Credo VI

Looking through the various Credo's in the Kyriale, I was fascinated by this oft-recurring figure in Credo VI. It is repeated 21 times as the conclusion of every phrase.

The Amen:

St. John's Cemetery Chapel on a summer Sunday.

A Splendid French Mass Setting

Henri Dumont (1610-1674)

The Messe Royale  has long been a favorite of the French. The famous church of Saint-Eugene-Saint-Cecile at Paris, where the EF Latin Mass has been celebrated for the last 25 years, frequently sings this beautiful chant mass, composed in the 16th c. by Henri du Mont.

Wikipedia tells us that from 1652 Henri Du Mont was harpsichordist at the court of the Duke of Anjou (Philippe I, Duke of Orléans, a brother of Louis XIV), and in 1660 he obtained that post to the young queen Marie-Thérése. In 1663 he became "maitre" of the Chapelle Royale in Versailles, in 1672 he became "Sous-maître de la musique du Roy" (with Pierre Robert) and in 1673 became Master of the Queen's Music.

The notation may be found here, but I've had no luck in finding the organ accompaniment online. Will keep trying since I would love to introduce this mass setting to our schola and congregation. Of course, it's always possible to sing it acapella but we've found that using the accompaniment is a helpful aid in encouraging the people to sing along with the schola.

These recordings are from Saint-Eugene-Saint-Cecile:

Ice ring around the sun

We were amazed by the strange ring around the sun around 1:30 pm today. A scientifically-minded friend explained that it is a phenomenon caused by the very cold air temperatures high in the stratosphere.

Go figure.

Examining the First Alleluia for the Fifth Sunday After Easter

 

 

In this week's Alleluia, there are several fine examples of the pressus, the Gregorian chant neum which is formed by the conjunction of two neums over one syllable. When the last note of one neum and the first note of another neum are the same note, they form one long note.

 

 

pressus

In this example, the pressus is formed by the last note of a clivus and the first note of the next clivus.

 

(Actually two of the circled examples in the first example are probably bistropha since they are two individual puncta and not two neums fused together.)

 

Sometimes it's difficult to tell what is going on in a melisma, such as this group of neums taken from the end of the Alleluia above. As far as I can tell, the neum in aqua is a podatus, the purple is a clivus, the yellow appears to be a punctum, the green is a climacus, the blue a bistropha and the red a dotted punctum:

 

 

 

 

 

The pressus is an element which provides strength and solidity to the melody line.

 

How to sing the pressus? Dr. Theodore Marier explains in his book, A Gregorian Chant Master Class, that the pressus should not be stressed but "sung firmly, without a diminuendo, for the duration of two pulses."  He quotes Dom Gajard in The Solesmes Method:

 

By their natural weight the pressus play a particularly important part in the architectural structure of the melody. Dom Mocquereau compared them to solid pillars on which the whole musical structure rests, but he assured me he was referring to their rhythmical importance and not necessarily to their dynamic strength. 

We can't end our discussion of the First Alleluia without mentioning the high point of the verse which is the melisma over redemit where the melody ascends and weaves itself around the first and second lines of the staff:

 

 Dom Johner in his Chants of the Vatican Gradual offers this interpretation:

As a city set on a hill cannot remain hid, so this redemit attracts the attention by its notation and still more by its rendition . . . We have been redeemed through the blood of Christ. Joyful remembrance of this fact urges us to express our thanks again and again. Here it is done in a simple yet affectionate manner by the pressus over sanguine.

So our pressus appears once more in this piece over the word sanguine, (circled in pink above) demonstrating that in this proper the pressus is indeed a critical structural element.

Justine Ward's Childhood Home

Justine (nee Bayard Cutting) Ward, whose life's work was the development and promulgation of a method of teaching Gregorian chant to children, lived for much of her childhood and young adult life in Westbrook, her family's mansion and nearly 700-acre estate on the South Shore of Long Island.

On a recent Sunday afternoon, we visited Westbrook, now the Bayard Cutting Arboretum, which was donated to the Long Island State Park Commission in 1936.



Walking along the Connetquot River near the Carriage House.

 

Admiring the view along the Connetquot.



The picturesque Carriage House where concerts and other programs are frequently held.

Approaching the family mansion from the west side.

 

In the west garden.

 

View of the back veranda of the mansion from under the canopy of the enormous Weeping Beech (Fagus sylvatica 'Pendula') on the Great Lawn.