All Discussions - MusicaSacra Forum

How long would it last? Does anyone have the guts? Announcing the Entrance Hymn.

JMO — Sun, 20 May 2012 14:34:19 -0600

Does anyone have the guts to do this?

Instead of saying, "The opening hymn can be found on page . . ."

From now on, when announcing the Entrance Hymn, use one of the following:

1. "Today, we will be replacing the assigned Mass proper with the following hymn . . ."

2. "Today, we will be replacing the special text assigned by the Church with the following hymn . . ."

3. "Today, we will be replacing the special music the Church has assigned to this feast with hymn number . . ."

What funny pronunciation have you heard from lectors? :D

scholista — Sun, 20 May 2012 16:33:03 -0600

Avoid immorality… (said as: im-mor-TAL-ity) Avoid immortality? Not!

Thou shalt not covet…(said as: kuh-VETTE) Serious lack of catechesis!

Bronze brazier…(said as: brah-ZEER) This was not said by a man!

He denied it vehemently…(said as: ve-HEE-ment-ly) Mispronunciation actually adds emphasis!

They blindfolded Jesus, struck him and said ‘prophesy.’…(said as: PRAW-feh-see)

Isaac…(said as: Eye-ZAY-ick)

Jesu, Jesu…(said as: GEE-zoo, GEE-zoo)

Cardine: the cursus planus cadence , the tonic cadences and English.

Ralph Bednarz — Sat, 19 May 2012 20:40:27 -0600

In Cardine's discussion of the important interplay of the final two accents in cadential melodic formulas
I was surprised to see how often the cadential accents are necessarily out of step with Latin text's accents. If you add to this the the closer resemblance to the Latin metrical forms within the Revised Grail then can I hope to see systematic approach to pointing the monastic tones comfortably in English?
I have no problem creating a psalm tone score for an English text. It is pointing that is the problem.
I appreciate the ease of the many new simpler formulas that build backwards from the final accents. But that "interplay" between the final two accents within both the melodic cadences and the tonic cadences of the old tones can make for a gentle landing, even on a oxytone.

What pray tell, determines if a song is uplifting?

Wendi — Sun, 20 May 2012 14:36:31 -0600

Some of the feedback we're getting on the new hymnal selection includes the sentence...

"More uplifting songs."

How on earth are we supposed to do that? Whether or not a piece of music uplifts or not is completely subjective. I personally find Chant to be very uplifting.

I'm not feeling very charitable towards the previous two generations or so at the moment. The Mass isn't to entertain or even to uplift...at least not in that sense.

ANY suggestions about how to charitably address this issue without caving into the pure emotionalism of it would be greatly appreciated.

Hybrid Organs

PaixGioiaAmor — Wed, 29 Apr 2009 10:02:59 -0600

Do any of you have experience with so-called "hybrid" organs? Who are the best builders? I've heard that Rogers/Ruffatti are superior, but a friend who represents Johannes claims (obviously) that the Rogers technology is years outdated.

Our church may be looking at purchasing a new organ. The reality is that because of space limitations (the church wasn't built with a pipe organ in mind) and monetary limitations an all pipe instrument just won't be possible. But I'd at least like to put something with pipes in rather than go the all digital route.

Who do you think are the best in this area and why?

Confusion about how to sing the Gregorian Alleluia

JMO — Mon, 14 May 2012 14:28:15 -0600

I am thinking of expanding on this, since it can be confusing:

http://www.ccwatershed.org/blog/2012/may/14/how-sing-gregorian-alleluia/

But at least I have a start!

17 Points — A quick, easy, pastoral approach to music at Mass ... VARIETY is key!

JMO — Sun, 20 May 2012 21:44:02 -0600

One of the problems the beleaguered choirmaster faces in today's world is the lack of attention span on the part of Catholics in the pews (and even choristers!), perhaps due to our modern obsession with television, iPhones, internet, etc. In the "solution" presented below, I cannot emphasize enough that the key to success is variation (organ accompaniment vs. a cappella, metrical hymns vs. chant, etc.) and especially alternation between priest, deacon, choir, congregation, and organist.

The below model is able to be implemented with great success in the "typical" parish. It will be noticed that the pieces are very short in length, but ought to be done extremely well. It is better to do brief music beautifully than to attempt long, complicated music and do it poorly. It will be noticed that there is very little Latin (as this can be intimidating).

(Congregation / Organ / Metrical / ENGLISH)
1. Immediately before Mass begins, a Hymn with organ accompaniment is sung in its entirety. Singing only a few verses of a hymn destroys its inherent poetry and frustrates parishioners, who have gone to the trouble of taking out the books and finding the correct page only to stop singing after the second or third verse. Since parishioners are accustomed to singing an opening hymn, taking it away would cause a needless rupture. Professor László Dobszay notes that singing a hymn immediately before Mass is the practice in many countries (page 24) and this practice serves as a nice "signal" to the congregation that Mass is about to begin. The Vatican II Hymnal is organized in a way that makes it very easy to choose hymns appropriate for each part of the Mass: not only does it have headers on each page giving suggestions, but the indices are also quite comprehensive and helpful in this regard. Best of all, 100% of the organ harmonizations, SATB settings, and cantor scores are available free online.

(Choir / A Cappella / Chant / ENGLISH)
2. As the priest processes to and then incenses the altar, the Mass Proper is sung a cappella. As a reminder, the Mass Proper (in this case, the "introit" or "entrance chant") is the ancient prayer, carefully chosen and assigned attached to each individual feast by the Church over a period many centuries. It can be sung in many ways (Latin or English), but one way would be the Simple English Propers. Incidentally, many large basilicas and cathedrals have sufficient time during the procession for an entrance hymn and the Mass Proper, a practice recently affirmed as correct by the USCCB Secretariat of Divine Worship (2/14/2012). The Vatican II Hymnal is the only hymnal to print the complete Mass Propers (in English with Latin incipit) as well as all the Mass readings, and this was done without a single page turn, so the congregation has no trouble praying along with the choir or lector.

(Priest, Congregation / A Cappella / Chant / ENGLISH)
3. The congregation sings the responses a cappella as the priest sings, “In the name of the Father,” etc. Throughout the entire Mass, all the dialogues between priest & congregation should be sung. For instance, after the Gloria, the priest should sing "The Lord be with you," as well as the Collect. The melodies for the orations are very simple, within the capabilities of any priest.

(Choir, Cantor, Congregation / A Cappella / Chant & Polyphony / GREEK)
4. The cantor sings "Kýrie, eléison" a cappella to a simple chant, the congegation repeats, then a 20-second polyphonic verset is sung by the choir. The same arrangement follows for the “Christe” and final “Kyrie.” There are hundreds of possibilities for this, but the SATB Brudieu Kyrie would be a fine example.

(Congregation, Choir / Organ / Chant / ENGLISH)
5. The entire congregation sings a simple, short, beautiful, chant-inspired setting of the “Glory to God” in English (with organ accompaniment). The piece is intoned by the priest, and the rest of the piece can be divided up into sections (a traditional practice). For instance, the women in the choir could sing the odd sections and the entire congregation could sing the even sections. The Gloria in honor of St. Edmund Arrowsmith would fit the bill quite well, it being brief, modal, and singable. The Vatican II Hymnal also contains more than 100 pages of other possibilities.

(Cantor, Congregation / Organ / ENGLISH)
6. The Responsorial Psalm is sung (with organ accompaniment) to a beautiful, memorable, simple, singable, noble melody based on Gregorian chant. More than 2,000 are available for free on the St. Noël Chabanel Responsorial Psalms website.

(Cantor, Congregation / Organ / ENGLISH & HEBREW)
7. The Gospel acclamation is done the same way, and could come from the St. Charles Garnier website. The Vatican II Hymnal contains the complete Chabanel Psalms and Garnier Gospel Acclamations in the same exact place as the Mass readings and Propers, to allow for maximum participation on their part.

(Choir / A Cappella / ENGLISH)
8. The Offertory Proper is sung a cappella by the choir, and (as always with Propers) employs as many Psalm verses as are necessary to cover what is happening at the Altar. We have found that the Simple English Propers work very well here.

(Priest / A Cappella / ENGLISH)
9. The Preface ought to be sung by the priest.

Pentecost Prelude/Postlude

Mairi — Sun, 20 May 2012 13:28:46 -0600

Any ideas?

Chesterton's hymn (O God of Earth and Altar)

Robert — Sat, 12 Sep 2009 07:17:50 -0600

Given it's authorship, why isn't it in more Catholic hymnals? It's commonplace in older mainline protestant hymnals. Will it make the PBEH - surely the text is public domain?

__________________________

O God of earth and altar,
bow down and hear our cry,
our earthly rulers falter,
our people drift and die;
the walls of gold entomb us,
the swords of scorn divide,
take not thy thunder from us,
but take away our pride.

From all that terror teaches,
from lies of tongue and pen,
from all the easy speeches
that comfort cruel men,
from sale and profanation
of honor, and the sword,
from sleep and from damnation,
deliver us, good Lord!

Tie in a living tether
the prince and priest and thrall,
bind all our lives together,
smite us and save us all;
in ire and exultation
aflame with faith, and free,
lift up a living nation,
a single sword to thee.

- G.K. Chesterton, 1906

Improving Congregational Singing

SJBCmusic — Mon, 14 May 2012 15:36:33 -0600

What's the best way for musicians to encourage congregational singing? We have a fine choir, two excellent scholas, good cantors, and a terrific new organ, but our congregational singing is absolutely abysmal, even by Catholic standards. I've tried everything I can think of and am at wit's end.

The notion of "listening to the cantor sing" seems to be what people here associate with "hymn singing." In recent months, I have gone back to having the cantor announce the hymns instead of only putting them in the program, but many people refuse to pick up their programs or open their hymnals. I have also instructed the cantors to back away from the mic after the first phrase. This has resulted in complaints: "We can't hear the cantor anymore" or "The organ's too loud" (foundations 8' and 4'; generally no upperwork or reeds!). My reply is always, very politely, "The congregation is supposed to be singing, not listening to a solo by the cantor."

As far as I can tell, we're doing everything possible to encourage singing. We have a complete printed program each weekend with all congregational hymns and Mass parts clearly indicated; these are handed out by the ushers as people arrive. We generally do solid, familiar hymns in comfortable keys, along with Gregorian chant. The hymns are listed in the program and are also announced, and the intro is always long enough for people to find their place in the book.

As a rule, we use the Rice entrance antiphons and psalms, and hymns at the offertory, Communion, and postcommunion (hymn of praise). The ordinary for Eastertide has been Mass VIII with the Lee Congregational Mass Gloria at the non-choir Masses. We've also sung the simple Regina caeli at the end of all Masses since Easter, but after six weeks, still little participation. For funerals we still get plenty of requests for the "Eagle's Wings" and "Here I Am" style of music, but nobody sings along with that either.

The only exceptions have been during Lent. At Stations of the Cross with Benediction, the people sing the Stabat Mater, O salutaris (in Latin), Tantum ergo (also in Latin), and one stanza of "Holy God, We Praise Thy Name," and there is no cantor at this service. But when we do "Holy God, We Praise Thy Name" at Mass, there's the usual silence downstairs. For the RCIA Rite of Election, the singing was very good, but we had a full house and they're mostly converts from Protestant churches.

Any suggestions? I'm considering reducing my organ registrations to something barely adequate to accompany the cantor. At least then nobody can complain that the organ's too loud when the congregation's supposed to be singing. Every weekend I feel like I'm accompanying an imaginary congregation and hoping for the best downstairs, but there are no signs of improvement. As long as we're giving people the "opportunity" to sing, the clergy don't seem to care whether they actually do or not.

Wedding music suggestions?

unfatmatt — Tue, 06 Dec 2011 15:40:27 -0700

My sister is getting married in April, and asked that my brother and I would provide the music. Of course there will be an organist, but we have free reign for picking the music. Neither of us majored in voice, but sang in a sacred polyphony choir and GC schola together in college as well as now at our parish of St. John Berchman's Cathedral in Shreveport.

I am asking for suggestions for traditional hymns for a wedding which would not be too taxing on non-classically trained singers.

Thanks in advance.

June 11th Propers and music for Beatitudes?

Claire H — Sun, 20 May 2012 14:38:14 -0600

Wondering if anyone has or would like to put together (Ben Yanke? ;) the propers for the Memorial of St. Barnabus (June 11). My children's choir is singing our next Mass that day. It's the homeschool Graduation Mass, but I'd like to include at least some of the propers if we can learn them in time (we'd need to start working on them at tomorrow night's rehearsal).

Also, the Gospel that day is the beatitudes. If anyone has or knows of either a simple chanted version, or a unison or 2-part choral version that could work with children, please share!!

Harmony with Kids

EGrimm — Tue, 15 May 2012 12:10:33 -0600

I am a rookie teacher and would love some suggestions for:

1. How to teach children (ages 6-13) to sing in parts. I have had some success with canons. Any other tips?

2. Two or three part songs for Mass or for a Christmas performance.

Thanks!

Cead Mile Failte Romhat

StDenis — Sat, 05 May 2012 17:29:05 -0600

Friends,

Is there anyone who happens to have a copy of the traditional Irish Christmas/Holy Communion hymn, "Cead mile failte romhat"? I have had continuous requests for this every year around First Communion time. And while I've attempted to write something myself, every time I play it I realize how much I dislike what I've written! I cannot seem to find it anywhere on the Internet. (And, please, I don't mean to start a debate as to whether this is an appropriate hymn or anything. Though I think that it is!)

Best,

StDenis

length of vidi aquam or asperges me

hilluminar — Wed, 02 May 2012 22:09:37 -0600

In the EF Mass, is the choir required to chant the vidi aquam during the Pascha season, (or the asperges me the rest of the year), in it's entirety: vidi aquam, verse, gloria Patri, and repeat of vidi aquam? Our priest goes down the aisle sprinkling the assembly and returns to the Sanctuary at a pretty fast clip. Then he stands there while our choir finishes winding through the vidi aquam. It is an akward feeling for the choir to have the priest just standing there, waiting for us to finish. Do we have to sing the whole vidi aquam, or can we shorten it?

Alleluia at the end of the "Ite" versus at the end of Introit, etc.

David Andrew — Sat, 19 May 2012 09:18:59 -0600

Today for the first time our men's schola sang for the EF Mass held at our parish on the third Saturday of every month at 8 AM. Previously, it had been a Low Mass with vernacular hymns, which we then changed to Missa cantata with me as cantor singing the chants.

I was thrown for a bit of a loop when talking to the celebrant this morning, when we were discussing which Ite he would sing. I asked if the "alleluia" at the end was included and he and the deacon both said no, that we were past Ascension and so the alleluia was omitted, and would only be sung one more time on Pentecost.

When we prepared the chants (today was the Feast of St. Peter Celestine, Pope), I had the schola learn the "alleluia" at the end of the Introit, Offertory and Communion, but given what the celebrant said about the "alleluia" at the end of the Ite, I decided at the last minute to eliminate them from the chants.

I thought that the T.P. indication in the chants meant that the portion marked thus was to be sung if it fell within the scope of Paschaltide generally, with no distinction made between Sundays, feast days and ferias from Easter Sunday through Pentecost inclusive. However, in the PBC, the Ite had an indication that the "alleluia" portion is sung from the Easter Vigil through Easter Sunday inclusive only and gives no further direction.

Long question short: what are the rubrics for the application of the "alleluia" (marked T.P.) at the ends of the processional chants and for the Ite; are they different?

British Columbia, Canada, Sacred Music Scene?

JonDeuling — Tue, 15 May 2012 08:54:24 -0600

Question: I'm from British Columbia, Canada, and want to consider whether or not God is calling me to be involved in progressing in the study, practice, performance of sacred music. What do y'all suggest? I'm an ear trained musician with the bare minimum of theory behind me, however, I've a heart full of inspiration for these wonderful old forms of great music. I'd love to make some friends of Sacred Music involvement, too, if you're in BC or close by! Thanks

Jon

Anyone have an organ accompaniment for OFFERTORY " Viri Galilaéi " ??

JMO — Tue, 15 May 2012 07:57:00 -0600

The ORDO CANTUS MISSAE (and hence Greg. Missal) added an optional chant called "Viri Galilaéi."

Anyone have an organ accompaniment for this?

Optional • Offertory (Acts 1: 11)

Viri Galilaéi, quid admirámini aspiciéntes in caelum? Hic Jesus, qui assúmptus est a vobis in cælum, sic véniet, quemádmodum vidístis eum ascendéntem in cælum, allelúia.

Men of Galilee, why do you gaze at the sky in astonishment? This same Jesus who was taken up from you into heaven, will come by the very way in which you saw him go into heaven, alleluia.

We aren't the only ones to protest worshipper-centered hymns

Jeffrey Quick — Sun, 22 Apr 2012 11:43:34 -0600

Ann Barnhardt, who has become infamous on the Internet for her, uh, zealous style, has just posted a bit on the power of music, and parts of it could have come from this forum, if we didn't have the etiquette we have. Unfortunately, her blog doesn't allow for searchable or individually linkable posts; this is what's on top now. Since it'll get knocked down soon enough, I'll quote the most relevant bit here:

Finally, the insipid narcissim of "Contemporary Christian / Praise and Worship" music. If this is what you pump into your spirit, I can see why this is a nation of braindead, self-absorbed cowards. "You are worthy of MY praise." I'm sure God Almighty is very relieved to know that He is WORTHY of YOUR praise. Considering that He is perfect Goodness, Beauty, Truth and Love, and you are a miserable tick of a sinner, I'm glad to know the He is WORTHY of YOUR praise. Puke. There are more first person pronouns in this pablum than in an Obama speech, and that's saying something. Hurl.

Would that more people felt that strongly!

World Communications Day... Houston, do you read me?

PurpleSquirrel — Fri, 18 May 2012 17:14:38 -0600

Could someone please explain to me what World Communications Day is about?
(Thank you in advance.)

Terms to be forever forgotten

Ben Yanke — Sun, 05 Feb 2012 08:34:52 -0700

@ Jeffrey (original post)

Here's a start:

Gathering Song
Sending-fourth song
Table (in reference to the Altar)
Presider
Opening Prayer
Closing Prayer

Any others that come to mind?

Looking for "Royalty-Free" recordings for use in multimedia productions

catholicservant — Thu, 17 May 2012 21:56:01 -0600

Hello,
I create web-based multimedia for Catholic organizations (i.e. Dioceses and other Catholic non-profits) – e.g. a photo/video slideshow of ordinations, tours of historic churches, etc.

I often struggle trying to find suitable background music for these productions. Proper use of licensed works is a deep dark rabbit hole. However, I've been fortunate on occasion to get permission directly from the source.

There are websites where you can buy 'royalty-free' music beds, but they never have 'Classical' music – at least the ones I've found.

Any suggestions on where to find quality recordings of Mozart, Beethoven, Bach, Hayden, etc. for this kind of use?

NOTE: Although many compositions are considered 'public domain', the performances themselves are not.

Thanks!
Craig

Compline start-up kit. Just add counter tenors.

jefe — Fri, 30 Mar 2012 17:02:07 -0600

jefe here. I just signed on today following the faint footsteps of Mary Jane Ballou. We have had a monthly COMPLINE with a 'midi' voiced quire (ATBarB or AATB) for four years. Our 14 voice group is a spin-off of Peter Hallock's Compline Choir at St. Mark's Episcopal in Seattle, except we use women also on the top alto voice. About a third of our group are Catholic. They have no other place to chant Compline. The rest are Anglican, Episcopalian, Moravian and one Baptist.
In the beginning it was very difficult to find appropriate music and we floundered until I started composing, arranging, editing, transposing, begging, buying, and realizing music that would work. First we needed a format, an Order for Compline. We used Rod Mather's Order for a time until we obtained 12 copies of the Order for Night Prayer,'Compline' published by the Royal School of Church music for the Plainsong and Medieval Music Society, 2005 edition. We use a realization of that Order. It is an improvement, mostly by backdating to a more 'Latin' flavor of the famous 1928 proposed English Order for Compline, Sarum Rite. The most difficult music to find clearly were Psalm settings for ATBarB. Over time, I started to put together a pretty good sized library of music for the 'midi' choir. My professional music carreer is done, so I have no illusions of making money with my work, and there's no market for it anyway. So yesterday, our webmaster uploaded 385 separate works usable at Compline to our website: http://www.trinitycomplinechoir.org
To my knowledge, everything on there is in PD or my own stuff. Here's the catch: It's a FREE download. Push the 'Compendium' button and all will be reavealed. All files are in both pdf and Sibelius 6. I've separated zip files into the changeable parts of Compline: Order (7), Orison (51 pieces), Hymn (56 pieces), Psalm (79 pieces), Nunc dimittis (47), Anthem (39), and Service music (29,mostly transpositions), Ave Maria (12 settings), Russian Orthodox (15), Chants (13, both Gregorian and Ambrosian, all realized in modern notation, much from the Liber Usualis of 1912 and 1951), music of Heinrich Isaac (12), and specific music for Maundy Thursday (23).
I have engraved 40 of Peter Hallock's Psalm settings, which do not appear in the compendium, but will be available on-line in the near future. He is genius, pure and simple. I've also done a lot of transposing of TTBB music by famous living (as opposed to dead white guys) composers, up a few steps for our use. These do not appear either. We have at least as many pieces, published or not in public domain, in our library than appear in the compendium.
My whole agenda with the music was to make it usable by a midi choir, and make it very easy to rehearse in a short period of time, reducing a lot the mistakes made by the performers in pointed, unpointed, and medieval notation. I love the sound of Latin, so much of the music has remained in the original tongue, even if it is a dead language.
Compline has taken me over in a big way. I hope I have enough time left to finish 1000 works for compline.
So, download away and let me know if you start your own Compline Choir and can use any of this stuff.
http://www.trinitycomplinechoir.org
One of our Catholic brothers was heard to remark, "Your Compline sure has a Roman stamp on it." So be it.
regards, as always, jefe
"In manus tuas, Domine, commendo spiritum meum" is the nut phrase of Compline.
"Life is short. Compline is shorter. You can do both."

Carpool from BC Canada to CMAA Colloquium?

JonDeuling — Fri, 18 May 2012 15:59:17 -0600

Hi,

My name is Jonathan, and my question is simple: anyone heading to Salt Lake for the Colloquium? I need to carpool! I live in the Okanagan, but could get to Vancouver. Thanks!

Jon

Organist moving to HOUSTON, TX - July 2012

Gavin — Tue, 15 May 2012 16:18:52 -0600

I will be moving to the Houston area this coming July, likely in the first half of the month, to pursue graduate study. I'm looking for work in the area, so I thought I'd briefly advertise myself to anyone interested. Or if you just want to meet up and hang out, that's fun too! (I've already met some of you there)

I am an experienced and frankly quite talented organist with a Bachelor of Music in performance. I am also a decent bass, with a year of lessons. I'm comfortable in churches of all denominations, including (of course) Catholic.

What I'm looking for
Any churches hiring for part-time positions - any denomination, any position, preferably $15K+
Substitute work
Choral singing opportunities - paid or unpaid!
Recitals - I love to perform! Again, paid or unpaid!

I am currently in a job search and have applications out, though I'm still eager to hear of any leads anyone has. For substituting, I do NOT do the "sing and play" thing, and I will accept the parish's regular fee, within reason. I will be available for Sundays and weekdays, and am willing to drive up to an hour outside of Houston.

I can be contacted on here - simply click on my name, and then click "Send Gavin a message" on the left. Thanks, all!

Sharing a Hotel Room in Salt Lake City

JIF — Sat, 28 Apr 2012 11:47:56 -0600

Hello again, gang!

In an effort to save some money, I was wondering if the practice of sharing hotel rooms was common among the Colloquium crowd. I would be willing to share a room with two or three others, bringing the total cost of the room down to 1/3 or 1/4 of the normal price. I am very comfortable sleeping on a sleeping bag on the floor as I have done it many times! I have to figure this out to see if I can actually go to this event. I will not be able to if I have to pay full price...

Also, I am a pretty easy to get along with 30-year old, enjoy cards, do not smoke, do not drink excessively, have never committed a crime, and am married with one daughter and another baby on the way. If you're interested, please contact me or reply to this post.

God bless,

Jacob

Charles Tournemire and l'Orgue Mystique: Chant and organ

Kevin in Kentucky — Fri, 02 Jan 2009 16:01:38 -0700

For those of you who play the organ and love Chant, the name Charles Tournemire should be in your midst. However, for many of us who play in the Roman rite, he is either known for a few pieces that were really improvisations and not much more. Sadly, he left a corpus of work that is still in its infancy with regard to awareness or popularity. That work is l'Orgue Mystique or The Mystical Organ.

Tournemire lived from 1870 to 1939. He was a professor of harmony at the Paris Conservatory and the organist at St. Clotilde (Cesar Franck's church). Tournemire was a student of Franck and went on to teach Langlais, Messiaen and Durufle (names familiar to those in the organ world). He was a rather interesting individual, known for his moodiness and intense personality. He was a deeply mystical Catholic and was attached to the writing of Ernest Hello. Tournemire was also close to the monks of Solesmes and there in lies the connection.

Tournemire considered a project of compositions based on the proper chants of the Sunday as far back as 1922, when he wrote of his conversations and visits to the Abbey at Solesmes. If your French history is in play, you will remember that the French had just allowed the religious and monks to return to France,after having been thrown out for some years. A new religiosity had been made and the monks at Solesmes were in its midst. Tournemire visited there many times and made much of their singing.

Somewhere between 1922 and 1927, Tournemire prepared a plan for composition of l'Orgue Mystique. He made notes of the proper chants of the day and also of chants there functioned at the divine office. A look at the plan shows that sometimes he made mistakes and chose chants not always proper to the day. He also used two sources for his chants, that of the 1908 Graduale and the old Roman (1871) book. Also, there is a chant that glues the whole thing together and appears a number of times throughout the suites.

There are 52 suites in the set. However, one should note that the use of the organ in France at that time governed Tournemire's choice of the days. The organ only played at Immaculate Conception and the Third Sunday in Advent, only Laetare Sunday in Lent. Therefore, the suites do not correspond to the whole year per se.

The suites were not composed in order of the year, but in a liturgical precedence. Tournemire was an avid reader of Mocquereau's l'Annee LIturgique (the Liturgical Year) and worked from many of his thoughts. Therefore, the Third Sunday in Advent is the first to be seen in the cycle, but Easter was the first to be composed. Tournemire composed the work between 1927 and 1932. Incidently, the last piece of the last suite is based on the Te Deum.

Now, for the pieces themselves. They are; Prelude a l'Introit, Offertoire, Elevation ,Communion and Piece Terminale.
How did Tournemire envision them to be used? Again, liturgical practice in his part of France governed their usage.
The prelude was used between the Asperges and the Introit. The Offertoire was used as a prelude to the actual chant for the day sung at the Offering. The elevation is most interesting because the organ actually played in France during that moment. Communion is quite clear from it name. Piece terminale was for Tournemire an extended time of meditation on the day itself and often involved chants from the office and his own choice of chants for the piece. They are long pieces that are rather involved and do not always end loudly. Tournemire once was improvising on just a lone stop and his assistant said to him, "But it is a sortie" Tournemire shot back" Well then, sortez!"

Why Tournemire here at this place? Because, for me, his use of the chant is powerful and still useful. As we encourage chant, we should also encourage music based on chant to be used. It is true that Tournemire's music cannot be separated from the liturgy, which is why we here need his music. It is deeply connected to the liturgy and closely connected to the spirit of the liturgy. It is impressionistic and yet grounded in the chant forms and modes. Langlais once said that it was never to be used as setting pitch for the chants, but as garland for the liturgy. Messiaen proclaimed that one day, the world would discover Tournemire.

I am happy to provide more information about Tournemire if you are interested. I hope this whets your palette a little and encourages you to hear and play his music. The first four pieces of each suite range from very easy to challenging.
The last pieces are often difficult but well worth the time. I love them all, but then I am biased.

I will end with a quote from Tournemire. "The organ without chant is like a body without a soul."

Paix,
Kevin in Atlanta

Life Teen Video by Father Robert Schreiner

canadash — Wed, 16 May 2012 10:01:53 -0600

If you have time to watch, I'm interested in your comments. This worries me. Does anyone know anything about him?