclamation. choir repeats it. But the whole may be sung once by all, should this seem desirable. 15. After the doxology of the The cantors sing the verse all the way eucharistic prayer, all sing the acclamation, through; after the verse all repeat the Amen. Then the priest alone pronounces Alleluia. the invitation for the Lord’s Prayer and all sing it with him. The priest alone continues

Introduction to the Roman Gradual / Lt 504 / Collection of Readings / 23

with the embolism and all join in the 20. After each basic formulary, concluding doxology. changes that need to be made in the Proper of Seasons are indicated in the Ordo 16. During the breaking of the bread Cantus Missae by means of the following and the commingling, the invocation symbols: Agnus Dei is sung by the cantors and answered by all. The Agnus Dei may be A, B, C for Sundays, solemnities, and repeated in a way conforming to the music certain feasts; as often as is necessary to accompany the breaking of the bread. At the last repetition I and II with arabic numerals adjoined the conclusion is dona nobis pacem. in parentheses for the weekdays (7 is the numeral for Saturday); arabic numerals 17. The communion antiphon is begun alone for the weekdays of the other as the priest receives the body of the Lord. seasons. It is sung in the same way as the entrance antiphon, but with proper provision for the These symbols are references to the cantors to receive communion. section of the Ordo (nos. 136-141) that lists all the changes together. 18. After the final blessing by the priest, the deacon sings the Ite, missa est 21. As its principal norm, this Ordo and all join in the acclamation, Deo Cantus Missae has the aim of respecting gratias. the arrangement of the Roman Missal as faithfully as possible. This is the reason for III. USE OF THE ORDO CANTUS the transferral or change of some chant MISSAE formularies.

19. A great variety of readings has COMMUNION PSALMS been introduced into the Roman Missal, but the chants for Mass received from 22. The numbering of the psalms and tradition cannot be changed. Accordingly, their verses is that of the Neo-Vulgate the same chant formulary is used with the edition (Vatican Polyglot Press, 1969). The different readings in the Lectionary for the format of the verses and their parts is that three-year cycle (A, B, C) established for of the Liturgia Horarum (Vatican Polyglot Sundays. Press, 1971).

For weekdays the chants of the 23. An asterisk attached to a psalm previous Sunday are used again, both with number indicates that the antiphon is not the readings assigned to each day of the from the psalter and therefore that the special seasons—Advent, Lent, and psalm is provided as an option. In such a Easter— and with the first reading for case another psalm may be substituted at Ordinary Time, in its two-year cycle (I and will, for example, Ps 33 [34], which by an II). ancient tradition is used at communion.

Chants closely related to the readings When this psalm is given as the psalm should, of course, be appropriately at communion, no particular verses are transferred for use with these readings. usually suggested, since all the verses are so relevant.

Introduction to the Roman Gradual / Lt 504 / Collection of Readings / 24