A new organisation has been launched to promote Gregorian Chant: the Gregorian Chant Network. It will link Chant Scholas together for mutual support and organise training events: the first of these will be a three-day course, April 9-11th, with Nick Gale.
It was launched with the involvement of more than 20 scholas around England, Wales, and Scotland, including the Schola Abelis, and is supported by the Latin Mass Society, Una Voce Scotland, the Schola Gregoriana of Cambridge, and the Association for Latin Liturgy. This is a major development in the world of Chant, in which many feel isolated in trying to promote the Chant and bereft of the necessary resources and training opportunities.
The GCN website already gathers together an impressive array of on-line materials, recommended books and useful links.
Showing posts with label Posts about Chant. Show all posts
Showing posts with label Posts about Chant. Show all posts
Wednesday, 17 February 2010
Sunday, 31 January 2010
Hymns and motets at Mass
This interesting quotation has been found by someone on the NLM and is reproduced by Fr Z. It is interesting because it emphasises how many of the reformers of the Missal after the Second Vatican Council saw themselves as implementing the principles of the Liturgical Movement, and were presumably horrified to see what actually happened - in this case the 'four-hymn sandwich', which from being a tolerated abuse in 1962 became an almost universal rule after 1970.
Bugnini’s own Consilium in 1969 offered the following instruction, consistent with the Vatican II emphasis on chant over vernacular hymnody. As printed in 1 Notitiae, 5 (1969), p. 406
That rule [permitting vernacular hymns] has been superseded. What must be sung is the Mass, its ordinary and proper, not “something,” no matter how consistent, that is imposed on the Mass. Because the liturgical service is one, it has only one countenance, one motif, one voice, the voice of the church. To continue to replace the texts of the Mass being celebrated with motets that are reverent and devout, yet out of keeping with the Mass of the day amounts to continuing an unacceptable ambiguity: it is to cheat the people. Liturgical song involves not mere melody, but words, text, thought, and the sentiments that the poetry and music contain. Thus texts must be those of the Mass, not others, and singing means singing the Mass not just singing during Mass.
The singing of 'any old motet', let alone one of an endlessly recylced set of vernacular hymns, at Mass, is rejected in favour of the Mass texts: these, indeed, are the voice of the Church, and we seek to gild the lily at our peril. When people talk about the things which 'always happened in the old days' they should remember that 'the old days' was a theatre of conflict between the Liturgical Movement and people who did not take the liturgy so seriously. We may not want to be quite as rigid as this quotation suggests - isn't the Vespers hymn of the day sufficiently intwined with the theme of the Mass, or the Ave Maris Stella on a Feast of Our Lady? - but it is worth keeping the ideal in mind. The texts of the Mass are the Church's commentary on the liturgical occasion, and we must let the Church have the final say.
The reform of 1970 bears little resemblance to anything the Liturgical Movement in its prime might have anticipated or desired, because the reformers themselves seem to have forgotten the respect which is due to the immemorial texts and customs of the Church. Instead of saying. 'The Church teaches us through the liturgy, and therefore we must exercise extreme caution in changing the liturgy', they seemed to be saying 'The Church teaches us through the liturgy, so however different the reformed liturgy turns out to be it will by definition be ok'.
Bugnini’s own Consilium in 1969 offered the following instruction, consistent with the Vatican II emphasis on chant over vernacular hymnody. As printed in 1 Notitiae, 5 (1969), p. 406
That rule [permitting vernacular hymns] has been superseded. What must be sung is the Mass, its ordinary and proper, not “something,” no matter how consistent, that is imposed on the Mass. Because the liturgical service is one, it has only one countenance, one motif, one voice, the voice of the church. To continue to replace the texts of the Mass being celebrated with motets that are reverent and devout, yet out of keeping with the Mass of the day amounts to continuing an unacceptable ambiguity: it is to cheat the people. Liturgical song involves not mere melody, but words, text, thought, and the sentiments that the poetry and music contain. Thus texts must be those of the Mass, not others, and singing means singing the Mass not just singing during Mass.
The singing of 'any old motet', let alone one of an endlessly recylced set of vernacular hymns, at Mass, is rejected in favour of the Mass texts: these, indeed, are the voice of the Church, and we seek to gild the lily at our peril. When people talk about the things which 'always happened in the old days' they should remember that 'the old days' was a theatre of conflict between the Liturgical Movement and people who did not take the liturgy so seriously. We may not want to be quite as rigid as this quotation suggests - isn't the Vespers hymn of the day sufficiently intwined with the theme of the Mass, or the Ave Maris Stella on a Feast of Our Lady? - but it is worth keeping the ideal in mind. The texts of the Mass are the Church's commentary on the liturgical occasion, and we must let the Church have the final say.
The reform of 1970 bears little resemblance to anything the Liturgical Movement in its prime might have anticipated or desired, because the reformers themselves seem to have forgotten the respect which is due to the immemorial texts and customs of the Church. Instead of saying. 'The Church teaches us through the liturgy, and therefore we must exercise extreme caution in changing the liturgy', they seemed to be saying 'The Church teaches us through the liturgy, so however different the reformed liturgy turns out to be it will by definition be ok'.
Tuesday, 8 December 2009
Plainsong and Medieval Music Society conference
We have been notified of the 2010 conference of The Plainsong and Medieval Music Society to be held in The Old Library, Pembroke College, Cambridge on Saturday 13 March. The conference will feature presentations of research by current graduate students, followed by a roundtable on careers in Medieval Music.
They are calling for abstracts. Full details on their website.
They are calling for abstracts. Full details on their website.
Thursday, 3 December 2009
Chant Course with Nick Gale
Booking is now open for a three-day chant course (9th to 11th April 2010) with Nick Gale, the Director of Music at St George's Cathedral in Southwark. Active members of the Schola Abelis can attend the course for free by special arrangement, but the course is open to all. For more details see here.
Saturday, 29 August 2009
Bartolucci on the Solesmes Chant revival
There is a fascinating interview with Monsignor Domenico Bartolucci, Maestro Emeritus of the Sistine Chapel, admirer, friend and collaborator of Benedict XVI on Rorate Caeli. The whole interview is worth reading; it mainly deals with the liturgical reform following Vatican II, which Mgr Bartolucci witnessed as an exceptionally well-informed and well connected individual. There is a section on the chant which deserves particular attention on this blog.
Maestro, what role does music play in this process?
Maestro, what role does music play in this process?
It has an incredibly important role for many reasons. The affected “Cecilianism” to which certainly Perosi was no stranger, with its tones that were so mild and enticing to the ear had introduced a new romantic sentimentalism, which had nothing to do, for instance, with the eloquent and solid physicality of Palestrina. Some extravagant deteriorations introduced by Solesmes had cultivated a subdued gregorianism, which also was the fruit of a pseudo-restauring passion for the Medieval ages, which were so popular in the nineteenth century.
The idea of an opportunity to recuperate the archeological vein, both in music and liturgy, of a past, from which the so called “oxen centuries” (seculi bui) of the Council of Trent separated it ….. in short an archeology which has nothing at all to do with Tradition and which wishes to restore something which maybe never existed, is a bit similar to certain churches restored in the “pseudoromantic” style of Viollet-le-Duc.
What does it mean, Monsignore, when in the musical field you attack Solesmes?
This means that the Gregorian chant is modal, not tonal and not rhythmical, it has nothing to do with “one, two, three, one, two, three”. We should not despise the way people sung in our cathedrals and replace it with a pseudo-monastic and affected murmuring. A song from the Middle Ages is not interpreted with theories of today, but one should go about it as it was then. Moreover the Gregorian chant of another historical time could also be sung by the people, sung using the force with which our people expressed their faith. Solesmes never understood this, but we should recognize the learned and large philological work executed on the old manuscripts.
What is this 'subdued gregorianism' he condemns? It is the theory you will find set out in pre-conciliar school texts as well as scholarly books, developed by the monk of Solesmes Dom Mocquereau,which attempted to interpret the chant in terms of groups of two and three notes. This interpretation is still indicated in the standard Solesmes editions of chant by small vertical lines, the ictus, which gives the 'up' beat of a group. The shoe-horning and distortion of the chant this required is remarkable, and it has been rejected in academic circles and with most chant practitioners as well.
Solesmes is credited with the revival of chant, which (they claimed) had fallen into decay after Trent, by a massive project of manuscript research and the creation of new editions, and theories of interpretation to go with them. However Bartolucci seems to be claiming that the stilted interpretation they ended up giving the chant was part of the reason for its downfall, and in its rejection of the then-current practice in favour of a historical reconstruction is guilty of the 'archaeologism' condemned by Pope Pius X.
It should be noted that the new wave of Chant revival uses a more fluid approach to interpretation, with a greater respect for the text being sung. Bartolucci seems to be demanding also something more virile and forceful, in contrast to 'pseudo-monastic and affected murmuring'.
Tuesday, 19 May 2009
'Catholic congregational music a laughing stock'
James MacMillan, the Catholic composer, has sent a message to Archbishop Vincent Nichols, who just been elected Chairman of the Bishops' Conference of England and Wales and is being installed as Archbishop of Westminster tomorrow. It is about Church music. He says:
Liturgical "activists" have used the vacuum after the Council to push their own agenda of de-poeticisation, de-sacralisation, and a general dumbing down of the Church's sacred praise. Pope Benedict is determined to confront the problem. The faithful are fed up with sloppy practice, inappropriate, terrible music and the gradual drift away from Catholic standards in the liturgy. My hope is that Archbishop Nichols will give a clear lead in the pursuit of profundity in liturgy. This means a recognition that there were terrible mistakes made in the past few decades that have made new Catholic congregational music a laughing stock.
See The Times.
Liturgical "activists" have used the vacuum after the Council to push their own agenda of de-poeticisation, de-sacralisation, and a general dumbing down of the Church's sacred praise. Pope Benedict is determined to confront the problem. The faithful are fed up with sloppy practice, inappropriate, terrible music and the gradual drift away from Catholic standards in the liturgy. My hope is that Archbishop Nichols will give a clear lead in the pursuit of profundity in liturgy. This means a recognition that there were terrible mistakes made in the past few decades that have made new Catholic congregational music a laughing stock.
See The Times.
Tuesday, 5 May 2009
Ambrosian Chant
A former Oxford chant singer (just before the formalisation of the current schola as a University society, in fact) has been spending time in Milan, and sends me this video which demonstrates Ambrosian chant notation. Fascinating stuff.
Perhaps the current Secretary would be able to demonstrate the chant of the Premonstratensians in a similar way? We should always bear in mind that we we do, with the Liber Usualis, is basically in the 'Roman' tradition, which is simply one of the traditions of Chant in the Latin Church, to say nothing of the Greeks, Armenians and other Rites!
Perhaps the current Secretary would be able to demonstrate the chant of the Premonstratensians in a similar way? We should always bear in mind that we we do, with the Liber Usualis, is basically in the 'Roman' tradition, which is simply one of the traditions of Chant in the Latin Church, to say nothing of the Greeks, Armenians and other Rites!
Thursday, 26 February 2009
The liturgical music essential to an understanding of the liturgy
If we sing what the Church wants us to sing, the nature of the music presents the words to us in such a way that helps us to understand them. Another very interesting post on the New Liturgical Movement by Jeff Tucker:
Lent is a fantastic example of this, and this Sunday in particular, when the propers intrigue us with their form and structure. The Introit is joyful, and the Tract is too, but it is shockingly long, while the Gospel itself is short. The propers are uniformly from Psalm 90, which his highly unusual, and this happens to be the same Psalm that the Devil quotes during the period of temptation.
See the whole post.
Lent is a fantastic example of this, and this Sunday in particular, when the propers intrigue us with their form and structure. The Introit is joyful, and the Tract is too, but it is shockingly long, while the Gospel itself is short. The propers are uniformly from Psalm 90, which his highly unusual, and this happens to be the same Psalm that the Devil quotes during the period of temptation.
See the whole post.
Monday, 23 February 2009
Schola Gregoriana of Cambridge
This is the schola founded by the late Dr Mary Berry, who directed the first Gregorian Chant Training Day I organised in Oxford. We have established mutual links and they have asked me to mention a very interesting-sounding event:
THE TEMPLE CHURCH, LONDON EC4Y 7HL
Saturday 18 April 2009 at 7.30pm
Cantors of the Schola Gregoriana of Cambridge
THE DEDICATION OF THE TEMPLE
Saturday 18 April 2009 at 7.30pm
Cantors of the Schola Gregoriana of Cambridge
THE DEDICATION OF THE TEMPLE
Music from the Templars’ Jerusalem Breviary
Friday, 13 February 2009
Residential Chant Coure
A brand new and very exciting development is heralded by the announcement by St Catherine's Trust of a residential Gregorian Chant course to be directed by Nick Gale, who is the Director of Music at St George's Cathedral in Southwark. It will run Friday afternoon to Sunday morning, 26th-29th March, at Ardingly College, near Haywards Heath in Sussex.
All the active singers of the Schola Abelis will be able to attend this course for free, thanks to the schola's benefactors. For the general public the price is £50.
Please contact me to secure your place on this unique course. There is simply no similar opportunity in the UK to spend time on chant over three days:
For more details, see Oxford Events, which also announces the annual 'Chant Training Day' organised by the local Latin Mass Society, and directed by Mr Phillip Duffy, former Director of Music at Liverpool Metropolitan Cathedral (ie the Catholic one). This is a one-day event, which will take place at SS Gregory and Augustine on Saturday 25th May.
Again, the Schola Abelis has an arrangement with the organisers and active singers will not have to pay to attend. Please note it in your diaries!
All the active singers of the Schola Abelis will be able to attend this course for free, thanks to the schola's benefactors. For the general public the price is £50.
Please contact me to secure your place on this unique course. There is simply no similar opportunity in the UK to spend time on chant over three days:
For more details, see Oxford Events, which also announces the annual 'Chant Training Day' organised by the local Latin Mass Society, and directed by Mr Phillip Duffy, former Director of Music at Liverpool Metropolitan Cathedral (ie the Catholic one). This is a one-day event, which will take place at SS Gregory and Augustine on Saturday 25th May.
Again, the Schola Abelis has an arrangement with the organisers and active singers will not have to pay to attend. Please note it in your diaries!
Rip up those carpets!
There is a fascinating post by Jeff Tucker about church accoustics in The New Liturgical Movement.
Carpets kill the chant. Trying to combat the effect of carpets in churches by installing more and better loadspeakers and so on obviously won't help the Chant either - amplification can only be used effectively by pop-style music. One reason it is going to be difficult to revive the Chant - or any music in accordance with the Church's enormous and wonderful tradition - is carpets. They will make it sound awful.
Carpets kill the chant. Trying to combat the effect of carpets in churches by installing more and better loadspeakers and so on obviously won't help the Chant either - amplification can only be used effectively by pop-style music. One reason it is going to be difficult to revive the Chant - or any music in accordance with the Church's enormous and wonderful tradition - is carpets. They will make it sound awful.
Rip them out!
Sunday, 25 January 2009
Chant pdfs
The Church Music Association of America have been scanning and making available free to the public an increasing number of extremely useful chant books and one-off bits and pieces. They aren't set out all that clearly on their website (scroll down and look on the right sidebar) so here they are. No doubt there will be more as time goes on. They are all pdf files, many of them extremely large.
Thursday, 18 December 2008
Map of Scholas
Establised by Musica Sacra of the USA. This isn't the first time I've tried to add our schola; let's hope it works this time!
Zoom in and out with your mouse wheel (or the little buttons bottom right); move the map by 'dragging'.
Zoom in and out with your mouse wheel (or the little buttons bottom right); move the map by 'dragging'.
Thursday, 4 December 2008
Sacred Music in Rome: 'mediocrity and paralysis'
Given the emphasis on culture of the present Pope, and the emphasis on Gregorian Chant of the Second Vatican Council, it is truly shocking to read such things from the respected Italian journalist Sandro Magister. It is reported and commented on by Fr John Zulhsdorf.
It is particularly interesting to hear that the Sistine Chapel Choir have earned the nickname the 'Sistine Screamers'. Oxford's Chant Schola may not be so far behind the centre of the Catholic world in the restoration of liturgical music.
It is particularly interesting to hear that the Sistine Chapel Choir have earned the nickname the 'Sistine Screamers'. Oxford's Chant Schola may not be so far behind the centre of the Catholic world in the restoration of liturgical music.
Monday, 27 October 2008
Chant Day at Farnbrough
Schola Gregoriana Sancti Nicolai
Gregorian Chant Workshop
St Michael’s Abbey,
Farnborough led by Dom Cuthbert Brogan, OSB - Abbot of Farnborough
SATURDAY 15 NOVEMBER 2008: 10.00-16.30
This will be our third Farnborough Abbey Chant Workshop. The objects include improvement of skills, recruitment of new members, and increased enjoyment of Gregorian Chant and the Old Liturgy which is now encouraged and authorised by the Catholic Church Worldwide since the Moto Proprio of His Holiness Pope Benedict XVI. St Michael's Abbey, Farnborough GU14 7NQ is situated within walking distance of the railway station.
Programme - 10.00 Registration Workshop Part I Office of Sext - chanted by the monks Break for Lunch Workshop Part II Office of None - chanted by the monks Break for coffee Workshop Part III 16.30 Workshop completes 16.45 Office of Vespers - chanted by the monks Syllabus - will include notation, modes, chant practice (including psalmody) - Chants to be covered - a. Ordinary - Mass IV Cunctipotens Genitor Deus b.
Propers for feast of St Nicholas: Introit - Statuit Gradual - Inveni Alleluia - Justus ut palma Offertory - Veritas mea Communion - Semel juravi
Materials - all being prepared by Fr Abbot Cuthbert
Fees: £15 (including tea but excluding lunch) Tea will be provided and sandwiches for lunch - at a small charge Contact: csavage@aquamar.plus.com or Tel: 01798-344541
Gregorian Chant Workshop
St Michael’s Abbey,
Farnborough led by Dom Cuthbert Brogan, OSB - Abbot of Farnborough
SATURDAY 15 NOVEMBER 2008: 10.00-16.30
This will be our third Farnborough Abbey Chant Workshop. The objects include improvement of skills, recruitment of new members, and increased enjoyment of Gregorian Chant and the Old Liturgy which is now encouraged and authorised by the Catholic Church Worldwide since the Moto Proprio of His Holiness Pope Benedict XVI. St Michael's Abbey, Farnborough GU14 7NQ is situated within walking distance of the railway station.
Programme - 10.00 Registration Workshop Part I Office of Sext - chanted by the monks Break for Lunch Workshop Part II Office of None - chanted by the monks Break for coffee Workshop Part III 16.30 Workshop completes 16.45 Office of Vespers - chanted by the monks Syllabus - will include notation, modes, chant practice (including psalmody) - Chants to be covered - a. Ordinary - Mass IV Cunctipotens Genitor Deus b.
Propers for feast of St Nicholas: Introit - Statuit Gradual - Inveni Alleluia - Justus ut palma Offertory - Veritas mea Communion - Semel juravi
Materials - all being prepared by Fr Abbot Cuthbert
Fees: £15 (including tea but excluding lunch) Tea will be provided and sandwiches for lunch - at a small charge Contact: csavage@aquamar.plus.com or Tel: 01798-344541
Thursday, 15 May 2008
Monday, 22 October 2007
YouTube video of faux bourdon in Merton
I posted a You-Tube video of singing at the recent Latin Mass Society training conference in Merton College here; quite by chance I found another, much better video of the same musical technique, by what I assume are the same singers, in the same chapel, dating from the 2006 CIEL conference.
The unusual harmonisation of the chant is called 'faux bourdon'; there is more information about it in the comments to my post.
The unusual harmonisation of the chant is called 'faux bourdon'; there is more information about it in the comments to my post.
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