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diff --git a/31582.txt b/31582.txt new file mode 100644 index 0000000..cf17419 --- /dev/null +++ b/31582.txt @@ -0,0 +1,1679 @@ +Project Gutenberg's St. Gregory and the Gregorian Music, by E. 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: ASCII + +*** 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 + + + + + + + + + ST. GREGORY + AND THE + GREGORIAN MUSIC + + + BY + E. G. P. WYATT + + [Illustration: THE PLAINSONG AND MEDIAEVAL MUSIC SOCIETY] + + PUBLISHED FOR THE + PLAINSONG & MEDIAEVAL MUSIC SOCIETY. + 1904. + + PRINTED BY SPRAGUE & CO., LTD., + 4 & 5 EAST HARDING STREET, FETTER LANE, E.C., + LONDON. + + + + + PREFACE. + + +The original conception of this little book was due to the Rev. W. H. +Frere, and it could not have been carried out at all without his help and +advice, which have been ungrudgingly given. + +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:-- + + Morin.--"Les veritables origines du Chant Gregorien." Maredsous, + 1890. + Morin.--"Revue Benedictine," for May, 1890. Maredsous. + Wagner.--"Einfuehrung in die Gregorianischen Melodien," Pt. 1. + Freiburg, 1901. + Frere.--"Graduale Sarisburiense." Plainsong and Mediaeval Music + Society, London, 1894. + "Paleographie Musicale," Vols. v. and vi. Solesmes, 1896. + "Rassegna Gregoriana," for March-April, June, and July, 1903. Rome. + + + E. G. P. WYATT. + + [Illustration: St. Gregory and his Parents] + + IMAGINES.AD.VIVVM.EXPRESSAE + EX.AEDICVLA.SANCTI.ANDREAE + PROPE.BEATI.GREGORII.MAGNI.ECCLESIAM + NECNON.EX.VITA.EIVSDEM.BEATI.GREGORII + A.IOANNE.DIACONO.LIB.IV.CAP.LXXXIII.ET.LXXXIV + CONSCRIPTA + _Fol. 368._ + +_Hieronymus Rossi sculp. Romae_ + +_GORDIANVS.S.GREGORII.PATER_ _S.GREGORIVS.MAGNVS_ _SILVIA.S.GREGORII.MATER_ + + + + + INTRODUCTION. + + +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 praetor 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 Coelian 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. + +When he was at length recalled to Rome, he begged to be allowed to return +to his monastery. The Pope 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 "AElia." 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. + + + DEPRECAMUR TE DOMINE + + [Illustration: Deprecamur te domine] + + De-pre-ca-mur Te, Do-mi-ne, + in om-ni mi-se-ri-cor-di-a tu-a, + ut au-fe-ra-tur fu-ror tu-us et i-ra tu-a + a ci-vi-ta-te is-ta, + et de do-mo san-cta tu-a; + quo-ni-am pec-ca-vi-mus: + Al-le-lu-ya. + +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 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. + +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 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. + +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 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. + +He attached great importance to preaching, and many of his sermons remain +to this day. He also wrote "Liber Pastoralis Curae," 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. + +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." + + [Illustration: St. Gregory, from Antiphoner of Hartker of St. Gall] + + + + + THE + GREGORIAN TRADITION. + + +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. + +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 Academie 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 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. + +_The Historical Evidence_ may be summarized as follows, working backwards +from a time when the Gregorian tradition was in existence beyond all +question:-- + + I.--John the Deacon (_c._ 872), _Vita St. Gregorii, lib._ II., _cap._ + vi., _Antiphonarium Centonizans, Cantorum Constituit Scholam_. "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."--(_Patr. + Lat._, lxxv., 90.) + +This extract may be taken to prove that-- + + 1. In 872 at Rome Gregory I. was believed to be the author of the + Antiphoner which bears his name. + + 2. The Schola Cantorum looked upon Gregory I. as its founder and + endower. + + 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. + +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. + +A further witness to the existence of St. Gregory's couch is to be found +in _Notitia Ecclesiarum Urbis Romae_, an itinerary assigned by de Rossi to +the seventh century, (de Rossi, _Rom. Sot._, _vol._ i., _pp._ 138-143.) + + II.--Pope Leo IV. (847-855) to the Abbot Honoratus, _Ex registro Leonis + IIII_. "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 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. + + "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. + + "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 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."--(_Cod. Brit. Mus._, _add._ 8873, _fol._ + 168.) + +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. + +The above extract throws an important light on the 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 +_Studien und Mittheilungen des Benedictiner und Cistercienser-Orden_, +1884, _p._ 346), and the Ambrosian rubrics of various books copied a +little later for churches at Rome itself (_Tomasi, Opp. vol._ vii., _pp._ +9 _&_ 10), and it will be seen how gradually the Gregorian books attained +their universal supremacy. + + III.--Hildemar (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." + (_Expositio Regula ab Hildemaro tradita_, _p._ 311, _Ratisbon_, 1880.) + + IV.--Walafrid Strabo (807-849). _De Ecclesiasticarum rerum exordiis et + incrementis_ (composed about 840). "The tradition is that St. Gregory, + just as he regulated the order of the masses and of consecrations + [_i.e._, 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." (_Op. cit. c._ xxi., + _Patr. Lat._, cxiv., 948.) + + [Illustration: St. Gregory, from MS. of Coronation Services] + +This refers, strictly speaking, to the Antiphonale Missarum. But the +following extract treats directly of the chants of the office contained +in the _Liber Responsorialis_, or corresponding volume for the hour +services. + + "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." (_c._ xxv., 958.) + +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. + + V.--Agobard of Lyons (779-840). _Liber de Correctione Antiphonarii_, + _c._ xv., _Patr. Lat._ civ., 336. "But because the inscription serving + for title to the book in question [_i.e._, the Antiphoner] puts in the + forefront the name of 'Gregorius Praesul,' thereupon some people imagine + that the work was composed by the Blessed Gregory, Pope of Rome and + illustrious doctor." + +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. + +VI.--Amalarius of Metz (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 _De +Divinis Officiis_, published by Mabillon, in his _Vetera Analecta_ +(_Paris_, 1723). He is speaking of the Pope Gregory who is the author of +the Dialogues, and who sent St. Augustine into England. + + "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." (_p._ 93.) + + "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." (_pp._ 93-4.) + + "Far from blaming those who preserve the Gregorian usage, they should + rather praise them." (_p._ 94.) + + "In the authentic model of St. Gregory, the _Alleluia_ and the _Gloria_ + are suppressed at the Mass for Innocents' Day, in order to express the + grief of the mothers or of the Church." (_p._ 96.) + +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. + +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 "famous +authentic model of Gregory" is spoken of, it is the Antiphonale Missarum +which is meant. + + VII.--Amalarius, Bishop of Treves (809-814). _Liber Officiorum_, from a + MS. at Treves, quoted by Morin, _fol._ 6, _De Missa Innocentium_. "The + Mass of the Innocents begins in the Diurnal with this Rubric: '_Gloria + in Excelsis Deo_ is not sung, nor _Alleluia_, 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." + + It is a question here of the Antiphoner of the Mass. + + (_fol._ 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 have already said, he wished by this to distinguish" + &c., &c. + + This passage refers to the Antiphoner of the Office. + + (_fol._ 9-10.) "That is why Gregory, the author of our office, has + placed Septuagesima.... However, Gregory the institutor of our + office...." + + It is a question of the Antiphoner and of the Sacramentary. + + (_fol._ 39.) "The author of our office, who is none other than + Gregory...." + + He is referring to a portion of the Antiphoner of the Mass. + +In the following passage Amalarius distinguishes the work of the two +first Gregories as to the Thursdays in Lent. + + (_fol._ 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." + + VIII.--Pope Adrian I. (772-795). A MS. from Saint Martial de Limoges + contains this passage (_Paris, Bibl. Nat., No._ 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 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." + +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 Praesul." 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:-- + + "Gregorius Praesul meritis et nomine dignus + Unde genus ducit, summum ascendit honorem. + Renovavit monumenta patrum priorum: tunc + Composuit hunc libellum musicae artis + Scholae cantorum anni circuli: Ad te levavi." + +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 Praesul" 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. + +This prologue proves that the Antiphoner was ascribed by tradition to St. +Gregory in the latter half of the eighth century. + +IX.--Egbert, 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 _De Institutione Catholica_. +The following extracts from it refer to the Ember-day Fasts. + + "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." (_Patr. Lat._ lxxxix., + 441.) + + "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." (_Ibid._) + +Egbert brings us back to the seventh century, but during that century +(the beginning of which saw the death of Gregory) we have no direct +evidence. There are some considerations, however, which may account for +this. + +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 _Liber Pontificalis_ 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? + +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. + +[Illustration: St. Gregory, from MS. of The Dialogues of St. Gregory +at the British Museum] + +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. + +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. + +These considerations tend to show that there is no 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. + + + INTERNAL EVIDENCE. + +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. + +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. + +The second peculiarity which supports this conclusion 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. + +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, _e.g._, 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 _Introit_ and the _Gradual_ were taken from Maundy +Thursday, the _Alleluia_ from Friday in Easter week, and the _Offertory_ +from Maundy Thursday, or the Second Mass for Christmas-day. The _Introit_ +for the Purification is borrowed from the Eighth Sunday after Trinity. + +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. + +It is a reasonable conclusion to draw, then, that the 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 (_La Melopee Antique_, _p._ 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. + +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. + +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, I. to +XXVI., 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. 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 _vice versa_; 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. + +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 _Winchester Troper_ (_Ed._ +Rev. W. H. Frere, _H. Bradshaw Society_, 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 melody, +_Cithara_, from which the sequence _Rex Omnipotens_ 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. + + + CITHARA + + [Illustration: CITHARA] + + + IN WHAT DID THE WORK OF ST. GREGORY CONSIST? + +John the Deacon describes his Antiphoner as a "cento" (_Antiphonarium +Centonem compilavit_), 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; _e.g._, 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 _Codex St. Gall_, 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. + +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 _sequens renovavit_ et auxit." + +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. + + + ANTIPHON + + [Illustration: Antiphon, Gregorian and Ambrosian] + + Gregorian + O Sa-pi-en-ti-a, quae ex o-re Al-tis-sim-i + pro-di-is-ti at-tin-gens a fi-ne + us-que ad fi-nem, for-ti-ter su-a-vi-ter-que + dis-po-nens om-ni-a: ve-ni ad do-cen-dum nos + vi-am pru-den-ti-ae. + + Ambrosian + O Sa-pi-en-ti-a, quae ex o-re Al-tis-sim-i + pro-ces-si-sti at-tin-gis a fi-ne + us-que ad fi-nem, for-ti-ter su-a-vi-ter + dis-po-nens que om-ni-a: ve-ni ad do-cen-dum nos + vi-am sci-en-ti-ae. + + + INTROIT + + [Illustration: Introit, Gregorian and Ambrosian] + + Gregorian + Gau-de-a-mus om-nes in Do-mi-no, + di-em fes-tum ce-le-bran-tes in ho-no-re + A-ga-thae mar-ty-ris: de cu-jus pas-si-o-ne + gau-dent an-ge-li, et col-lau-dant + Fi-li-um De-i. + + Ambrosian + Lae-te-mur om-nes in Do-mi-no, + di-em fes-tum ce-le-bran-tes ob ho-no-rem + A-ga-thae mar-ty-ris: de cu-jus tro-phae-o + gau-dent an-ge-li, et col-lau-dant + Fi-li-um De-i. + + + GRADUAL + + [Illustration: Gradual, Gregorian and Ambrosian] + + [Illustration: Gradual, continued] + + Gregorian + Ex Si-on spe-ci-es de-co-ris e-jus: + De-us ma-ni-fe-ste ve-ni-et. + V. Con-gre-ga-te il-li sanc-tos e-jus, + qui or-di-na-ve-runt + te-sta-men-tum e-jus + su-per sa-cri-fi-ci-a. + + Ambrosian + Ex Si-on spe-ci-es de-co-ris e-jus: + De-us ma-ni-fe-ste ve-ni-et. + V. Con-gre-ga-te il-lic sanc-tos e-jus, + qui or-di-na-ve-runt + te-sta-men-tum e-jus + su-per sa-cri-fi-ci-a. + +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. + +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. + +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? + +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. + +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. + +The further important question arises, did Gregory carry out this musical +work himself, or was it done by others under his direction? + +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 _liber cantatorius_ from which to +sing the solos, such as the Graduals and Tracts. The School was, +necessarily, not merely for teaching 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. + +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. + + +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. + + + THE PORTRAITS OF ST. GREGORY. + +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. + +"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 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." + +The description goes on to say that Gregory wore the _penula_ (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. + +In the same monastery were portraits of his father and mother, Gordianus +and Silvia. But of course all have been destroyed. + +The portrait (_frontispiece_) here reproduced is a reconstruction from +John the Deacon's description, made by Angelo Rocca, Bishop of Tagaste, +and a noted archaeologist of his time (1597). He combined the three +portraits in one. + +Another reconstruction from John the Deacon's description may be seen in +_Rassegna Gregoriana_ for June, 1903. This follows the description more +closely than does that of Rocca. + +At a later date there grew up the custom of representing St. Gregory +always with a dove. According to John the Deacon it was already customary +in his day (_c._ 872). This is seen in our second illustration (_opposite +page_ 11), 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 _planeta_ and over it the sacred pall, and +on his left forearm, a maniple. + +The third picture (_opposite page_ 16) 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. + +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. 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. + +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. + +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. + +The colouring of the whole is crude, and the drawing lacks delicacy. + +The fourth portrait (_opposite page_ 24) is taken from a MS. of _The +Dialogues of St. Gregory_ (_Harl._ 3011), at the British Museum, _f._ 69 +v., at the end of the 3rd book. 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 _Teodericus depinxit hanc imaginem Gregorium +patrem_. 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. + + + + + THE PLAINSONG AND MEDIAEVAL MUSIC SOCIETY. + + + PRESIDENT. + + The Right Hon. THE EARL OF DYSART. + + + VICE-PRESIDENTS. + + The Right Rev. THE BISHOP OF ARGYLL and THE ISLES. + Sir HICKMAN B. BACON, Bart. + Sir J. F. BRIDGE, Mus. Doc. + The Right Hon. THE VISCOUNT HALIFAX. + The Very Rev. VERNON STALEY. + H. ELLIS WOOLDRIDGE, Esq. + + + COUNCIL. + + Rev. MAURICE BELL. + W. J. BIRKBECK, Esq. + Rev. A. E. BRIGGS. + R. A. BRIGGS, Esq. + SOMERS CLARKE, Esq. + WAKELING DRY, Esq. + Rev. W. HOWARD FRERE. + A. HUGHES-HUGHES, Esq. + J. T. MICKLETHWAITE, Esq. + Rev. E. J. NORRIS. + Rev. G. H. PALMER. + A. H. D. PRENDERGAST, Esq. + ATHELSTAN RILEY, Esq. + J. RUSSELL, Esq. + PERCY E. SANKEY, Esq. + Rev. H. URLING SMITH. + Rev. G. R. WOODWARD. + E. G. P. WYATT, Esq. + + + AUDITORS. + + _MESSRS. GERARD VAN DE LINDE & SON._ + + + HON. TREASURER. + + _E. G. P. WYATT, ESQ._ + + + HON. SECRETARY. + + _PERCY. E. SANKEY, ESQ., 44 Russell Square, London. W.C._ + + + + + The Plainsong & Mediaeval Music Society. + + +The Society is founded for purely antiquarian purposes with the following +objects:-- + + 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. + + 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. + + 3. To form a catalogue of all Plainsong and Measured Music in England, + dating not later than the middle of the sixteenth century. + + 4. To form a throughly proficient Choir of limited numbers, with which + to give illustrations of Plainsong and Mediaeval Music. + +The subscription for Members is L1 per annum, entitling them to all +publications _gratis_. 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. + + + _______________ 190____ + +_Name_ ______________________________________________ + +_Address_ ___________________________________________ + +_requests to be admitted a Member (or Associate) of THE PLAINSONG & +MEDIAEVAL MUSIC SOCIETY._ + +_Proposed by_ _______________________________________ + +_Seconded by_ _______________________________________ + +To be sent to the Hon. Secretary, P. E. Sankey, Esq, 44 Russell Square, +London. W. C. + + + + + PUBLICATIONS OF THE SOCIETY. + + + Price. + +THE MUSICAL NOTATION OF THE MIDDLE AGES (_out of print_) ... + +SONGS & MADRIGALS OF THE 15th CENTURY, containing 14 specimens, with + _fac-similes_ and rules for translating the music into modern notation + (Quaritch) L1.6. + +GRADUALE SARISBURIENSE, a _fac-simile_ of a 13th Century English Gradual, + with an introduction giving a history of the development of the + _Graduale_ from the _Antiphonale Missarum_ 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) L4.2. + +ANTIPHONALE SARISBURIENSE, a _fac-simile_ of a 13th Century English + Antiphoner. This work, when complete, will be uniform with the + _Graduale Sarisburiense_, 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 L4.2. + +THE SARUM GRADUAL, being the introduction to the GRADUALE SARISBURIENSE + with four _fac-simile pages_ (Quaritch) 15/9 + +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) L1.6. + + _The above works are folio and on thick paper._ + +MADRIGALS OF THE 15th CENTURY, containing six Madrigals in modern + notation, _quarto_ (Novello) (_out of print_) ... + +BIBLIOTHECA MUSICO-LITURGICA, a descriptive hand-list of the Musical and + Latin Liturgical MSS. of the middle Ages preserved in English + libraries. _Fascicle_ I. and _Fascicle_ II., making Vol. I., _quarto_, + 164 pp. with 13 _facsimiles_ (Quaritch) L1.5.6. + +S. GREGORY AND THE GREGORIAN MUSIC 2/8 + +THE ELEMENTS OF PLAINSONG, _edition de luxe_ (_out of print_) ... + +THE ORDINARY OF THE MASS, _edition de luxe_ (Quaritch) 7/10 + +PLAINSONG HYMN-MELODIES & SEQUENCES, _edition de luxe_ (Quaritch) 7/10 + +RECENT RESEARCH IN PLAINSONG, _edition de luxe_ 3/3 + + _The above editions consist of numbered copies to which the issue is + limited._ + +THE ELEMENTS OF PLAINSONG, cloth, 3/9 + +A GENERAL OUTLINE OF PLAINSONG (being Chapter I. of above) 3_d._ + +*CHOIR RESPONSES 3_d._ + +DEPRECAMUR TE (as sung by St. Augustine and his companions) 3_d._ + +THE INVITATORY PSALM (_Venite exultemus_), set to its Proper Melodies in + the IIIrd, IVth, VIth and VIIth Modes each 3_d._ + +THE PASCHAL ANTHEMS (_Pascha nostrum_) 3_d._ + +TE DEUM 3_d._ + +MAGNIFICAT & BENEDICTUS set to the Peregrine Tone 3_d._ + +THE CANTICLES 5_d._ + +ADDITIONAL SETTINGS of certain of THE CANTICLES, being the four previous + publications in one volume 10_d._ + +RESPONDS AT VESPERS for ADVENT, CHRISTMAS-TIDE, LENT, and COMMON OF + SAINTS (Others in preparation) 2/3 + +*THE PSALM TONES & OFFICE RESPONSES 4_d._ + +THE SARUM PSALTER (Geo. Bell & Sons.). 2/10 + +THE INTRODUCTION to ditto, with the Tone-table and Examples 8_d._ + +*THE LITANY & SUFFRAGES Bound 8_d._ + +THE ANTIPHONS TO MAGNIFICAT 4/4 + +*THE ORDINARY OF THE MASS (7 Masses in English) 2/9, Cloth 3/9 + +*THE PLAINSONG OF THE HOLY COMMUNION, two easy melodies for the _Kyrie_, + _Sanctus_, _Agnus_ & _Gloria in excelsis_, with the Creed & Choir + Responses 7_d._ + +MISSA REX SPLENDENS (Organ accompaniment by Dr. Pearce) 1/2 + +*THE MUSIC OF THE MASS FOR THE DEAD, adapted to the English Text from the + Sarum Manuale 1/8 + +VESPERS OF THE DEAD 5_d._ + +THE ORDER OF THE BURIAL OF THE DEAD 4_d._ + +PLAINSONG REQUIEM SERVICES, being Vespers, Mass & Burial of the Dead 2/8 + +*PLAINSONG HYMN-MELODIES AND SEQUENCES 2/9 + +The Words only of the Sequences together with sundry Eucharistic Hymns + and Antiphons 7_d._ + +A SELECTION OF INTROITS, GRAILS & ALLELUYAS 2/4 + +EUCHARISTIC HYMNS & ANTIPHONS 10_d._ + +SALVE! FESTA DIES for 5 Great Festivals 7_d._ + +RULED MUSIC PAPER, per quire 8_d._ + + Organ accompaniments can be obtained in MS. from + the Community of S. Mary the Virgin, Wantage. + + + *A reduction allowed to Choirs. + _Prepayment is necessary in all cases._ + + _The above prices include the postage, and copies can be obtained upon + application by letter with remittance of the Hon. Secretary_-- + + Percy E. Sankey, Esq. + 44 Russell Square, London, W. C. + +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. + + + + + + +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. 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