The Liturgical Year in Gregorian Chant
The Schola Bellarmina, a five-man choir from Brussels, Belgium, has recorded all of the proper chants of the 1962 Missal and made them available on fourteen CDs. Recordings of the eighteen Vatican Edition chant masses and six Credos are also available as a separate three-CD volume. Future plans include recordings of proper chants for major feastdays and publication of a hymnal. Sample recordings available online.
This collection can be used with the 1974 Graduale Romanum as well. Though the 1974 Graduale has a reordered Proper, the chants haven’t been rewritten, and as far as I’m aware, no chants have been suppressed. (Although I think a few may have been added.)
[I realize that the schola was founded under the auspices of the Society of St. Pius X, but I'm not convinced that this site is necessarily the place to discuss the Society's standing with the Holy See. Not that I'd ban such a discussion here, but plenty of words—some incendiary—have been written about the topic already, and this is a site about liturgical music first. For what it's worth, I trust that the issues surrounding the Society will be resolved, hopefully sooner rather than later.]
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Apparently in Belgium, entire congregations knew all the chant ordinaries from the Kyriale. I remember one organist from Belgium telling us that. He’s in his 80s and still going strong. The chanting must be good for his health. Anyway, aside from a capella he was also trained to accompany chants according to the Belgian system at the University of Louvain. He talked about how during WWII they had the system of organ accompaniments for chant written down before any of the professors died. Flor Peeters was also one of his professors.
Dear Mr. Art:
You are not referring to Noel Goemanne of Christ the King in Dallas, are you? He seems to fit the description … with the possible exception of chanting.
no…hehe…he’s here in NJ…Emmanuel Leemans
Art, where in NJ? (I’m currently a midwesterner transplanted from the Newark Archdiocese.)
But the few members of my family who remain there (scattered across several dioceses,) (diocese? what would the plural be…?) are often to be found on the road of a Sunday morning, hoping against hope to find a Catholic chruch with music worth singing to God, and worth listening to.
Jersey City (downtown), Holy Rosary Church. Unfortunately, Mr Leemans had left us after Christmas because the pastor could not come up with money to pay him (it had been going on for several weeks), but we were able to pay him when he came for Easter.
Right now we’re waiting for a new organist two Sundays from now. Since then we’ve just been doing everything a capella with a pitchpipe. Mass attendance is a bit depressing though…hovering around thirty-five people. But with a new organist, we’re hoping to get more people.
We’ve been singing the Lux et Origo (Mass 1)Ordinary during Easter and are currently practicing Fons Bonitatis (Mass 2).
The music at Our Lady of Mt. Carmel in Orange, NJ (off Rt. 280) is also good I hear.
In another life I used to commute from Ogden Ave. just off Palisade!
The siblings are strung out (that doesn’t sound good, does it?) from kearney to Summit to West Milford, so i shall definitely pass on the ino about Holy Rosary and Our lady of Mt Carmel.
Thanks.
Geri…commute on the 87 bus to Hoboken?
NO, I think it had a number like S22 or 22S?
Anyway to midtown.
Back when I was a well remunerated but only fitfully employed actor, rather than a well employed but only fitfully remunerated church musician.
oh…maybe you mean the 99S…that might be it. It’s nice to know you’re from here.
Hi, this is my first post. I am 37, Catholic, male, and have sung in some excellent choirs (Lutheran, then Catholic).
Would someone kindly tell me what texts would be sine qua non for a new schola cantorum devoted to chant? That is, if the schola were to sing daily at a noon mass, what texts are required if the schola is to integrate properly? And what limited selection of recordings would be essential listening?
Please correct this tentative answer to the first question if it’s wrong: as for texts, at the absolute minimum, we would need either the Graduale Romanum or the Graduale Simplex (for ordinaries and propers). Or, if we want to sing in English, the Anglican Use Gradual would do as well.
Also, would someone please say how the Kyriale Romanum differs from the Graduales?
I’m sorry for asking such basic questions. I just don’t want to dive in further until I’m reasonably sure of what the basics are. Thank you kindly for any response.
Here are some good answers:
http://www.beaufort.demon.co.uk/books.htm#Massbooks
Anthony,
Besides the recordings listed on the Gregorian Association site, I would also recommend those made by the Choralschola of the Wiener Hofburgkapelle on the Philips label – beautiful clean sound and diction, and they record both propers and ordinaries in order.
And BTW, the website keeps telling you that the Solesmes method is “outmoded.” If you’re going to sing the chant for the liturgy on a regular basis, it should not be dismissed so glibly. True, much of the system was based as much on Dom Mocquereau’s musical intuition as on musical history. But now it *is* part of musical history. Fact is, nearly every “amateur” group is indebted to them and it’s certainly the most easily comprehended way to approach the chant, IMO. (Never been able to figure out what the other people were saying most of the time, let alone how you would ever put it into practice on a regular basis.) Not that every jot and letter of the system has to be followed.
About your other question, the Kyriale includes only the mass ordinaries (Kyrie, Gloria, Credo, Sanctus and Agnus Dei), while the Graduale includes both ordinaries and propers for the mass. So the Graduale includes everything that’s in the Kyriale.
Dear Anthony:
I would recommend also that you may want to get the “Liber Usualis”, which was the text used for chant before the liturgical reforms after the Second Vatican Counsel.
While this recommendation may be controversial to some, I make it for the following reasons:
1. It has a wealth of information as regards how to read and sing from square notation.
2. It has a wealth of rubrical instructions, which while obsolete as regards the propers of the day, may be of use in selecting appropriate Ordinaries of the Mass for the feast of the day.
3. It gives elaborate instruction as to how to sing psalm tones, and a wealth of chant and hymns which have not yet made it into the new liturgical books.
As regards other web sites, I also suggest the following:
http://hymnal.fc2web.com/hymn/index2.html
in that it gives midi files for a number of the Ordinaries and the Propers which would assist one in learning new chants. Unfortunately, these files are polluted by organ accompaniment, which I hope that you can do without.
Do by all means get the Solesmes CDs, and compare them with other examples such as Maggie’s MP3 files. (see elsewhere in this weblog for links) While some people think the guys at Solesmes are “outdated”, I do not think it wise to trust the opinion of someone who is driven against any music which is “so last week”, in a field which is informed and fulfilled by tradition.
Thank you, Sam and Bernard. Those are helpful posts, and I appreciate them.
I have a recording of the Choralschola at Vienna’s Hofburgkapelle and was surprised by a few things about their pronunciation. What is the most trustworthy guide to pronouncing ecclesiastical Latin properly? Does the Liber Usualis include instruction in this area as well?
I like very much singing psalm tones and have been exploring them more, mainly from links from this site. The Lutheran choir I was part of, ten years ago, sang a few psalms from Peter Hallock’s Ionian Psalter. The harmonizations were both textually sensitive and modern. I would be interested in hearing comments about it.
Also, how does the instruction on singing psalm tones on the following page compare with the instruction of the Liber Usualis?
http://www.lifeoftheworld.com/Prayerbrotherhood/psalmody.htm
Cordially,
Anthony
Dear Anthony:
While the cultural set of the RC Church is towards Italianate pronunciation of Church Latin, it is also the case that various countries/language groups have developed their own pronunciations. For example, the monks of Solesmes tend to pronounce and sing the latin chant with a distinct French accent. Likewise, Germans have developed their own way of pronouncing Church Latin, which is probably what you are hearing. While Americans have their own way of pronouncing Latin, I find it to be incredibly ugly, and therefore I would not recommend its use.
The Liber Usualis, especially those editions in with notes in English, gives a pronunciation list for Italianate pronunciation. If, because of your Lutheran background, you would like to learn the German pronunciation in fidelity to your roots, I believe you might be able to find that by checking http://www.ChoralNet.com. I sang the “Carmina Burana” with a wonderful choir director who insisted on German continental pronunciation, and she was able to obtain good notes re pronunciation via that website, and its information on Karl Orff’s wonderful work.
Alas, I have not seen Peter Hallock’s “Ionian Psalter”, and so I cannot give an opinion, one way or another. If you were perhaps to give me information on how I might be able to view at least a couple of pages, I’d be happy to look at them.
I have, however, reviewed the web site at http://www.lifeoftheworld.com re reading and singing psalm tones. It appears to be a clear and simple exposition of how to sing the psalm tones, and if you have studied it properly, you should have no trouble in making use of the Liber Usualis. The value of that book, however, is that it gives elaborate instructions for the eight tones, with a number of alternate cadences or endings for each tone.
Bernard, thanks for the advice.
Incidentally, my roots are not Lutheran. I’m a cradle Catholic from an Italian family. The short version is that I met a Southern Baptist, we attended a Lutheran church, and then she was received into the Catholic Church four years ago. We have been happily at the local cathedral ever since, having shopped around.
This could turn into a long and uninteresting ramble, so let me just thank you for your comments. I shall be pronouncing things in the Italian style and enjoy the next few months of education and training.
Pax,
Anthony
Mr. Brandt:
I could swear that Italian pronunciation is actually the official pronunciation of the Latin Rite, but I cannot find the reference for that. A few vague references on the Internet to Pope St. Pius X, but not what I was looking for, and not in his motu proprio.
The Passion of the Christ used ecclesiastical pronunciation so as to make an obvious connection with the Sacrifice at the “tall table.” I am afraid that Mel Gibson has not issued any pastoral letters on the topic, though.
Dear Mr. Muller:
I too recall reading a motu proprio written in the early 20th century, mandating the italianate pronunciation as the official pronunciation of Latin in the Roman Catholic Church. Unfortunately, I cannot immediately find the source either.
While as a matter of fact, that motu proprio was at the back of my mind when I was writing my earlier response to Anthony, I also recall the statement written by His Holiness, John XXIII, favoring the preservation of latin learning, at about the same time that he was calling the Second Vatican Council, as well as the Council Statements, favoring the preservation of Latin in the liturgy. I see none of these being implemented.
Ultimately, I would be so happy if someone took the above statements seriously that I would not mind if a priest did a latin mass with classical pronunciation.
“Ultimately, I would be so happy if someone took the above statements seriously that I would not mind if a priest did a latin mass with classical pronunciation. ”
The actual texts of VII have surprised me a great, great deal. A one-pager on what VII says about music alone would probably be 100% news to millions of young Catholics in the US. Have such things been published before in church bulletins, diocesan newspapers, etc.?
Pardon the question if it’s naive. I have never seen the actual documents discussed in my diocesan papers…
Dear Anthony:
I do not think your question naive. On the contrary, I think it is particularly astute. Unfortunately, I have not seen anywhere in a mass circulation newspaper (diocesan or otherwise) a substantive discussion of what the documents of the Second Vatican Council actually say.
However, I recall that Napoleon once said, “never ascribe to evil intent what can be explained by incompetence.”
If your diocesan newspaper is like mine (“The Tidings”-Los Angeles, California), my recollection is that it was better for lining birdcages than in a substantive discussion of *anything*.
Just to put my oar in, in church I use a mediaeval English pronunciation of Latin… drives several people up the wall though.
I wonder how a mediaeval English pronunciation would differ from the italianate?
Would it be anything like Steel Eye Span’s cockney rendition of the Gaudete:
“Gaw-die-tay, Gaw-die-tay Christus est nah-tus ex Mah-ree-ay vir-gi-nay, Gaw-die-tay!”
I can see how that that might drive a few people both up the wall and back down again.
Seriously, though, I’d be interested in seeing a pronunciation guide.
Well, a general guide would be – pronounce as English of the period. Some examples:
(now how do i repesent spellings without schwa symbols and IPA letters)
Virgine, virgo – as English (‘virgine’ – virgin-nee)
Crucifixus – as in ‘crucifix’
Deus – dee-us (that’s a schwa in the second syllable)
quaesumus – kwee-sumus
maria – three syllables, the first a schwa, the last two to rhyme with ‘friar’ (RP, not american, hence no articulated Rs)
Jesu – J is pronounded as English
plenty of ‘u’s around will have a ‘y’ sound – sort of like the word ‘tuus’ ends up as ‘two-uhs’.
lots of long ‘i’s and ‘e’s and ‘a’s. Pater is ‘pay-tuhr’, benedicite is ‘beh-nuh-dai-si-tee’.
vowels are the various english ones, not the 5 pure vowels of italian.
There’s an excellent book called ‘Singing in Latin’ which attempts to cover the variety of ethnic-pronunciations of Latin in the middle ages and renaissance.
DEAR ART,
If you are here, please, PLEASE respond to me!!
I read your comment, about your friend:
“I remember one organist from Belgium telling us that. He’s in his 80s and still going strong.”
I have been waiting and praying for this information! I am studying the Nova Organi Harmonia, and have been studying it for years. BUT I AM SEARCHING FOR INFORMATION about it! I have done web searches for years, I have sent mail to the Lemmens Institute in Leuven…I have tried everything!
And now you are telling me that someone involved in the Nova Organi Harmonia still lives! Just earlier today I was day-dreaming and doing the math (as I have often done), and I realized once more that such a man would have to be at least 80 years old, if still alive.
Please, can you help me find more information about this gentleman who studdied with Peeters and Nuffel, the masters of us all?
If you go to the website I provided, you will get a glimpse of how interested I am in this project. In truth, I wish to make this my Doctoral thesis.
Best to you, dear friend,
Jeff Ostrowski
‘Art’ mentions a way to ‘accompany chants according to the Belgian system’. What is this Belgian System and how would I find out about it?
Dear Art,
I’m from Belgium, so sorry for my bad English. I’m trying to find out where all our Flemisch organist/composers are who where born in Belguim between 1800 and now…
But I’m looking for the biografy of Emmanuel Leemans. Do you know if he’s a composer to?
I have some informations abouth Noël Goemanne ( in flemisch)
Goemanne, Noël ( ° Poperinge 10 dec. 1926)
Organist, koordirigent, docent, componist. Kreeg zijn muzikale opleiding in het Lemmensinstituut, behaalde het laureaatsdiploma in 1948, met als voornaamste leraars Marinus de Jong, Staf Nees, Jules van Nuffel, Jules Vijverman en Flor Peeters. Hij vervolmaakte zich aan het conservatorium te Luik bij P Froidebise en Ch. Hens. Gedurende 2 jaar nam hij ook privé-lessen bij Flor Peeters (orgelimprovisatie) in Mechelen. Hij werd organist en koorleider aan de Notre Dame te Rochefort van 1949 tot 1952. De professionele erkenning kwam toen het Belgische Nationale Radio in Namen hem als regelmatige pianorecitalist in dienst nam. In 1952 migreerde hij naar de V. S. en werd er achtereenvolgens in verschillende kerken organist in Texas (1952/55), Michigan (1955/68). Daarna vestigde hij zich definitief in Dallas. Noël Goemanne werd in 1974 bekroond door het Instituut voor gewijde muziek in Manila (Filipijnen) voor zijn bijdrage tot de kerkmuziek. In 1987 kreeg hij van het muziekcomité van het pauselijk bezoek in Texas de opdracht de processiehymne te componeren voor de pauselijke mis, hetgeen resulteerde in Fanfare and Concertato on ‘All Creatures of Our God and King’. Dit werk werd met zijn 45 composities opgenomen in de GI-catalogus . Paus Paulus VI beloonde hem in 1977 met de Pro Ecclesia Medaille. Hij werd doctor honoris causa in de Gewijde Muziek, St. Joseph’s College, Rensselaer/Indiana (1980) en in de madonna University te Livonia/Mich (1999). In 2001 kreeg hij vanuit New York de opdracht voor een Missa Sancta Cecilia (2001). Goemanne is lid van ASCAP, AGO, ACDA en de National Association of Pastoral Musicians. Hij wordt vermeld in de International Who ‘s Who in Music (Cambridge, Engeland), de Orgelpreludes door Jean Slater Edson, de “Geschichte der katholischen Kirchenmusik” van Karl Gustav Fellerer en in het kunsttijdschrift Vlaanderen, een publicatie over kunst en cultuur in de Nederlanden.
Hij blijft echter een Amerikaanse Vlaming met invloeden van F. Peeters en L. Bernstein. Noël Goemanne schreef meer dan 300 werken w.o. orgelwerken, missen anthems en motetten, religieuze en profane liederen en honderden liedbewerkingen. Van hem verschenen o.a. Ode to St. Cecilia, Te Deum, San Antonio Suite voor orgel, Trilogy for Dallas, Four short Improvisations on the Ite Missa Est (opgedragen aan Ernest Peeters), Jeu de Mots (6 tongue Twisters: Oxford Univ. Press) met in Europa de première ervan door Vic Nees en het BRT-koor, aan wie ook de Hymn pro Pace opgedragen is. Uitstekende koren en organisten over de hele wereld hebben zijn werken uitgevoerd. The Walk / De kruisweg als passiemuziek voor gemengd koor, 2 slagwerkers, soliste, orgel en piano, stond op het programma van het kathedraalkoor van Hasselt o.l.v. Ludo Claesen, die ook in 1994 The Trisagion Hymne uitvoerde. Hij schreef speciaal voor het Kathedraalkoor Hasselt een Missa Millennium voor koor, orgel, trompet en pauken. De mis werd in wereldcreatie uitgevoerd op paasdag. Zijn talrijke geestelijke en wereldlijke composities verschijnen in de catalogi van diverse uitgeverijen.
If anyone can give me some informations abouth the Belgian persons who are composers to, let me know please. Thank you all!!!
My emailadress: flavie@pandora.be
Sorry that I can’t read Flemish, Flavie.
I am an admirer of Goemann’s music.
We did a beautiful anthem of his this past Easter, “Christ is Risen.”
Do you know, did Meulemans write any liturgical or sacred music?
Meulemans composed at least two masses:
1. Missa Exaudi nos for SATB and organ (which is available from Annie Bank in the Netherlands).
2. Missa aurea for SATB and orchestra (which was performed–with orchestra!–at the Assumption Grotto in Detroit for Easter).
Hello…
My name is Robert McBride and I am Organist/Choir Director at Immaculate Conception Church in Melbourne Beach, FL.
We recently began a Gregorian Schola that sings at least one Proper every week (usually Communion, but sometimes the Introit or Offertory). We normally use the Gregorian Missal, although sometimes we use the Graduale Simplex. I need some help with a few questions….
1) Can someone tell me where to find the chant “Salve festa dies”?? I looked in the Liber Usualis and in many other chant books but can’t seem to find it.
2) When usuing the Gregorian Missal, we refer to the Graduale Romanum to find what verses go with the antiphon. Where do you find settings of these verses? Currently we are going to the Psalterium Monasticum for the verses and finding a Psalm Tone from the Liber that seems to work with the Antiphon from the Gregorian Missal and then mark the verses..etc. Is this the way everybody else does it!?!?!?!?!
Surely there is an easier way!
Thanks to anyone who can help out with these questions!
P.S. I am really excited about the Chant/Polyphony Colloquium at Catholic University in June. Anyone else going??
http://www.musicasacra.com/
Robert
“(W)e refer to the Graduale Romanum to find what verses go with the antiphon”
I ordered a book from the Netherlands entitled “Liber Psalmorum pro Communione” (see this link). It has the psalms in numerical order with the various psalm tones called out in the “Graduale Romanum.” I had luck in that they sent it to me with an invoice. Others, I’ve heard, haven’t been so fortunate. The instructions are in Dutch but I think you’d be able to figure it out. It would be better, in my mind, that having to go to a book without musical notation.
About Meulemans; we have
Meulemans, Herman
Aarschot 19 okt. 1893 – ibid. 5 jan. 1965; organist, leraar, componist, directeur MS.
and his brother
Meulemans, Arthur
Aarschot 19 mei 1884 – Etterbeek 29 juni 1966; componist, organist, leraar, dirigent, publicist.
Genoot zijn muzieklessen van zijn vader, van de organist Alfons van den Eynde. Hij zong als knaap in het kerkkoor, en speelde viool, piccolo, piano en orgel. Na de 4de humaniora aan het St.-Jozefcollege in zijn geboortestad, werd hij leerling aan de toenmalige Ecole de Musique Religieuse in Mechelen (1900/06). Hij studeerde harmonie bij Aloys Desmet, contrapunt/fuga/compositie o.l.v. Edgar Tinel, en orgel bij Oscar Depuydt. O.m. via zijn harmonieleraar kwam hij er ook in aanraking met de partituren van R. Strauss en Debussy. Na zijn eindexamens in 1906 werd hij er leraar harmonie, functie die hij bekleedde tot 1914. Tussen 1906 en 1912 schreef hij in Hooger Leven en in Dietsche Warande en Belfort een aantal bijdragen over Debussy, Ravel, Dukas en Schmitt.
Arthur was organist van de O.-L.-Vrouwekerk te Aarschot in 1911. Pedagogisch was hij actief als muziekleraar aan de RMS te Aarschot (1910/15) en aan het Kon. Ath. in Tongeren (1915/30). In 1916 stichtte hij met kanunnik-deken J. Broux de Limburgse Orgelschool in Hasselt, weldra gevolgd door een zangafdeling; tot 1930 was hij er directeur van. In 1930 werd hij dirigent van het Groot Orkest, later directeur van de Belgische Radio-Omroep (NIR/INR), trok zich in 1942 uit de Omroep terug om een nieuw koor tot stand te brengen in de Brusselse St. Goedelekathedraal maar verliet deze post in 1945. Van toen af aan wijdde hij zich uitsluitend aan het componeren. Hij ontving menige onderscheiding: de Boury-prijs (1913 voor liederen); de SABAM-Prijs voor een symfonie in 1946; De Noordstar-Boerhave Prijs voor het totale oeuvre in 1950, en de Jef Denijn-Prijs voor zijn Serenata voor beiaard (1950). Hij werd lid in 1941 en algemeen voorzitter in 1954 van de Kon. Vlaamsche Academie voor Wetenschappen, Letteren en Schone Kunsten van België. Tevens maakte hij deel uit van talrijke commissies voor muziekonderwijs en had zitting als jurylid bij de hogere examens van de conservatoria, de Prijs van Rome, de Internationale Muziekwedstrijd Koningin Elisabeth en het Comité voor Toonkunst. In 1956 stichtte men in Antwerpen het Arthur Meulemans Fonds dat vele van zijn composities, ook cds ervan, heeft uitgegeven. Daarenboven publiceerde hij: Moderne muziek (1930), Aspecten van het moderne orkest (1953) etc.
Meulemans belangrijkste werken zijn voor orkest. Hij schreef er heel wat en getuigde erin van een briljante orkestratietechniek die door het Franse impressionisme was beïnvloed. Niettemin gaf hij blijk van zijn persoonlijkheid door de descriptieve aard van zijn symfonische gedichten die gevoed waren door het naturalisme van de Vlaamse renaissanceschilders. In zijn oeuvre zijn zowat alle genres vertegenwoordigd. Diverse operas gingen in première in de KVO: Vikings (1919, E. Buskens), Adriaen Brouwer (1926, F. de Witt-Huberts), Egmont (1944, J. van Rooy. Tussen 1931 en 1960 schreef hij 15 symfonieën o.a. Vierde Symfonie in A voor Blazers en Slagwerk, 1934; Zeesymfonie, 1946. Daarnaast verschillende orkestwerken als Pliniusfontein (1913), Danssuite (1943), De witte (1949), Meteorologische Instituut (1951), Pieter Bruegel Suite (1952), Hertog Jan van Brabant Suite (1953), Sinfonietta (1959), Middelheim (1961), Het Zwin (1963), Torenhof (1963) en concerti voor cello (2), piano (2), viool(3), altviool , harp, twee violen, klavecimbel/piano, en orgel. Als vocale muziek schiep hij o.m. de oratoria Sacrum Mysterium (1916) en De zeven weeën (1920, H. Thans), Sanguis Christi voor soli, koor en orkest (1938, sindsdien om de 5 jaar in Brugge opgevoerd), Kinderen van deze tijd (1957, H. Roland Holst), cantates en missen. Met o.a. Aubade voor piano en blaaskwintet, piano- en orgelmuziek, en liederen ontwierp hij tevens veel kamermuziek. Mettertijd werd hij steeds kritischer voor zichzelf. Zijn persoonlijke stijl spitste hij extreem toe met de sereniteit en de directheid van een meester. Beleefde in zijn adolescentie al is hij zelf geboren in de laatromantiek – het impressionisme om ten slotte tot volle ontplooiing te komen in het expressionisme. Het zijn de drie stijlfacetten die in de evolutie van zijn oeuvre, dat meer dan driehonderd werken telt, terug te vinden zijn.
I’m looking for the adress of Hector Specht, a Belgium organist who’s living in Kentucky?
Is he a composer to?
Geri, you can always try to learn Flemisch..
I have lot’s of biography’s of our Flemisch composers (more then 1900…)
Hector Spect relocated from Kentucky to Long Island, New York, in the mid 1960′s. As far as I know, he still lives there.