A.Noh = Nova Organi Harmonia
The Nova Organi Harmonia was the work of the Lemmens Institute of Malines (also knowns as the Lemmensinstituut at Leuven and the Lemmens Conservatory in Mechelen). Composers who collaborated were Jules Van Nuffel, Jules Vyverman, Marinus de Jong, Henri Durieux, G. Nees, Flor Peeters, and E. de Laet. Flor Peeters authored the method book, published soon after the eight volumes comprising the A.Noh.
A.CRC = Chants Related by Centonization
A chant that is related to another chant by centonization shares the same melodies but has different words. The melodies are often re-arranged. For example, if "Chant A" has melodic phrases that go A + B + C + D, the A.CRC of "Chant A" may have melodic phrases that go B + D + C + D + A.
This is a very ancient practice, but it is also used whenever a new text has to be set to music (for example, melodies for the feast of St. Thérèsa of Lisieux ). In this case, we say that the exisiting chant melodies are "re-employed" or "adapted."
Apel treats this fairly well in his book Gregorian Chant. See, for example, A.Apel, 268-270.
In the Gregorian repertory, the greatest examples of melodies employing rigid centonization are the Justus et Palma Graduals and the Tracts of Holy Saturday.
A.Sol34 = Solesmes Liber Usualis
Published in 1934, with a very interesting preface (in English) by an anonymous author. If I had to guess, I would say that Mocquereau had written this preface, except that he had already died (in 1929).
A.Apel = Apel, Willi. Gregorian Chant. Bloomington: Indiana University Press, 1958.
This standard work is important because, since it is based almost entirely on the Liber Usualis, it shows the impact of Solesmes. He clearly explains many points in an intellectually stimulating way. His preface is especially amusing, wherein he denigrates "present trends" towards organ accompaniment of chant, saying that this practice is "bound to destroy" the liturgical melodies. First of all, his ignorance is astounding, since chant accompanied by organ (whether right or wrong!) had been the normal way of performing chant in church since the nineteenth century. There was nothing new about it. However, even more amusing is the fact that hundreds of pages of organ accompaniments for chant were published by none other than Apel's Gregorian hero: Peter Wagner! And still more amusing is the fact that Wagner's are some of the worst Gregorian accompaniments available! They sound like first-year theory exercises (typical from a German Musicologist with a Ph.D).
A.HayDiss = Hayburn, Robert Francis. "Pope Saint Pius X and the Vatican Edition of the Chant Books." D.M.A. thesis, University of
Southern California, 1964.
Unfortunately, a grossly innacurate recounting of the history of the Vaticana, based on earlier versions of Dom Pierre Combe's works (most which Combe later corrected). Contains very valuable information about the Renaissance composers involved with the Medicaea. Makes for a good starting point, as things are listed chronologically. Provides many Papal documents, translated into English by someone who lacks an understanding of curial Latin. Hayburn was an excellent organist, but when it comes to chant, whatever Solesmes says, he believes.
A.Mag77 = Rev. Dr. F. X. Haberl. Magister choralis. Published by Pustet in 1877.
This is the first English edition, translated by Rev. Nicholas Donnelly of Dublin from the fifth German Edition (also published in 1877).
A.Mag92 = Rev. Dr. F. X. Haberl. Magister choralis.
Published by Pustet in 1892.
This is the second English edition, translated by Rev. Dr. Nicholas Donnelly from the ninth German Edition (published in 1890).
A.MocGaj52 = Mocquereau, André and Joseph Gajard. The Rhythmic Tradition in the Manuscripts.
English translation by Dom Laurence Bévenot and printed by Desclée in 1952. Originally published in 1924.
A.SolesMan1903 = A Manual of Gregorian chant : : compiled from the Solesmes Books and from ancient manuscripts : :
no. 581
Published by
Desclée in 1903. This was published long after 1903: this is clear, not only by the advertisements at the end, but also because it contains the Vaticana Kyriale (and even explicitly says so) which was published in 1905.
A.Lhou1892 = Lhoumeau, Antonin. Rhythme, exécution et accompagnement du Chant Grégorien.
Treatise by Lhoumeau. Published by Desclée in 1892.
A.Horn = Michael Horn, O.S.B. Ordinarium Missae organo concinente : juxta editionem Solesmensem. Sekkau (Austria): 1900's?
This monk of Beuron puts the chant melody in “Pustet-German-Medicean” box notation, and the harmonies underneath. No one knows when this was published. For myself, I believe it was published around 1894.
Horn's conception of the mora vocis and Gregorian rhythm is an absolute mystery because of how unclear the notation is. Horn's work, just like the appendices to my 1887 Reims-Cambrai, contains some very rare and random chants (especially obscure Sequences). Its ninety pages contain much more than just the Kyriale.
A.MontHan = Finn Hansen's 1974 edition of Montpellier H. 159
Montpellier H. 159 is surely the most amazing MS we now possess. This eleventh-century MS is written in double (sometimes called "bilingual") notation. That is, not only does it have adiastematic notation, but (written below the adiastematic notation) it has alphabetical letters, indicating the exact pitch of each note. Finn Hansen's transcription is invaluable to any student of plainsong.
A.CagMoc = Cagin, Paul and André Mocquereau. Plainchant and solesmes.
London: Burns and Oates, 1905.
One person thinks this is actually printed in 1909 – see notes in Desrocquettes' Treatise.
A.BergDec = Bergeron, Katherine. Decadent Enchantments. Los Angeles: University of California Press, 1998.
Bergeron's book about the Solesmes Restoration. Full title: Decadent Enchantments: the Revival of Gregorian Chant at Solesmes.
A.Combe = Combe, Pierre. The Restoration of the Gregorian Chant: Solesmes and the Vatican Edition. The Catholic University of America Press: Washington D.C., 1969.
This book was translated by Theodore Marier and William Skinner and funded by the Dom Mocquereau Foundation (which was created by Justine Bayard Ward).
A.CmbeWrd = Combe, Pierre. Justine Ward and Solesmes. The Catholic University of America Press: Washington D.C., 1987.
This book was translated by Philipe and Guillemine Lacoste and funded by the Dom Mocquereau Foundation (which was created by Justine Bayard Ward).
A.Nor =
Grout, Donald Jay and Claude V. Palisca. A History of Western Music. 6th ed. New York: W.W. Norton, 2001.
A.PuKy1906i = Kyriale seu Ordinarium Missae. Pustet, 1906.
Full title: KYRIALE seu ORDINARIUM MISSAE : : juxta Editionem Vaticanam : : A SS. PP. PIO X EVULGATAM. Cum Approbatione S. Rituum Congr. et Ordinarius Ratisbonensis. EDITIO ALTERA.
Full publishing information: 1906. Ratisbonae, Romae, Neo Eboraci et Cincinnati. Sumptibus et typis Friderici Pustet, S. Sedis Apost. et S. Rit. Congr. Typogr. MDCCCCVI (1906)
Contains (as an insert in the front) a VERY interesting 4-page note by Pustet condemning mensuralism. Also, three pages worth of “approbation words” in the front from the year 1905.
A.CLH = Chants Lacking History
A Chant is "lacking history" if it is a modern adaptation(i.e. a modern instance of A.CRC). This is done by an editor (like Haberl, Pothier, or Hermesdorff) when [a] no chant exists for a modern text because the modern text comes from a recently added feast, or [b] chants for a text exist in hundreds of variants.
A.corrupted
The term "corrupted" is often applied to chant. What most authors are trying to denote by the term "corrupted" is chant which is based on faulty sources from the late Renaissance (like the Medicaea) or seventeenth-century editions like those of Nivers. The "corrupted" chant was sung mensurally, in a manner evidentally codified by Guidetti.
However, it is not always easy to classify chant into "corrupted" or "not corrupted" because:
(A) Some chant was written in the "corrupt" period (like Credo III).
(B) Some authors published editions that are only "somewhat corrupted" (like the works by Hermesdorff).
In these essays, "A.corrupted" will only be used in a general way, denoting chant that, by and large, bears the qualities of the Medicaean chant.
A.restored
The term "restored" is often applied to Gregorian chant. What most authors are trying to denote by the term "restored" is chant which corresponds to the ancient manuscripts. However, it is not always easy to classify chant into "restored" or "not restored " because:
(A) Of which ancient manuscripts are we speaking? Those of the eighth century? Those of the fourteenth century?
(B) Some editions reproduce very well the melodies of the ancient manuscripts, but choose to present such melodies by means of the "corrupted" rythmic system (an example would be the Reims-Cambrai edition, or the incomplete Hermesdorff edition done in 1878)
In these essays, "A.restored" will only be used in a general way, denoting chant that, by and large, reproduces the ancient manuscripts to a high degree.
A.Mech1874 =
Graduale Romanum : juxta ritum Sacrosanctæ Romanæ Ecclesiæ : cum cantu Pauli V. Pont. Maximi jussu reformato.
Editio Quarta. Mechliniæ : H. Dessain, 1874.
The Mechlin Graduale, originally published around 1848. This is the work of Duval and de Voght. Here is the preface (in PDF documents): Page 1 — Page 2 — Page 3
A.Herm1876 = Hermesdorff, Michael (1833-1885). Graduale ad normam cantis S. Gregorii, auf grund der forschungs-resultate und unter beihülfe der mitglieder des Vereins zur erforschung alter choral-handschriften. Trier: Commissions-Verlag der J.B. Grach's buchhandlung, 1876.
Hermesdorff's "second try" at a Graduale. Hermesdorff, carefully marking the adiastematic notation above the diastematic, proves himself to be (along with Pothier, Wagner (his student), Mocquereau, and Molitor) at the very forefront of nineteenth-century chant scholarship. In his preface, he touches all the "hot button" issues of chant scholarship at that time. Hermesdorff is no fool.
A.Su1930 = Dom Gregory Suñol, O. S. B. TEXT BOOK of GREGORIAN CHANT : According to the Solesmes Method. Tournai (Belgium): Desclée & Co, 1930.
Dom Gregory Suñol, O. S. B., Monk of Montserrat, gives a summary of the Solesmes method. This is, evidently, a very good representation of the Solesmes method, because the Dom Mocquereau Fund paid to have this book reprinted. It was translated from the sixth French edition with an introduction by G. M. Durnford, Oblate of Solesmes.
It has a 1930 imprimatur and a 1929 preface.
A.Gog = Joseph Gogniat. LITTLE GRAMMAR of GREGORIAN CHANT : to propagate the principles contained in the Vatican edition. Fribourg (Switzerland): Œuvre St-Canisius, 1939.
Joseph Gogniat was organist at the Cathedral, professor at the College St-Michel, at the Albertinum and Salesianum Seminaries, and at the Conservatories of Fribourg and Lausanne.
The book is in English but, according to the 1938 preface by the Bishop of Gera, first appeared in French. My copy of this book is signed on the cover by Richard Schuler. There is a 1938 recommendation from E. Card. Pachelli.
A.Moc1904Ln = Kyriale seu Ordinarium missarum in recentioris musicae notulas translatum.
1904 – “Editio altera” ——
xxiv, 66 pages ——
Typis societatis Sancti Joannis Evangelistae : : Desclée, Lefebvre & Soc. : : S. Sedis Apostolicae et S. Rituum Congregationis Typographi : : Romae – Tornaci
PUBLISHER NO. 576 (in Latin)
Jeff's Summary:
1904 Mocquereau KYRIALE in modern notation. NO. 576, but preface in LATIN. The Preface (probably by Mocquereau) is not signed.
A.Soles1904eng = Kyriale : seu ordinarium missarum in recentioris musicae notulas translatum.
Abbaye Saint-Pierre de Solesmes.
1904 : : “EDITIO ALTERA” ——
xii, 66 pages ——
: : Typis Societatis Sancti Joannis Evangelistae : : DESCLÉE, LEFEBVRE & SOCII : :
S. Sedis Apostolicae et S. Rituum Congregationis Typographi. : : Romae. – Tornaci.
PUBLISHER NO. 576 (in English)
Jeff's Summary:
1904 Solesmes KYRIALE in modern notation. Identical with the other NO. 576, except this has an amazingly interesting PREFACE in ENGLISH. This Preface, however, is not signed (as is pretty normal).
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