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G. P. Wyatt + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: St. Gregory and the Gregorian Music + +Author: E. G. P. Wyatt + +Release Date: March 10, 2010 [EBook #31582] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK ST. GREGORY--GREGORIAN MUSIC *** + + + + +Produced by Colin Bell, Stephen Hutcheson, Joseph Cooper, +The Internet Archive (used for illustrations) and the +Online Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + +<div id="home" class="titlepg"> +<h1>ST. GREGORY +<br /><span class="smallest">AND THE</span> +<br />GREGORIAN MUSIC</h1> +<p class="center"><span class="small">BY</span> +<br />E. G. P. WYATT</p> +<div class="img"> +<img src="images/p1.png" alt="THE PLAINSONG & MEDIÆVAL MUSIC SOCIETY" title="THE PLAINSONG & MEDIÆVAL MUSIC SOCIETY" width="197" height="289" /> +</div> +<p class="center"><span class="small">PUBLISHED FOR THE</span> +<br />PLAINSONG & MEDIÆVAL MUSIC SOCIETY. +<br />1904.</p> +<p class="center"><span class="small">PRINTED BY SPRAGUE & CO., LTD., +<br />4 & 5 EAST HARDING STREET, FETTER LANE, E.C., +<br />LONDON.</span></p> +</div> +<div id="preface" title="Preface"> +<div class="pb" id="pg_3">[3]</div> +<h2>PREFACE.</h2> +<p>The original conception of this little book was +due to the Rev. <span class="sc">W. H. Frere</span>, and it could +not have been carried out at all without his help +and advice, which have been ungrudgingly given.</p> +<p>But he is not responsible for any part of the +book, except the notes on the tropes and the third +and fourth portraits of St. Gregory. Whatever else +in the book is of any value has been compiled from +the following sources:—</p> +<dl class="sources"> +<dd><span class="sc">Morin</span>.—“Les véritables origines du Chant Grégorien.” +Maredsous, 1890.</dd> +<dd><span class="sc">Morin</span>.—“Revue Bénédictine,” for May, 1890. +Maredsous.</dd> +<dd><span class="sc">Wagner</span>.—“Einführung in die Gregorianischen +Melodien,” Pt. 1. Freiburg, 1901.</dd> +<dd><span class="sc">Frere</span>.—“Graduale Sarisburiense.” Plainsong and +Mediæval Music Society, London, 1894.</dd> +<dd>“<span class="sc">Paléographie Musicale</span>,” Vols. v. and vi. +Solesmes, 1896.</dd> +<dd>“<span class="sc">Rassegna Gregoriana</span>,” for March-April, June, +and July, 1903. Rome.</dd> +</dl> +<p class="jr">E. G. P. WYATT.</p> +</div> +<div id="intro" title="Introduction"> +<div class="pb" id="pg_5f">[5f]</div> +<div class="img"> +<img src="images/p5.png" alt="St. Gregory and his Parents" title="St. Gregory and his Parents" width="507" height="747" /> +</div> +<p class="center">IMAGINES.AD.VIVVM.EXPRESSAE +<br /><span class="small">EX.ÆDICVLA.SANCTI.ANDREÆ +<br />PROPE.BEATI.GREGORII.MAGNI.ECCLESIAM +<br />NECNON.EX.VITA.EIVSDEM.BEATI.GREGORII +<br />A.IOANNE.DIACONO.LIB.IV.CAP.LXXXIII.ET.LXXXIV +<br /><span class="offset">CONSCRIPTA</span></span> +<span class="folionum"><i>Fol. 368.</i></span></p> +<p><i><span class="small">Hieronymus Rossi sculp. Romæ</span></i></p> +<p class="center"><span class="smaller"><i>GORDIANVS.S.GREGORII.PATER</i> <i>S.GREGORIVS.MAGNVS</i> <i>SILVIA.S.GREGORII.MATER</i></span></p> +<div class="pb" id="pg_5">[5]</div> +<h2>INTRODUCTION.</h2> +<p>The Great Pope, the thirteen hundredth anniversary +of whose death is commemorated on March the +12th, 1904, was born at Rome, probably about +the year 540. His father, Gordianus, was a wealthy +man of senatorial rank; his mother, Silvia, was renowned +for her virtues. He received from his parents +an excellent liberal and religious education. He further +applied himself to the study of law, and—probably at +about the age of 30—was made prætor of Rome by +the Emperor Justin II. But he became dissatisfied +with his mode of life, and retiring to the monastery of +St. Andrew, which he had founded on the Cœlian hill, +lived there as monk and as abbot. He had long been an +ardent admirer of St. Bennet (who had been dead little +more than thirty years), and on his father’s death had +made use of his patrimony to found six other monasteries +in Sicily. He was not, however, allowed to enjoy his +retirement at St. Andrew’s for long, for Pope Benedict I. +ordained him deacon, and sent him to Constantinople +as his apocrisiarius or confidential agent. Pelagius II. +continued him in this office, making use of him especially +to appeal to the Emperor for aid against the Lombards, +who, while settling in North Italy, were wandering +southwards, devastating the country as they went.</p> +<p>When he was at length recalled to Rome, he begged +to be allowed to return to his monastery. The Pope +<span class="pb" id="pg_6">[6]</span> +allowed him to do this, but employed him as his +secretary. It was either now, or just before he went +to Constantinople, that there occurred the famous incident +in the slave market, when, struck by the beauty of +some lads exposed for sale, he asked what was the name +of their nation. On being told, “Angles,” he exclaimed, +“Good, for they have the faces of angels, and ought to +be fellow-heirs of the angels in heaven.” In reply to +his inquiry as to the name of their native province, he +was told that its inhabitants were called Deiri. He +answered, “Good; snatched from the wrath, and called +to the mercy of Christ.” What was the name of the king +of that province? The answer was “Ælia.” Then said he, +“Alleluia! the praise of God ought to be sung in those +parts.” He passed on, but did not forget the incident, +for he wrung permission from the Pope to go himself on +a mission to convert the Angles; but no sooner had he +started than the Romans clamoured to have him recalled, +and he had to return. He did not, however, forget his +interest in the nation, and when he was Pope he was +able to carry out those plans which earned him the +affectionate titles of “Gregory our Father,” and “The +Apostle of the English,” from those who owed so much +to him.</p> +<h4>DEPRECAMUR TE DOMINE</h4> +<div class="img"> +<img src="images/p6.png" alt="Deprecamur te domine" title="Deprecamur te domine" width="438" height="448" /> +</div> +<div class="verse"> +<p class="t">De-pre-ca-mur Te, Do-mi-ne,</p> +<p class="t">in om-ni mi-se-ri-cor-di-a tu-a,</p> +<p class="t">ut au-fe-ra-tur fu-ror tu-us et i-ra tu-a</p> +<p class="t">a ci-vi-ta-te is-ta,</p> +<p class="t">et de do-mo san-cta tu-a;</p> +<p class="t">quo-ni-am pec-ca-vi-mus:</p> +<p class="t">Al-le-lu-ya.</p> +</div> +<p class="midiplay">[<a href="images/deprecamur.mid">play tune: Deprecamur de domine</a>]</p> +<p>In 590 Pope Pelagius died. It was a time of great +misery at Rome; there was famine and a pestilence in the +city, the Tiber overflowed its banks, and the Lombards +threatened invasion. The Popes were virtually the rulers +of Rome at this time, and all the inhabitants turned to +<span class="pb" id="pg_7">[7]</span> +Gregory as their only hope. His proved abilities and +high character were known to all, and he was unanimously +elected by the clergy and the people. He shrank, +however, from the office, and even petitioned the Emperor +Maurice to withhold his confirmation of the election. +While waiting for the Emperor’s answer, Gregory employed +the occasion in preaching to the people, calling +them to repentance. A Litany was sung through the +streets of the city by seven companies of the clergy +and people, starting from different churches and meeting +at the Basilica of St. Maria Maggiore. From this +litany, perhaps, was taken the processional antiphon, +“Deprecamur Te Domine,” which was sung by Augustine +and his companions on entering Canterbury at the outset +of their English mission. At length the confirmation of +his election arrived from the Emperor, and though +Gregory still tried to avoid the office, he was eventually +obliged to take it, and was consecrated September the +3rd, 590.</p> +<p>During the thirteen years of his popedom, Gregory +had full scope for his talents as administrator, as well as +ruler. The Roman Church had by this time become +possessed of a great “patrimony,” and Gregory found +time in the midst of his work of reforming the clergy +and purifying the morals of the Church, to attend to +even the smallest details in the management of these +great estates. His letters give us the most vivid picture +of his work and of his character. In them he is constantly +giving directions and making arrangements that +<span class="pb" id="pg_8">[8]</span> +no injustice should be done to even the meanest peasant +or serf on these estates; that their rents should be fixed, +and no capricious exactions demanded of them, nor surcharges +added to the payments legally due from them. +He showed to the Jews a toleration and consideration +which he did not always extend to schismatics, heretics, +and heathen. He seems to have reserved his most +violent language for Lombards and Patriarchs of Constantinople. +He called worldly or negligent bishops to +order, and in particular took vigorous measures to root +out simony, which was very prevalent. He sent +Augustine and his companions to England, and wrote +them letters of exhortation and instruction; he found +time to send them also church furniture, vessels and +vestments, and a number of books.</p> +<p>He also became engaged in a controversy with John +the Faster, the Patriarch of Constantinople, about the +title of “Universal Bishop,” which was arrogated to +the latter by himself and those about him. It was +not a novelty, but Gregory seems to have seen the +danger involved in its continued usage to the power +which he claimed for the See of Rome. A whole series +of his letters are consequently taken up with his vehement, +not to say violent, protests against John’s use of +the title. It is probably in connection with the fact +that the Emperor Maurice had supported the Patriarch +John in his claim of equality with the Pope of Rome, +that the explanation is to be sought of a circumstance +which remains the chief blot on Gregory’s fame. Maurice +<span class="pb" id="pg_9">[9]</span> +had given him little help against the Lombards, and had +in various ways seemed to oppose or actually opposed +Gregory in some of his reforms. When, therefore, Phocas +murdered Maurice and usurped his throne, the Pope wrote +him a fulsome letter of congratulation. He may not +have been fully acquainted with the infamous character +of Phocas, nor have fully known of the atrocious manner +in which he had murdered the Emperor and his family, +yet he must have known, at least, that he was a traitor, +a murderer, and an usurper. Nothing can excuse him—knowing +this—for writing in such a strain, saying “Glory +to God in the highest,” and “Let the heavens rejoice +and let the earth be glad,” at the hopes aroused by the +piety of the new Emperor.</p> +<p>He attached great importance to preaching, and +many of his sermons remain to this day. He also wrote +“Liber Pastoralis Curæ,” a treatise on the responsibilities +and duties of Bishops. This book had immense influence; +it was circulated in Spain; the Emperor had it translated +into Greek; it was an authoritative text-book in Gaul +for centuries; and it was translated into Anglo-Saxon by +King Alfred, and was widely disseminated in England. +But it is in the services and service-books of the Church +that he set his mark most conspicuously. He organized +and enriched them, even the Canon of the Mass in which +he added to the prayer of oblation the words “Diesque +nostras in tua pace disponas.” The work which has been +traditionally ascribed to him in the department of Church +Music we shall enter into more fully.</p> +<div class="pb" id="pg_10">[10]</div> +<p>From his monastic life onwards Gregory seems to +have suffered from bad health, due in part, probably, +to his extreme asceticism while living in his monastery. +During the last few years of his life he was in continual +pain from gout, which makes his activity and his +achievements still more astonishing. For long he was +confined to his bed altogether. He died on March +12th, 604. In contrast to the enthusiasm with which +his accession to the Papacy was greeted, he was now +accused by the fickle population of having caused the +famine, which was then raging, by his lavish expenditure, +though the latter was largely due to the +charitable relief which he habitually gave to alleviate +the distress which prevailed all the time that he filled +the Papal chair. But he was canonized after his +death by universal consent in the West, and the +Council of Cloveshoo, in 747, fixed the 12th of March +for his veneration: “That the birthday of the blessed +Pope Gregory, and also the day of the burial of St. +Augustine the Archbishop and Confessor (who being +sent to the English by the said Pope, our father Gregory, +first brought the knowledge of the Faith, the sacrament +of Baptism, and the notice of the Heavenly Country), +which is the 26th of May, be honourably observed +by all: so that each day be kept with a cessation from +labour, by ecclesiastics and monastics; and that the +name of our blessed father and doctor Augustine be +always mentioned in singing the Litany after the invocation +of St. Gregory.”</p> +<div class="pb" id="pg_10f">[10f]</div> +<div class="img"> +<img src="images/p10.png" alt="St. Gregory, from Antiphoner of Hartker of St. Gall" title="St. Gregory, from Antiphoner of Hartker of St. Gall" width="307" height="372" /> +</div> +</div> +<div id="c2" title="II. The Gregorian Tradition"> +<div class="pb" id="pg_11">[11]</div> +<h2><span class="small">THE</span> +<br />GREGORIAN TRADITION.</h2> +<p>The tradition that St. Gregory reformed the Plainsong +of his day, especially that of the Antiphonale +Missarum, seems to have been held universally +till 1675, when Pierre Gussanville brought out an edition +of Gregory’s works, in which he threw doubts on the +tradition. He was followed in 1729 by George, Baron +d’ Eckhart, a friend of Leibnitz, who put forward the +theory that it was Gregory II., and not Gregory I., who +had done this work. In 1772, at Venice, a new edition +of Gregory’s works was published by Gallicciolli; and in +this were reproduced the arguments of Eckhart, leaving +the question open for future investigation. Nothing +more was heard of the theory till 1882, when, at the +Congress of Arezzo, some speakers reproduced the doubts +of Eckhart and Gallicciolli.</p> +<p>This did not attract much attention at the time, and +the question was again reopened in 1890 by M. Gevaert +in a lecture given in the presence of the Académie and +of the King of the Belgians. The earlier “doubters” +had argued the question from a purely historical standpoint: +M. Gevaert lays stress especially on the musical +side of the question. Theirs was chiefly negative; he +<span class="pb" id="pg_12">[12]</span> +proposes a theory of his own. He wishes to substitute +Gregory II. or III. for Gregory I. The traditional view +has been upheld against him by Dom Morin, Dr. Peter +Wagner, and Rev. W. H. Frere.</p> +<p><b>The Historical Evidence</b> may be summarized as +follows, working backwards from a time when the Gregorian +tradition was in existence beyond all question:—</p> +<p class="bq">I.—<span class="sc">John the Deacon</span> (<i>c.</i> 872), <i>Vita St. Gregorii, +lib.</i> <span class="small">II.</span>, <i>cap.</i> vi., +<i>Antiphonarium Centonizans, Cantorum +Constituit Scholam</i>. “In the house of the Lord, like a +most wise Solomon, knowing the compunction which +the sweetness of music inspires, he compiled for the +sake of the singers the collection called ‘Antiphoner,’ +which is of so great usefulness. He founded also the +School of Singers who to this day perform the sacred +chant in the Holy Roman Church according to instructions +received from him. He assigned to it several +estates, and had two houses built for it, one situated +at the foot of the steps of the Church of the Apostle +St. Peter, the other in the neighbourhood of the buildings +of the patriarchal palace of the Lateran. There to-day +are still shown the couch on which he reposed while +giving his singing lessons; and the whip with which +he threatened the boys is still preserved and venerated +as a relic, as well as his authentic Antiphoner. By a +clause inserted in his deed of gift, he laid down under +pain of anathema that these estates should be divided +between the two portions of the School in payment for +the daily service.“—(<i>Patr. Lat.</i>, lxxv., 90.)</p> +<div class="pb" id="pg_13">[13]</div> +<p>This extract may be taken to prove that—</p> +<p class="bq">1. In 872 at Rome Gregory I. was believed to be +the author of the Antiphoner which bears his +name.</p> +<p class="bq">2. The Schola Cantorum looked upon Gregory I. +as its founder and endower.</p> +<p class="bq">3. The Schola was still believed to possess his +“authenticum Antiphonarium” and certain +other objects connected in the popular mind +with the memory of what Gregory had done +for the cause of the ecclesiastical chant.</p> +<p>It is certainly an important point that the Schola +itself attributed its foundation to Gregory I. Such a +tradition would be carefully preserved in an important +corporation like this.</p> +<p>A further witness to the existence of St. Gregory’s +couch is to be found in <i>Notitia Ecclesiarum Urbis Romæ</i>, +an itinerary assigned by de Rossi to the seventh century, +(de Rossi, <i>Rom. Sot.</i>, <i>vol.</i> i., <i>pp.</i> 138-143.)</p> +<p class="bq">II.—<span class="sc">Pope Leo IV</span>. (847-855) to the Abbot +Honoratus, <i>Ex registro Leonis IIII</i>. “There is something +quite incredible, the sound of which has reached +our ears: a thing which, if true, tends rather to +diminish our consideration than to give it honour, to +obscure it rather than to give it lustre. It appears in +short that you feel nothing but aversion for the beautiful +chant of St. Gregory, and for the manner of singing +and reading laid down and taught by him in the +Church, so that you are in disagreement on this point +<span class="pb" id="pg_14">[14]</span> +not only with the Holy See, which is near to you, +but also with almost the whole Western Church, +with all who use Latin to offer their praises to the +Eternal King and pay Him the tribute of harmonious +sounds.</p> +<p class="bq">“All these Churches have received with so much +eagerness and ardent affection this tradition of Gregory, +and after having received it unreservedly they find so +much pleasure in it, that even now they apply to us +for more of it, thinking that perhaps something more +which they do not know of, may have been preserved +among us. This Holy Pope Gregory, a servant of +God and a famous preacher and a wise pastor, who +did so much for the welfare of mankind, he it was +who also composed this chant, which we sing in the +Church and everywhere, with great pains and with a +complete knowledge of the musical art. He wished +by this means to act more powerfully upon men’s +hearts in order to arouse and touch them; and in fact +the sound of his sweet melodies has gathered in the +Churches not merely spiritual men, but also those who +are less cultivated and sensitive.</p> +<p class="bq">“I pray you not to allow yourself to remain in +disagreement either with this Church, which is the +chief head of religion, and from which no one wishes +to stray, or with all those Churches of which we have +spoken, if you love to live in complete peace and +concord with the Universal Church. For if—which +we do not believe—your aversion for our instruction +<span class="pb" id="pg_15">[15]</span> +and for the tradition of our holy Pontiff is such that +you are not willing to conform in every point to our +rite, both in chants and lessons, know that we will +repel you from our communion; for it is fitting and +healthful for you to follow the usages for which the +Roman Church, mother of all and mistress of you, +shows such great love and invincible attachment. +For this reason we order you, under pain of excommunication, +to conform in the Churches both in +singing and reading exclusively to the order instituted +by the Holy Pope Gregory and followed by us, and +without fail to practise and sing it in future with +the utmost zeal. For if—which we cannot believe—anyone +shall attempt by any means whatever to turn +you from the right path by leading you to a tradition +other than that which we have just prescribed to you +for the present and the future, we not only order that +he be deprived of partaking of the Holy Body and +Blood of our Lord Jesus Christ, but in virtue of our +proper authority and that of all our predecessors, we +decree that in punishment of his audacity and presumption +he remain under a perpetual anathema.”—(<i>Cod. +Brit. Mus.</i>, <i>add.</i> 8873, <i>fol.</i> 168.)</p> +<p>Pope Leo, the author of this letter, had himself been +a pupil at this same monastery of St. Martin. From +thence also the priest John, the Precentor of St. Peter’s, +had set out 200 years before to teach the English the +system of chanting and reading followed at St. Peter’s.</p> +<p>The above extract throws an important light on the +<span class="pb" id="pg_16">[16]</span> +progress of the Gregorian reform of the ecclesiastical +chant. In the latter half of the ninth century a powerful +monastery close to Rome had not yet adopted it. Compare +with this fact the presence of the Ambrosian chant +in the province of Capua in the middle of the eleventh +century (Kienle, in <i>Studien und Mittheilungen des Benedictiner +und Cistercienser-Orden</i>, 1884, <i>p.</i> 346), and the Ambrosian +rubrics of various books copied a little later for churches +at Rome itself (<i>Tomasi, Opp. vol.</i> vii., <i>pp.</i> 9 <i>&</i> 10), and it +will be seen how gradually the Gregorian books attained +their universal supremacy.</p> +<p class="bq">III.—<span class="sc">Hildemar</span> (between 833 and 850), +author of a commentary on the Rule of St. Bennet, speaks of +St. Gregory as the composer of the “Roman Office”: +“Beatus Gregorius qui dicitur Romanum Officium fecisse.” +(<i>Expositio Regula ab Hildemaro tradita</i>, <i>p.</i> 311, +<i>Ratisbon</i>, 1880.)</p> +<p class="bq">IV.—<span class="sc">Walafrid Strabo</span> (807-849). <i>De Ecclesiasticarum +rerum exordiis et incrementis</i> (composed about 840). +“The tradition is that St. Gregory, just as he regulated +the order of the masses and of consecrations [<i>i.e.</i>, the +Sacramentary and the Pontifical Rituale] so also had +the greatest part in the arrangement of the liturgical +chants, following the order which is observed to this +day as the most fitting: as is commemorated at the +head of the Antiphoner.” (<i>Op. cit. c.</i> xxi., <i>Patr. Lat.</i>, +cxiv., 948.)</p> +<div class="pb" id="pg_16f">[16f]</div> +<div class="img"> +<img src="images/p16.png" alt="St. Gregory, from MS. of Coronation Services" title="St. Gregory, from MS. of Coronation Services" width="297" height="453" /> +</div> +<div class="pb" id="pg_17">[17]</div> +<p>This refers, strictly speaking, to the Antiphonale +Missarum. But the following extract treats directly +of the chants of the office contained in the <i>Liber +Responsorialis</i>, or corresponding volume for the hour +services.</p> +<p class="bq">“As for the chants for use at the different hours, +whether of the day or of the night, it is believed that +it was St. Gregory who assigned to them their complete +arrangement, just as he had already done, as we have +said, for the Sacramentary.” (<i>c.</i> xxv., 958.)</p> +<p>These two passages establish the fact that there was +a tradition in the middle of the ninth century that +St. Gregory set in order the ecclesiastical music. It +seems also that there was an inscription at the beginning +of the Antiphoner stating as a fact that he had done +this. The following extract helps us to identify what this +inscription was.</p> +<p class="bq">V.—<span class="sc">Agobard of Lyons</span> (779-840). <i>Liber de Correctione +Antiphonarii</i>, <i>c.</i> xv., <i>Patr. Lat.</i> civ., 336. “But +because the inscription serving for title to the book +in question [<i>i.e.</i>, the Antiphoner] puts in the forefront +the name of ‘Gregorius Præsul,’ thereupon some +people imagine that the work was composed by the +Blessed Gregory, Pope of Rome and illustrious +doctor.”</p> +<p>He is here defending the chant of Lyons against the +ultramontane efforts of Amalarius to introduce the Roman +ways. He goes on to try to prove that the Antiphoner +defended by Amalarius cannot be St. Gregory’s, because +he had forbidden the use of words not taken directly from +Scripture.</p> +<div class="pb" id="pg_18">[18]</div> +<p>VI.—<span class="sc">Amalarius of Metz</span> (815-835) is undoubtedly +the person who played the foremost part in the fusion +of the Gallican element with the rest of the Gregorian or +Gelasian Liturgy, from which combination has come in +substance the Roman Liturgy in use to-day. He had +travelled much, and had been at Rome. He is a weighty +authority in the present question. The following extracts +are taken from a supplementary chapter of his <i>De Divinis +Officiis</i>, published by Mabillon, in his <i>Vetera Analecta</i> +(<i>Paris</i>, 1723). He is speaking of the Pope Gregory who is +the author of the Dialogues, and who sent St. Augustine +into England.</p> +<p class="bq">“Amongst the monks who have been raised to the +Supreme Pontificate can be cited Denys, and Gregory +of incomparable memory. Now Gregory, amongst +many other things by which he furthered the advantage +of the Church, had the glory of being the +chief organizer of the Office for clerical use.” (<i>p.</i> 93.)</p> +<p class="bq">“In the time of St. Bennet the whole order of +psalmody had not yet been fixed with precision in the +Psalter and the Antiphoner: it was the incomparable +Pope Gregory of holy memory, himself a zealous +observer of the rule of St. Bennet and an imitator +of his monastic perfection, who afterwards regulated +the arrangement of it under the direction of the Holy +Spirit.” (<i>pp.</i> 93-4.)</p> +<p class="bq">“Far from blaming those who preserve the Gregorian +usage, they should rather praise them.” (<i>p.</i> 94.)</p> +<p class="bq">“In the authentic model of St. Gregory, the +<span class="pb" id="pg_19">[19]</span> +<i>Alleluia</i> and the <i>Gloria</i> are suppressed at the Mass for +Innocents’ Day, in order to express the grief of the +mothers or of the Church.” (<i>p.</i> 96.)</p> +<p>Amalarius was commissioned by Louis the Debonair +to procure at Rome a copy of the Antiphoner to serve as +a model for an uniform use in place of the varying uses +then to be found. The Pope in answer to his request +replied, “I have no Antiphoner that I can send to my +son and lord the Emperor. Those which we had, were +taken to France by Wala, Abbot of Corbie, when he +came here on a mission.” On his return to France, +Amalarius went to Corbie, where he found the four +volumes brought by Wala. They contained an inscription +saying that this collection was put in order by +Pope Adrian I. But he found that they differed from +the books at Metz, which were older still; so in despair +he made a compilation of his own, taking from each +what seemed to him the best.</p> +<p>Now it has been argued that if these Antiphoners +had either of them borne the name of Gregory the Great, +Amalarius would not have had the audacity to alter +them in this manner, nor would he if there had existed +anywhere in Gaul any bearing his name. But this +idea has arisen from the confusion attending the name +“antiphoner.” The book that Amalarius was dealing +with was not the Antiphoner for Mass, but the Antiphoner +for Divine Service. There were great variations +in the latter in different localities down to the reform +by Pius V., far more than in the former. When the +<span class="pb" id="pg_20">[20]</span> +“famous authentic model of Gregory” is spoken of, it is +the Antiphonale Missarum which is meant.</p> +<p class="bq">VII.—<span class="sc">Amalarius</span>, Bishop of Trèves (809-814). +<i>Liber Officiorum</i>, from a MS. at Trèves, quoted by Morin, +<i>fol.</i> 6, <i>De Missa Innocentium</i>. “The Mass of the Innocents +begins in the Diurnal with this Rubric: ‘<i>Gloria +in Excelsis Deo</i> is not sung, nor <i>Alleluia</i>, unless it be +Sunday; this day is passed in a sort of sadness.’ The +Holy Pope Gregory, in whom dwelt in very truth the +Holy Ghost, and to whom is due the composition of +this office, means us to share the feelings of the pious +women who bewailed and lamented the death of the +Innocents. And if it is permitted to transgress the +order of so great a Father, it would equally be lawful +to chant Alleluia with the complete office of the day +on Good Friday.”</p> +<p class="bsq">It is a question here of the Antiphoner of the +Mass.</p> +<p class="bq">(<i>fol.</i> 7.) On the day of the Epiphany “we +lose one of the chants which we have at Christmas, viz., the +Invitatory. St. Gregory, the organizer of the offices, +meant by this peculiarity to recall to our memory +as strongly as he could what passed formerly at the +time of the accomplishment of the mysteries which +we honour. That is why we chant in the sixth place +the psalm which we had avoided in the beginning. +It is true that certain blunderers treat this with indifference +and contempt, thinking it much better to +follow the ordinary usage of each day. But, as we +<span class="pb" id="pg_21">[21]</span> +have already said, he wished by this to distinguish” +&c., &c.</p> +<p class="bsq">This passage refers to the Antiphoner of the +Office.</p> +<p class="bq">(<i>fol.</i> 9-10.) “That is why Gregory, the author +of our office, has placed Septuagesima.... +However, Gregory the institutor of our office....”</p> +<p class="bsq">It is a question of the Antiphoner and of the +Sacramentary.</p> +<p class="bq">(<i>fol.</i> 39.) “The author of our office, who is none +other than Gregory....”</p> +<p class="bsq">He is referring to a portion of the Antiphoner of +the Mass.</p> +<p>In the following passage Amalarius distinguishes the +work of the two first Gregories as to the Thursdays +in Lent.</p> +<p class="bq">(<i>fol.</i> 102.) “The Holy Pope Gregory in arranging +the offices of the year had left vacant the Thursdays of +Lent.... A long time after him another Pope, +Gregory the younger, ordained that these days should +also be celebrated by Masses and Prayers, but with +less solemnity, and he borrowed wherever he could +material to form the offices of these Thursdays.”</p> +<p class="bq">VIII.—<span class="sc">Pope Adrian I.</span> (772-795). A MS. from +Saint Martial de Limoges contains this passage (<i>Paris, +Bibl. Nat., No.</i> 2400.) “Adrian II., after the example +of his predecessor of the same name, completed the +Gregorian Antiphoner in several places. He also +arranged a second prologue in hexameter verse to be +<span class="pb" id="pg_22">[22]</span> +chanted at High Mass on the first day of Advent. +This prologue begins in the same way as another +very short one composed by the first Adrian to be +sung at all the Masses of this first Sunday in Advent, +but that of Adrian II. is composed of a greater number +of verses.”</p> +<p>We have seen the passage in which Walafrid Strabo +speaks of the inscription at the beginning of the Antiphoner, +ascribing its origin to Gregory I., and again that +in which Agobard of Lyons tells us that the inscription +contained the words “Gregorius Præsul.” There are +five forms extant of the prologue in hexameter verse. +The shortest, and therefore the one probably composed +by Adrian I., is as follows:—</p> +<div class="verse"> +<p class="t">“Gregorius Præsul meritis et nomine dignus</p> +<p class="t">Unde genus ducit, summum ascendit honorem.</p> +<p class="t">Renovavit monumenta patrum priorum: tunc</p> +<p class="t">Composuit hunc libellum musicæ artis</p> +<p class="t">Scholæ cantorum anni circuli: Ad te levavi.”</p> +</div> +<p>All the five forms begin with the same two first lines. Eckhart got +over the difficulty caused to his theory by these lines by supposing +that “Gregorius Præsul” meant not Gregory the Great, but Gregory II. +But he does not explain how “Unde genus ducit,” &c., can refer to +the latter. But it fits Gregory I. in this way: Pope Felix was his +great-great-grandfather; so that, on succeeding to the papacy, he as +it were entered on a family inheritance.</p> +<p>This prologue proves that the Antiphoner was ascribed +<span class="pb" id="pg_23">[23]</span> +by tradition to St. Gregory in the latter half of the +eighth century.</p> +<p>IX.—<span class="sc">Egbert</span>, Archbishop of York (732-766), is a +still more important witness. Born about 678, he was +ordained deacon at Rome, and received the archiepiscopal +pallium from Gregory III. in 735. He was the disciple +and friend of Bede, the confidant and benefactor of +St. Boniface, and the teacher of Alcuin. Shortly after +he became archbishop he composed a work addressed to +his brother bishops, and called <i>De Institutione Catholica</i>. +The following extracts from it refer to the Ember-day +Fasts.</p> +<p class="bq">“As for us in the Church of England, we always +observe the Fast of the First Month in the first week +of Lent, relying on the authority of our teacher, +St. Gregory, who has thus regulated it in the model +which he has handed down to us in his Antiphoner +and his Missal through the medium of our pedagogue +the Blessed Augustine.” (<i>Patr. Lat.</i> lxxxix., 441.)</p> +<p class="bq">“As for the Fast of the Fourth Month, the same +St. Gregory, by the same envoy, has prescribed in his +Antiphoner and his Missal the week which follows +Pentecost as that in which the Church of England +ought to celebrate it. And this is attested not only by +our own Antiphoners, but also by those which we +have inspected with their corresponding missals in +the Churches of St. Peter and St. Paul.” (<i>Ibid.</i>)</p> +<p>Egbert brings us back to the seventh century, but +during that century (the beginning of which saw the +<span class="pb" id="pg_24">[24]</span> +death of Gregory) we have no direct evidence. There +are some considerations, however, which may account +for this.</p> +<p>In the first place, we have very little light thrown +on the history of St. Gregory by the sources of the +seventh century. Apart from his Registrum there is +little recorded that would by itself justify his surname of +the Great. In the <i>Liber Pontificalis</i> there are only a +few lines about him, whilst the Hellenic Popes, who +sat in the Papal chair from 685 to 741, have detailed +biographies, generally very laudatory. The mission of +Augustine for the conversion of England is undoubtedly +one of the most striking facts in Gregory’s life; but the +only chronicler of the seventh century who mentions it +is the Continuator of Prosper. Is it surprising, then, +that there is a still more profound silence on a fact +less calculated to attract outside attention, such as is +the recasting of the liturgical books peculiar to the +Church at Rome?</p> +<p>In the second place, care must be taken not to apply +the ideas of to-day to another age. It must not be +supposed that the Gregorian Reform was promulgated +throughout the Western Churches in the same manner, +for instance, as the Reform of Pius V. The modern +system of centralization did not then exist. When +Gregory took the liturgical books in hand, he had at +first in view only the Papal chapel, and the churches +at Rome under his immediate supervision. It was their +importation into England in the lifetime of St. Augustine, +and into the Frankish Empire two hundred years after, +under the pressure exerted by the first Carlovingians, +which gave the greatest impetus to their universal use. +In Italy, on the contrary, and even at Rome, it came +about gradually only through the insistence of such +Popes as Leo IV. and Stephen X. that the Gregorian +Chant in the end completely supplanted that in use in +early times in the Peninsula. This explains why the +first witnesses in favour of the Gregorian tradition come +to us from England and Carlovingian Gaul.</p> +<div class="pb" id="pg_24f">[24f]</div> +<div class="img"> +<img src="images/p24.png" alt="St. Gregory, from MS. of The Dialogues of St. Gregory at the British Museum" title="St. Gregory, from MS. of The Dialogues of St. Gregory at the British Museum" width="312" height="393" /> +</div> +<div class="pb" id="pg_25">[25]</div> +<p>Again, one ought not to expect to find the chroniclers +laying stress on the Gregorian origin of the Roman +books in the lifetime of those who were contemporaries +and disciples of the great Pope, and who had themselves +introduced the book from Rome. The fact would be +taken as a matter of course. It would not be till these +had passed away that a tradition would begin to form, +and stress be laid on the fact; and this brings us to the +date of Archbishop Egbert.</p> +<p>Besides, who would have suspected the full importance +of this Gregorian form, and, in particular, +have foreseen that it would put a limit to the period +of elaboration of the Western liturgy? So many Popes +had already taken the matter in hand. The great work +of Gregory was to organize, set in order, and fix. But +only time can show what is really fixed. The greatness +of his work is only apparent after having remained +unaltered for centuries.</p> +<p>These considerations tend to show that there is no +<span class="pb" id="pg_26">[26]</span> +cause for surprise that it should have taken so long for +people to realize the greatness of Gregory’s work in +setting in order the music of the Church.</p> +<h3>INTERNAL EVIDENCE.</h3> +<p>The oldest Antiphoners that we possess are some two +hundred years later than Gregory I. But they possess +two peculiarities which raise a presumption in favour of +an origin at least as old as St. Gregory.</p> +<p>The first peculiarity lies in the version of Scripture +from which are taken the portions to which the music +is set. This version is the old Latin one known as +“Itala.” Now even if at the time of St. Gregory it had +not entirely given place to the Vulgate, yet from his time +onwards the latter prevailed universally (except for the +Psalter, which was retained at Rome till the time of +Pius V., and is still used at St. Peter’s), not only in +Rome, but in all the West; so much so, that St. Isidore +of Seville could assert in the first half of the seventh +century, that St. Jerome’s version had already been taken +into use by all the Churches as preferable to the ancient +one. It is natural to seek the explanation of preserving +an obsolete text of the words in the respect felt for the +melodies to which they were set. It is, therefore, reasonable +to conclude that these melodies existed for the most +part before the definite abandonment of the Itala at +Rome, that is to say before the middle of the seventh +century.</p> +<p>The second peculiarity which supports this conclusion +<span class="pb" id="pg_27">[27]</span> +is to be found in the comparison of the Offices, +known to have been added since the time of St. Gregory, +with the older portion of the Antiphoner. With very +few, and those very doubtful, exceptions, the materials +for these are all taken from older Offices. Sometimes +both words and tunes are transferred bodily; sometimes +new words are set to the old melodies.</p> +<p>There are certain Masses of Saints, the chants for +which were taken from those which later were collected +together to form the Common. For the Feasts of the +Annunciation, the Assumption, and the Nativity of the +Virgin, all the chants were taken from older Masses, <i>e.g.</i>, +from the masses of Advent and of certain Virgins and +Martyrs. The Procession of the Purification, both words +and melody, was borrowed from the Greeks by Pope +Sergius. For the Mass of the Exaltation of the Holy +Cross all the chants were taken from elsewhere, with the +possible exception of the Communion. The <i>Introit</i> and +the <i>Gradual</i> were taken from Maundy Thursday, the +<i>Alleluia</i> from Friday in Easter week, and the <i>Offertory</i> +from Maundy Thursday, or the Second Mass for Christmas-day. +The <i>Introit</i> for the Purification is borrowed +from the Eighth Sunday after Trinity.</p> +<p>The compositions either in the Sanctorale or the +Temporale of the Mass that can be definitely dated +as introduced after the death of St. Gregory are very few, +and may perhaps have been borrowed, with the Festivals +themselves, from outside by the Roman Church.</p> +<p>It is a reasonable conclusion to draw, then, that the +<span class="pb" id="pg_28">[28]</span> +addition of these portions in the seventh century shows +at least a great diminution of musical productive power, +and that the bulk of the Antiphoner of the Mass must +have been composed before this date. This inference is +supported by the conclusion which M. Gevaert draws +from his examination of the Antiphons of Divine Service +(<i>La Melopée Antique</i>, <i>p.</i> 175), viz., that the Golden Age +for compositions of this class was the period 540-600. +The natural deduction from this is that the main settlement +of the Antiphoner of the Mass fell within the +same period.</p> +<p>Still it may not have been wholly due to a cessation +of musical activity that new music for the Mass gradually +ceased to be written in the course of the seventh century, +for a certain amount of music still continued to be written +for the Hour Services. It may have been due to a +feeling that the book was a closed and settled one after +a final and authoritative revision such as St. Gregory’s is +traditionally held to have been, and that it was presumptuous +to add to it. But whichever view is taken of +this, the Gregorian tradition is equally supported.</p> +<p>A further support to the claims of Gregory I. as +against Gregory II. is to be found in an examination +of the Communions of the Masses of Lent. These +form a series taken from the Psalms in numerical order, +<span class="sc">I.</span> to <span class="sc">XXVI.</span>, with the exception of five for which have +been substituted texts taken from the Gospel. The +Thursdays in Lent, however, form an exception to this +scheme; they are interpolations breaking the order of it. +<span class="pb" id="pg_29">[29]</span> +Now we know that they were added by Gregory II.; +therefore the original scheme of the Masses of Lent, +at least, was drawn up before the time of Gregory II. +Of the twenty-four pieces contained in the masses for the +first six Thursdays in Lent, twenty-one appear in the +Sundays after Trinity. It seems certain that the Thursdays +in Lent must have borrowed from the Sundays +after Trinity, and not <i>vice versa</i>; this is supported by the +fact that the Graduals and Offertories of the Thursdays +in Lent are all borrowed, and of the Sundays after +Trinity hardly any. So this addition, which we know +to be of the date of Gregory II., was made to a +scheme already in existence, and both words and +music were borrowed from other parts of the Antiphonale +Missarum.</p> +<p>As against the claims made for the Hellenic Popes +of the seventh and eighth centuries, it is worth while to +examine the music which it is probable was introduced +by Hellenic influence during that time, and compare it +with the bulk of the “Gregorian.” The tropes and the +melodies from which the sequences developed probably +come under this head, and some specimens of these may +be seen in the <i>Winchester Troper</i> (<i>Ed.</i> Rev. W. H. +Frere, <i>H. Bradshaw Society</i>, 1894). An examination of +these melodies will show that their structure is entirely +unlike the structure of the Gregorian melodies, especially +in the close with a rise from the note below the final to +the final, which continually occurs at the end of the +phrases. This will be very clear from the accompanying +<span class="pb" id="pg_30">[30]</span> +melody, <i>Cithara</i>, from which the sequence <i>Rex Omnipotens</i> +was formed. This form of close appears at the end of +each of the first five sections, and again at the end of the +seventh and eighth. In the rest of the sequence, the +melody rises to a higher range, and the close appears +a fifth higher in the ninth and tenth sections, a fourth +higher in the eleventh and thirteenth, and a whole +octave higher in the twelfth. This transposition of the +range of the melody is more developed here than in +most sequence melodies, but some such transposition +is a prominent characteristic of many of them. There is +nothing at all like it in the genuine Roman chant.</p> +<div class="pb" id="pg_30f">[30f]</div> +<h4>CITHARA</h4> +<div class="img"> +<img src="images/p30.png" alt="CITHARA" title="CITHARA" width="546" height="456" /> +</div> +<p class="midiplay">[<a href="images/cithara.mid">play tune: Cithara</a>]</p> +<div class="pb" id="pg_31">[31]</div> +<h3>IN WHAT DID THE WORK OF ST. GREGORY CONSIST?</h3> +<p>John the Deacon describes his Antiphoner as a +“cento” (<i>Antiphonarium Centonem compilavit</i>), and speaks of +him, as we have seen, as “Antiphonarium centonizans.” +“Cento” is a Low Latin word meaning patchwork, +combination, or compilation. “Antiphonarius cento” +would therefore mean an Antiphoner compiled from +various sources. And this is the character of the +Gregorian Antiphoner of the Mass, even of the nucleus +which remains after omitting the parts known to have +been added since Gregory’s time. Indeed the whole +phrase quoted above has a ring of truth about it, and +makes the tradition which he reports of a more genuine +historical character, for if it had been a mere vague +tradition in glorification of St. Gregory, he would have +been more likely to have spoken of him as the composer +of the Antiphoner, and not as a mere compiler. The +oldest part of the book is formed of the Feasts celebrated +in honour of events and saints spoken of in Scripture, +and of the oldest Roman Saints. The Masses for these +are taken from Scripture, especially from the Psalms. +For Feasts of non-Roman origin, the text is taken from +the Church from which they are introduced; <i>e.g.</i>, the +Feast of St. Agatha from the Sicilian Church, or the +Feasts coming from the Greek Church which were +translated from the Greek. The want of uniformity in +the arrangement of the text is seen by comparing the +different classes of chants in <i>Codex St. Gall</i>, 329. As a +rule, the words of one and the same Mass are all of +different origin. The most ancient part of the Masses +is the Graduals and Tracts, and all these (which are the +most ancient solos of the Mass) in the Gregorian nucleus +are taken from Biblical sources. This part of the +“cento Antiphonarius” is put together in one system +after an established tradition. In the oldest Feasts there +are Psalm-graduals, but Introits taken from other books +of the Bible. The parts other than the Gradual and +Tract were chosen on a different system, a considerable +number in fact have words not taken from the Bible +at all. The Communions, again, form a class by themselves, +and were sometimes chosen with special reference +to the Gospel for the day, which is the case with no +other class of the texts of the chants.</p> +<div class="pb" id="pg_32">[32]</div> +<p>Now this editing of the texts must have implied the +editing of the music also. In the middle ages the choir +played a more important part than they do to-day in the +Roman Church. For now the Service is complete without +their part, as the priest says the whole Service +whether the choir is there or not. But formerly it +was different; all listened or took part, including the +celebrant, while the choir sang. The latter had a very +definite share in the liturgical order, which was incomplete +without them; in particular, the soloists had full +scope for their talents in the chants between the Epistle +and Gospel. In view of this intimate relation between +the choir and the altar, a revision of the text must +almost necessarily have implied a revision of the music. +And this is probably the chief part of his musical reform; +in the saying about him, ascribed to Pope Adrian II., +“Ipse Patrum monumenta <i>sequens renovavit</i> et auxit.”</p> +<p>What was the musical material on which he had to +work, which he had to put into shape, and to which he +added new pieces? It is probably substantially represented +by the Ambrosian chant as we find it in the +oldest MSS. It seems most likely that it is the musical +counterpart of the primitive liturgy organized, as is +supposed, about the epoch of Pope Damasus, of which +the Ambrosian, Gallican, Mozarabic, and Celtic are +so many variations, due to national characteristics. +Documentary proof of this is but scanty, but a study +of the Lessons used at Mass supports the theory as +far as the text is concerned. It is further recorded +that at Monte Cassino the Ambrosian chant was +fused with the Gregorian by order of Pope Stephen +IX. (1057-8). Here the Pre-Gregorian chant is simply +called Ambrosian.</p> +<div class="pb" id="pg_32f">[32f]</div> +<h4>ANTIPHON</h4> +<div class="img"> +<img src="images/p32.png" alt="Antiphon, Gregorian and Ambrosian" title="Antiphon, Gregorian and Ambrosian" width="536" height="866" /> +</div> +<div class="verse"> +<p class="t0"><span class="sc">Gregorian</span></p> +<p class="t3">O Sa-pi-en-ti-a, quae ex o-re Al-tis-sim-i</p> +<p class="t3">pro-di-is-ti at-tin-gens a fi-ne</p> +<p class="t3">us-que ad fi-nem, for-ti-ter su-a-vi-ter-que</p> +<p class="t3">dis-po-nens om-ni-a: ve-ni ad do-cen-dum nos</p> +<p class="t3">vi-am pru-den-ti-ae.</p> +</div> +<div class="verse"> +<p class="t0"><span class="sc">Ambrosian</span></p> +<p class="t3">O Sa-pi-en-ti-a, quae ex o-re Al-tis-sim-i</p> +<p class="t3">pro-ces-si-sti at-tin-gis a fi-ne</p> +<p class="t3">us-que ad fi-nem, for-ti-ter su-a-vi-ter</p> +<p class="t3">dis-po-nens que om-ni-a: ve-ni ad do-cen-dum nos</p> +<p class="t3">vi-am sci-en-ti-ae.</p> +</div> +<p class="midiplay">[<a href="images/antiphon_greg.mid">play tune: Antiphon, Gregorian</a>]</p> +<p class="midiplay">[<a href="images/antiphon_ambr.mid">play tune: Antiphon, Ambrosian</a>]</p> +<div class="pb" id="pg_046">[046]</div> +<h4>INTROIT</h4> +<div class="img"> +<img src="images/p33.png" alt="Introit, Gregorian and Ambrosian" title="Introit, Gregorian and Ambrosian" width="542" height="878" /> +</div> +<div class="verse"> +<p class="t0"><span class="sc">Gregorian</span></p> +<p class="t3">Gau-de-a-mus om-nes in Do-mi-no,</p> +<p class="t3">di-em fes-tum ce-le-bran-tes in ho-no-re</p> +<p class="t3">A-ga-thae mar-ty-ris: de cu-jus pas-si-o-ne</p> +<p class="t3">gau-dent an-ge-li, et col-lau-dant</p> +<p class="t3">Fi-li-um De-i.</p> +</div> +<div class="verse"> +<p class="t0"><span class="sc">Ambrosian</span></p> +<p class="t3">Lae-te-mur om-nes in Do-mi-no,</p> +<p class="t3">di-em fes-tum ce-le-bran-tes ob ho-no-rem</p> +<p class="t3">A-ga-thae mar-ty-ris: de cu-jus tro-phae-o</p> +<p class="t3">gau-dent an-ge-li, et col-lau-dant</p> +<p class="t3">Fi-li-um De-i.</p> +</div> +<p class="midiplay">[<a href="images/introit_greg.mid">play tune: Introit, Gregorian</a>]</p> +<p class="midiplay">[<a href="images/introit_ambr.mid">play tune: Introit, Ambrosian</a>]</p> +<div class="pb" id="pg_047">[047]</div> +<h4>GRADUAL</h4> +<div class="img"> +<img src="images/p34.png" alt="Gradual, Gregorian and Ambrosian" title="Gradual, Gregorian and Ambrosian" width="440" height="702" /> +</div> +<div class="img"> +<img src="images/p35.png" alt="Gradual, continued" title="Gradual, continued" width="442" height="442" /> +</div> +<div class="verse"> +<p class="t0"><span class="sc">Gregorian</span></p> +<p class="t3">Ex Si-on spe-ci-es de-co-ris e-jus:</p> +<p class="t3">De-us ma-ni-fe-ste ve-ni-et.</p> +<p class="t2">℣ Con-gre-ga-te il-li sanc-tos e-jus,</p> +<p class="t3">qui or-di-na-ve-runt</p> +<p class="t3">te-sta-men-tum e-jus</p> +<p class="t3">su-per sa-cri-fi-ci-a.</p> +</div> +<div class="verse"> +<p class="t0"><span class="sc">Ambrosian</span></p> +<p class="t3">Ex Si-on spe-ci-es de-co-ris e-jus:</p> +<p class="t3">De-us ma-ni-fe-ste ve-ni-et.</p> +<p class="t2">℣ Con-gre-ga-te il-lic sanc-tos e-jus,</p> +<p class="t3">qui or-di-na-ve-runt</p> +<div class="pb" id="pg_048">[048]</div> +<p class="t3">te-sta-men-tum e-jus</p> +<p class="t3">su-per sa-cri-fi-ci-a.</p> +</div> +<p class="midiplay">[<a href="images/gradual_greg.mid">play tune: Gradual, Gregorian</a>]</p> +<p class="midiplay">[<a href="images/gradual_ambr.mid">play tune: Gradual, Ambrosian</a>]</p> +<div class="pb" id="pg_33">[33]</div> +<p>The theory is further supported by a comparison of +the most ancient MSS. of the Milanese chant with +the Gregorian Antiphoner. A considerable number of +melodies are practically identical with those in the +Roman books. The framework, so to speak, is the +same, but the details and embellishments often differ. +The Ambrosian melodies are sometimes rather bald, and +often excessively florid; the extremely long neums +which they often contain appear to have been due to +Greek influence. The Gregorian, on the other hand, +appear to have been in some places pruned, in others +expanded, with the result that they give the impression +of being better balanced; the different parts of the +musical phrases are more justly proportioned. In the +Ambrosian melodies the B natural occurs very constantly, +and gives them a masculine flavour, sometimes amounting +to harshness.</p> +<p>The examples here given will enable some idea to +be formed of the advance made by the Gregorian +version upon the Ambrosian, both in music and text.</p> +<p>But Pope Adrian II. says of St. Gregory not merely +“renovavit,” but “auxit.” He not only edited and +adapted the old melodies, but provided new ones for +the new texts which he added to the cycle of liturgical +worship. What were these musical additions?</p> +<div class="pb" id="pg_34">[34]</div> +<p>He extended the use of Alleluia to all Sundays and +Festivals throughout the year except in Septuagesima, +and it is probable that he added new melodies for the +new Alleluias. It is significant that the Alleluias are +the least stable part of the Antiphoner. At all events, +the Ambrosian alleluiatic verses differ entirely from the +Gregorian. The same consideration applies to the tracts, +the use of which he extended in Septuagesima.</p> +<p>Another tendency of Gregory’s reform was his marked +desire to harmonize the text of the Communions with +that of the Gospel of the day. There are a considerable +number of these, hardly any traces of which are to be +found in the Ambrosian books. It is, then, reasonable +to ascribe to St. Gregory an important part in the +composition of these chants.</p> +<p>The further important question arises, did Gregory +carry out this musical work himself, or was it done by +others under his direction?</p> +<p>It is natural to think of his Schola Cantorum in this +connection. The foundation of this must have had a +profound effect both on the standard of the performance +of the chant, and on the spread of the Gregorian reform. +Books were scarce in those days, and musical notation +defective. Teaching was chiefly by word of mouth. +The Director of the Choir had his manuscript to teach +from, and his pupils had to learn the melodies by heart. +The chief singer also had his <i>liber cantatorius</i> from which +to sing the solos, such as the Graduals and Tracts. +The School was, necessarily, not merely for teaching +<span class="pb" id="pg_35">[35]</span> +correct versions of the chant, but for preserving the +correct tradition of the method of performance. Most +of the seventh century popes were connected with the +School or proceeded from it.</p> +<p>The skilled musicians belonging to this School may +have helped to carry out the reform under Gregory’s +direction. But no tradition appears to have been preserved +to that effect, and the unity and uniform characteristics +seem to point to the work of one genius, even +in the smallest details; and the characteristics there +displayed seem to fit in with what we know from +other sources of his character, in his writings and in +his actions.</p> +<hr /> +<p>In conclusion it is submitted that the evidence here +put forward, though in some respects rather scanty, +yet, in the absence of any strong evidence to the contrary, +is quite sufficient to justify the tradition that St. Gregory +was the organiser, reformer, and to some extent the +author of the Antiphoner of the Mass. It is, of course, +more difficult to say definitely what his work actually +was in these three divisions, but a quite sufficient +amount of certainty has been attained for us to realize +the extent and the nature of the debt which succeeding +ages have owed to the great Pope, and so far the +attacks that have been made on the tradition have only +resulted in setting it on a firmer and more definite +basis.</p> +<div class="pb" id="pg_36">[36]</div> +<h3>THE PORTRAITS OF ST. GREGORY.</h3> +<p>The oldest portrait of which we have a record is one +of which a very full description was given by John the +Deacon, Gregory’s biographer. This likeness was to +be seen in John’s day (in the latter part of the ninth +century) in Gregory’s house, which he had converted +into a monastery, in a small room behind the brethren’s +store-room or granary. It was surrounded by a circular +plaster frame. Probably the whole figure was not represented; +at all events, the following description which +he gives stops at the hands.</p> +<p>“His figure was of ordinary height, and was well +made; his face was a happy medium between the length +of his father’s and the roundness of his mother’s face, so +that with a certain roundness it seemed to be of a very +comely length, his beard being like his father’s, of a +rather tawny colour, and of moderate length. He was +rather bald, so that in the middle of his forehead he had +two small neat curls, twisted towards the right; the +crown of his head was round and large, his darkish hair +being nicely curled and hanging down as far as the +middle of his ear; his forehead was high, his eyebrows +long and elevated; his eyes had dark pupils, and though +not large were open, under full eyelids; his nose from +the starting-point of his curving eyebrows being thin and +straight, broader about the middle, slightly aquiline, +and expanded at the nostrils; his mouth was red, lips +thick and sub-divided; his cheeks were well-shaped, and +<span class="pb" id="pg_37">[37]</span> +his chin of a comely prominence from the confines of the +jaws; his colour was swarthy and ruddy, not, as it afterwards +became, unhealthy looking; his expression was +kindly; he had beautiful hands, with tapering fingers, +well adapted for writing.”</p> +<p>The description goes on to say that Gregory wore +the <i>penula</i> (cloak) of chestnut colour, and over it the +sacred pall, and that in his hands he carried the book +of the Gospel. We learn, further, that he did not have +the round nimbus, but a rectangular or square one, with +which it was the custom to adorn the heads of portraits +of eminent people in their life-time. John considers this +a sure proof that the painting was executed during the +life of the saint; if it had been done after his death, +he would have been given a circular nimbus.</p> +<p>In the same monastery were portraits of his father +and mother, Gordianus and Silvia. But of course all +have been destroyed.</p> +<p>The portrait (<a href="#pg_5f"><i>frontispiece</i></a>) +here reproduced is a reconstruction +from John the Deacon’s description, made +by Angelo Rocca, Bishop of Tagaste, and a noted +archæologist of his time (1597). He combined the +three portraits in one.</p> +<p>Another reconstruction from John the Deacon’s description +may be seen in <i>Rassegna Gregoriana</i> for June, +1903. This follows the description more closely than +does that of Rocca.</p> +<p>At a later date there grew up the custom of representing +St. Gregory always with a dove. According to +<span class="pb" id="pg_38">[38]</span> +John the Deacon it was already customary in his day +(<i>c.</i> 872). This is seen in our second illustration +(<a href="#pg_10f"><i>opposite page</i> 11</a>), taken from the Antiphoner of the +monk Hartker of St. Gall (date between 986 and 1011). +This illustration has the characteristics found in the +greater number of representations of Gregory; the dove +(the symbol of the Holy Ghost) is represented as +inspiring him, and he is dictating to the scribe, who +is said to be the deacon Peter. The veneration felt +for his writings, and in particular those of the ecclesiastical +chant, was such that they were felt to be due +directly to the inspiration of the Holy Ghost. Here +the Pope is represented as wearing an alb, a dalmatic, +a <i>planeta</i> and over it the sacred pall, and on his left +forearm, a maniple.</p> +<p>The third picture (<a href="#pg_16f"><i>opposite page</i> 16</a>) is prefixed to +two Coronation Services in a miscellaneous volume +formerly belonging to Christ Church, Canterbury, on a +page now numbered 8. The pages 9-18 comprise +a Coronation Service of the x./xi. century, and on +pp. 19-29 there follows another service of the xiiith +century. On p. 30 is another picture, probably of +German workmanship, representing a man writing. +Each seems to be independent of its surrounding +leaves; there seems no connection between the two, +unless it be that they depict the same person.</p> +<p>The former of the two clearly depicts St. Gregory; +it has been constantly said on the strength of the legend +above, “Dunstani Archiepiscopi,” that it represents St. +<span class="pb" id="pg_39">[39]</span> +Dunstan, but the dove points clearly to St. Gregory; +the legend is possibly a later addition, and if St. Dunstan +is to be found upon the page at all it is in the archiepiscopal +figure kissing the toe of the great figure. This +act of homage suggests that the large figure represents +a Pope. Moreover, St. Dunstan is shown prostrate at +the feet of Christ in another picture, which may very +possibly be from the saint’s own hand; it is, therefore, +reasonable to identify him with the figure below. +Possibly also it may be suggested that this picture, +too, represents St. Dunstan’s handiwork.</p> +<p>St. Gregory wears a pall over a yellow chasuble, +and over this above is a red fringe ornament which is +probably a rational. The purple dalmatic with scarlet +border is very conspicuous under his chasuble; the +under-vestments are less distinct, but the ends of the +stole show over a very dark garment, which is, perhaps, +a tunicle. The mitre is of very early shape. The archiepiscopal +figure below wears a similar mitre, a pall over a +light green chasuble; underneath a pink dalmatic and +a purple show at the arms, as well as below.</p> +<p>The monk who balances him is in a white habit, but +the figure kneeling below is in a black habit of the same +pattern, ungirt, and with a cowl.</p> +<p>The colouring of the whole is crude, and the drawing +lacks delicacy.</p> +<p>The fourth portrait (<a href="#pg_24f"><i>opposite page</i> 24</a>) is taken from +a MS. of <i>The Dialogues of St. Gregory</i> (<i>Harl.</i> 3011), at +the British Museum, <i>f.</i> 69 v., at the end of the 3rd book. +<span class="pb" id="pg_40">[40]</span> +The background is bright green, with a brown border +round it. It is a brown-ink drawing, with some yellow +wash. The inscription above it is <i>Teodericus depinxit hanc +imaginem Gregorium patrem</i>. It exemplifies once again the +symbol of the dove, which is here evidently not connected +specially with the musical work of St. Gregory, +but with his literary efforts as a whole.</p> +</div> +<div id="pamms" title="The Plainsong and Mediaeval Music Society"> +<div class="pb" id="pg_41">[41]</div> +<h2>THE PLAINSONG AND MEDIAEVAL MUSIC SOCIETY.</h2> +<h4>PRESIDENT.</h4> +<dl> +<dd><span class="sc">The Right Hon.</span> THE EARL OF DYSART.</dd> +</dl> +<h4>VICE-PRESIDENTS.</h4> +<dl> +<dd><span class="sc">The Right Rev. THE BISHOP OF ARGYLL and THE ISLES.</span></dd> +<dd><span class="sc">Sir HICKMAN B. BACON, Bart.</span></dd> +<dd><span class="sc">Sir J. F. BRIDGE, Mus. Doc.</span></dd> +<dd><span class="sc">The Right Hon. THE VISCOUNT HALIFAX.</span></dd> +<dd><span class="sc">The Very Rev. VERNON STALEY.</span></dd> +<dd><span class="sc">H. ELLIS WOOLDRIDGE, Esq.</span></dd> +</dl> +<h4>COUNCIL.</h4> +<dl> +<dd><span class="sc">Rev. MAURICE BELL.</span></dd> +<dd><span class="sc">W. J. BIRKBECK, Esq.</span></dd> +<dd><span class="sc">Rev. A. E. BRIGGS.</span></dd> +<dd><span class="sc">R. A. BRIGGS, Esq.</span></dd> +<dd><span class="sc">SOMERS CLARKE, Esq.</span></dd> +<dd><span class="sc">WAKELING DRY, Esq.</span></dd> +<dd><span class="sc">Rev. W. HOWARD FRERE.</span></dd> +<dd><span class="sc">A. HUGHES-HUGHES, Esq.</span></dd> +<dd><span class="sc">J. T. MICKLETHWAITE, Esq.</span></dd> +<dd><span class="sc">Rev. E. J. NORRIS.</span></dd> +<dd><span class="sc">Rev. G. H. PALMER.</span></dd> +<dd><span class="sc">A. H. D. PRENDERGAST, Esq.</span></dd> +<dd><span class="sc">ATHELSTAN RILEY, Esq.</span></dd> +<dd><span class="sc">J. RUSSELL, Esq.</span></dd> +<dd><span class="sc">PERCY E. SANKEY, Esq.</span></dd> +<dd><span class="sc">Rev. H. URLING SMITH.</span></dd> +<dd><span class="sc">Rev. G. R. WOODWARD.</span></dd> +<dd><span class="sc">E. G. P. WYATT, Esq.</span></dd> +</dl> +<h4>AUDITORS.</h4> +<dl> +<dd><i>MESSRS. GERARD VAN DE LINDE & SON.</i></dd> +</dl> +<h4>HON. TREASURER.</h4> +<dl> +<dd><i>E. G. P. WYATT, ESQ.</i></dd> +</dl> +<h4>HON. SECRETARY.</h4> +<dl> +<dd><i>PERCY. E. SANKEY, ESQ., 44 Russell Square, London. W.C.</i></dd> +</dl> +<div class="pb" id="pg_42">[42]</div> +<h2><span class="sc">The Plainsong & Mediaeval Music Society.</span></h2> +<p>The Society is founded for purely antiquarian purposes with the +following objects:—</p> +<p class="bq">1. To be a centre of information in England for students of Plainsong +and Mediaeval Music, and a means of communication +between them and those of other countries.</p> +<p class="bq">2. To publish fac-similes of important MSS., translations of +foreign works on the subject, adaptations of the Plainsong to +the English Use, and such other works as may be desirable.</p> +<p class="bq">3. To form a catalogue of all Plainsong and Measured Music +in England, dating not later than the middle of the sixteenth +century.</p> +<p class="bq">4. To form a throughly proficient Choir of limited numbers, with +which to give illustrations of Plainsong and Mediaeval Music.</p> +<p>The subscription for Members is £1 per annum, entitling them +to all publications <i>gratis</i>. Clergymen and Organists are eligible for +election as Associates, at a Subscription of 2/6 per annum, which will +entitle them to the annual publications at a reduced price.</p> +<br class="cr3" /> +<p class="jr">_______________ 190____</p> +<p><i>Name</i> ______________________________________________</p> +<p><i>Address</i> ___________________________________________</p> +<p><i>requests to be admitted a Member (or Associate) of THE +PLAINSONG & MEDIAEVAL MUSIC SOCIETY.</i></p> +<p><i>Proposed by</i> _______________________________________</p> +<p><i>Seconded by</i> _______________________________________</p> +<p class="small">To be sent to the Hon. Secretary, <span class="sc">P. E. Sankey</span>, Esq, 44 Russell +Square, London. W. C.</p> +</div> +<div id="biblio" title="Publications of the Society"> +<div class="pb" id="pg_43">[43]</div> +<h2>PUBLICATIONS OF THE SOCIETY.</h2> +<p class="jr">Price.</p> +<dl class="catalog"> +<dt>THE MUSICAL NOTATION OF THE MIDDLE AGES (<i>out of print</i>)</dt> +<dd>...</dd> +<dt>SONGS & MADRIGALS OF THE 15th CENTURY, containing 14 specimens, +with <i>fac-similes</i> and rules for translating the music into modern notation +(Quaritch)</dt> +<dd>£1.6.</dd> +<dt>GRADUALE SARISBURIENSE, a <i>fac-simile</i> of a 13th Century English +Gradual, with an introduction giving a history of the development of the <i>Graduale</i> +from the <i>Antiphonale Missarum</i> of St. Gregory, with elaborate Indexes to the +Offices, Graduals, etc., and to works on Liturgiology. The volume contains +102 pages of Text and 293 pages of Collotypes, and represents the most important +part of the Ecclesiastical Music of the Middle Ages (Quaritch)</dt> +<dd>£4.2.</dd> +<dt>ANTIPHONALE SARISBURIENSE, a <i>fac-simile</i> of a 13th Century English +Antiphoner. This work, when complete, will be uniform with the <i>Graduale +Sarisburiense</i>, and will contain over 700 pages of Collotypes. It is being published +in yearly parts. Parts I, II, III & IV, now ready with portfolio, price</dt> +<dd>£4.2.</dd> +<dt>THE SARUM GRADUAL, being the introduction to the GRADUALE +SARISBURIENSE with four <i>fac-simile pages</i> (Quaritch)</dt> +<dd>15/9</dd> +<dt>EARLY ENGLISH HARMONY, from the 10th to the 15th Century. Vol I., +containing 60 Collotype Plates of music by composers from St. Dunstan down +to John Dunstable (Quaritch)</dt> +<dd>£1.6.</dd> +</dl> +<p class="center"><i>The above works are folio and on thick paper.</i></p> +<dl class="catalog"> +<dt>MADRIGALS OF THE 15th CENTURY, containing six Madrigals in +modern notation, <i>quarto</i> (Novello) (<i>out of print</i>)</dt> +<dd>...</dd> +<dt>BIBLIOTHECA MUSICO-LITURGICA, a descriptive hand-list of the +Musical and Latin Liturgical MSS. of the middle Ages preserved in English +libraries. <i>Fascicle</i> I. and <i>Fascicle</i> II., making Vol. I., <i>quarto</i>, 164 pp. with 13 +<i>facsimiles</i> (Quaritch)</dt> +<dd>£1.5.6.</dd> +<dt>S. GREGORY AND THE GREGORIAN MUSIC</dt> +<dd>2/8</dd> +<dt>THE ELEMENTS OF PLAINSONG, <i>édition de luxe</i> (<i>out of print</i>)</dt> +<dd>...</dd> +<dt>THE ORDINARY OF THE MASS, <i>édition de luxe</i> (Quaritch)</dt> +<dd>7/10</dd> +<dt>PLAINSONG HYMN-MELODIES & SEQUENCES, <i>édition de luxe</i> (Quaritch)</dt> +<dd>7/10</dd> +<dt>RECENT RESEARCH IN PLAINSONG, <i>édition de luxe</i></dt> +<dd>3/3</dd> +</dl> +<p class="center"><i>The above editions consist of numbered copies to which the issue is +limited.</i></p> +<dl class="catalog"> +<dt>THE ELEMENTS OF PLAINSONG, cloth,</dt> +<dd>3/9</dd> +<dt>A GENERAL OUTLINE OF PLAINSONG (being Chapter I. of above)</dt> +<dd>3<i>d.</i></dd> +<dt>*CHOIR RESPONSES</dt> +<dd>3<i>d.</i></dd> +<dt>DEPRECAMUR TE (as sung by St. Augustine and his companions)</dt> +<dd>3<i>d.</i></dd> +<dt>THE INVITATORY PSALM (<i>Venite exultemus</i>), set to its Proper Melodies +in the IIIrd, IVth, VIth and VIIth <span class="m3">Modes</span></dt> +<dd>each 3<i>d.</i></dd> +<dt>THE PASCHAL ANTHEMS (<i>Pascha nostrum</i>)</dt> +<dd>3<i>d.</i></dd> +<dt>TE DEUM</dt> +<dd>3<i>d.</i></dd> +<dt>MAGNIFICAT & BENEDICTUS set to the Peregrine Tone</dt> +<dd>3<i>d.</i></dd> +<dt>THE CANTICLES</dt> +<dd>5<i>d.</i></dd> +<dt>ADDITIONAL SETTINGS of certain of THE CANTICLES, being the four +previous publications in one volume</dt> +<dd>10<i>d.</i></dd> +<dt>RESPONDS AT VESPERS for ADVENT, CHRISTMAS-TIDE, LENT, +and COMMON OF SAINTS (Others in preparation)</dt> +<dd>2/3</dd> +<dt>*THE PSALM TONES & OFFICE RESPONSES</dt> +<dd>4<i>d.</i></dd> +<dt>THE SARUM PSALTER (<span class="sc">Geo. Bell</span> & Sons.).</dt> +<dd>2/10</dd> +<dt>THE INTRODUCTION to ditto, with the Tone-table and Examples</dt> +<dd>8<i>d.</i></dd> +<dt>*THE LITANY & <span class="m3">SUFFRAGES</span></dt> +<dd>Bound 8<i>d.</i></dd> +<dt>THE ANTIPHONS TO MAGNIFICAT</dt> +<dd>4/4</dd> +<dt>*THE ORDINARY OF THE MASS (7 Masses in <span class="m3">English)</span></dt> +<dd>2/9, Cloth 3/9</dd> +<dt>*THE PLAINSONG OF THE HOLY COMMUNION, two easy melodies +for the <i>Kyrie</i>, <i>Sanctus</i>, <i>Agnus</i> & <i>Gloria in excelsis</i>, with the Creed & Choir +Responses</dt> +<dd>7<i>d.</i></dd> +<dt>MISSA REX SPLENDENS (Organ accompaniment by Dr. Pearce)</dt> +<dd>1/2</dd> +<dt>*THE MUSIC OF THE MASS FOR THE DEAD, adapted to the English +Text from the Sarum Manuale </dt> +<dd>1/8</dd> +<dt>VESPERS OF THE DEAD</dt> +<dd>5<i>d.</i></dd> +<dt>THE ORDER OF THE BURIAL OF THE DEAD</dt> +<dd>4<i>d.</i></dd> +<dt>PLAINSONG REQUIEM SERVICES, being Vespers, Mass & Burial of the Dead</dt> +<dd>2/8</dd> +<dt>*PLAINSONG HYMN-MELODIES AND SEQUENCES</dt> +<dd>2/9</dd> +<dt>The <span class="sc">Words</span> only of the <span class="sc">Sequences</span> together with sundry Eucharistic Hymns and +Antiphons</dt> +<dd>7<i>d.</i></dd> +<dt>A SELECTION OF INTROITS, GRAILS & ALLELUYAS</dt> +<dd>2/4</dd> +<dt>EUCHARISTIC HYMNS & ANTIPHONS</dt> +<dd>10<i>d.</i></dd> +<dt>SALVE! FESTA DIES for 5 Great Festivals</dt> +<dd>7<i>d.</i></dd> +<dt>RULED MUSIC PAPER, per quire</dt> +<dd>8<i>d.</i></dd> +</dl> +<p class="center">Organ accompaniments can be obtained in MS. from +the Community of S. Mary the Virgin, Wantage.</p> +<hr /> +<p class="center">*A reduction allowed to Choirs. +<i>Prepayment is necessary in all cases.</i></p> +<p class="center"><i>The above prices include the postage, and copies can be obtained upon +application by letter with remittance of the Hon. Secretary</i>—</p> +<div class="verse"> +<p class="t3"><span class="sc">Percy E. Sankey, Esq.</span></p> +<p class="t5"><span class="sc">44 Russell Square, London, W. C.</span></p> +</div> +<p>The Society has arranged for instruction in the correct rendering of plainsong +to be given to Clergy, Organists and others, also for a Choirmaster to assist Choirs +adopting the music. For particulars apply to the Hon. Secretary.</p> +</div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of St. Gregory and the Gregorian Music, by +E. G. P. Wyatt + +*** END OF THIS PROJECT GUTENBERG EBOOK ST. GREGORY--GREGORIAN MUSIC *** + +***** This file should be named 31582-h.htm or 31582-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/1/5/8/31582/ + +Produced by Colin Bell, Stephen Hutcheson, Joseph Cooper, +The Internet Archive (used for illustrations) and the +Online Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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