Robert Louis Stevenson on Gregorian Chant

From our dear friend Jeffrey Morse comes this fascinating commentary:
With Independence Day just passed as well as the Feast on July 1st of California’s Blessed Junipero Serra, the founder of the California Mission system, my thoughts have turned to Chant in America and specifically in California, and it’s history here.  I was very pleased to come across some letters of Robert Louis Stevenson, the author of TREASURE ISLAND, A CHILD’S GARDEN OF VERSES, DR. JEKYLL & MR HYDE and many other notable books, a Scot, who visited California in late 1879. 
Two letters of his survive that are really quite remarkable. In them he describes visiting Mission Carmel, or really the ruins of it as it was roofless by this time with grass growing in the nave and cows occasionally grazing there.   
In this letter he is seen as one of the early advocates of saving the old mission writing, “In England some great noble or cotton spinner would purchase it, repair it and charge so much entry money  to curious visitors.  In France, still better, the government would take it in hand and make it one of the ‘Historical Monuments’ of the nation.”  His visit to the ruins of the Mission coincided with “San Carlos Day” the feast of St Charles Borromeo, the patron of the Mission.  He writes,
 I heard the old indians singing mass.  That was a new experience, and one well worth hearing.  There was the old man who led and the women who so worthily followed.  It was like a voice out of the past. They sang by tradition, from the teaching of early missionaries long since turned to clay.  And still in the roofless church you may hear the old music.  Padre Casanove, will, I am sure, be the first to pardon and understand me when I say the old Gregorian singing preached a sermon more eloquent than his own.  Peace on earth, good will to men so it seemed to me to say; and to me as a Barbarian, who hears on all sides evil speech and the roughest bywords about the Indian race, to hear Carmel Indians sing their latin words with so good a pronunciation and give out these ancient chants with familiarity and fervor suggested new and pleasant reflections.  (Letter to Crevole Bronson)
Elsewhere he writes more on his experience of hearing Mass sung at the Carmel Mission:
An Indian, stone-blind, and about eighty years of age, conducts the singing; other Indians compose the choir; yet they have the Gregorian music at their 
finger-ends, and pronounce the Latin so correctly that I could follow the meaning as they sang.  The pronunciation was odd and nasal, the singing hurried andcstaccato.  ‘In saecula saeculo-ho-horum’ they went, with a vigorous aspirate to every additional syllable.  I have never seen faces more vividly lit up with joy than the faces of those Indian singers.   It was to them not only the worship of God, nor an act by which they recalled and commemorated better days, but was besides an exercise of culture where all they knew of art and letters was united and expressed.  And it made a man’s heart sorry for the good fathers of yore who taught them to dig and to reap, to read and to sing, who had given them European mass-books which thet still preserve and study in their cottages, and who had now passed awayfrom all authority in the land- to be succeeded by greedy land thieves and sacrilegious pistol shots.  So ugly a thing may our Anglo-Saxon Protestantism appear beside the doings of the Society of Jesus.”
One should remember that Stevenson was not even a Catholic, and yet he was charmed, indeed one might even say bowled-over by his experience of the “Gregorian singing” so loving preserved nearly a half century after the end of the mission system.  My hope is that all of us who are involved in the teaching, directing and singing of chant might also possess this fervor, this zeal for the Church’s song, so that long after we are all clay, the Chant might ring out in our churches again, preaching a sermon, a catechism more eloquent than mere words.

The Rite of Sprinkling

One of the strangest results of the reform of the 1969-70 reform of the Mass ritual was the musical and liturgical confusion introduced for the Sprinkling Rite. It is clear enough in the Graduale Romanum; Asperges Mei for most of the year, and Vidi Aquam for Easter season.

But this very old order of things was thrown into chaos by the loss of Gregorian standard as the norm for music, and also by the way in which the new Roman Missal seemed to split the priests parts from the choir parts and thereby drive a wedge between the two by publishing only the priest’s parts in the Missal. The Gradual, meanwhile, is mostly unknown in the lofts of the English-speaking world.

As a result, the typical Sprinking rite, insofar as it is used at all, goes like this:

Dear friends, this water will be used to remind us of our baptism. Let us ask God to bless it, and to keep us faithful to the Spirit he has given us:

Cacophonous musical thing follows that has something to do with water. 

So there needs to be a restatement about the rules. There is the Vidi Aquam for Easter, and Asperges Mei for the rest of the year. These chants are easily obtained from online sources.

But what if this is not a choir that sings Latin chant? What then?

There are many wonderful and simple options in English. One of the best comes from the Simple Choral Gradual, listed in the appendix. Here we find two little treasures: an Asperges and a Vidi in English set for the choir. Any choir can sing this. It is dignified and beautiful. It is just one of the reasons that having this book in print is a fantastic thing for the Roman Rite. Now choirs can sing propers in choral settings all year, mixing and matching with chant.

I’ll say it again: music at Mass is not just about picking some random thing that you like to sing. It is about being part of the actual liturgical structure, singing appointed texts in dignified ways.

You can engrave chant

For longer than a year, I’ve wanted to throw myself into learning Gregorio, the method for setting four-line staffs with chant notation that shows such incredible promise. The merit of it comes down to its stability (if your code is right, the output is perfect), its sharability (one can imagine a global data base of all Gregorian code), its incredibly intuitive structure (there is virtually no way not to follow how it works once you start).

To tell you the truth, I’ve dreaded learning this because I’m not such a quick study when it comes to software and code, despite the reality that I live, eat, and sleep in a world of coders nearly all the time. I’m too impatient for it, and I keep having to learn the same lessons over and over. Learning new stuff, which I have to do every few days in any case, truly does feel painful and I tend to find excuses not to do so. So I put off Gregorio until I could really focus.

Today was the day.

Gregorio lives in that mysterious world inhabited by hypergreeks called LaTeX or just Tex, so this is GregorioTeX. This is method of code writing to a compilier that spits out your end results on the other side. This is very different from a graphic interface program like most music typesetting software and like Word.

Until now, this is all I’ve used. I can type with Meinrad fonts if I just have to, but the program is oddly unstable. Moving from Mac to Windows is nearly impossible, and recent versions of Word have been unkind to systems that require vertical stability across several fonts. In any case, the fonts are no longer being updated or upgraded, so their current limits (some thing this font package just will not do) are permanent.There are a handful of people in the world who can really make Meinrad sing, people like Richard Rice (Parish Book of Chant) who can type as fast with these fonts as the best expert can type words.

But then what about the rest of us? It makes sense to move forward to new things. The Simple English Propers were set in Gregorio, and everyone has been amazed at the results. In fact, it seems that nearly everyone under a certain age is using this new method.

My first mistake with Gregorio was attempting to throw myself into the TeX world at the same time I tried to learn this program. After many downloads, tutorials, customizations, and hours of clumsy poking on things, I finally bailed out. This is a highly frustrating path for anyone who doesn’t do this all the time.

Then I went straight for the wonderful interface built by Richard Chonak: Gregorio live demonstration. He has used his own server to run all the machinery behind the scenes. All you need to do is put in the code right inside the window, choose your export properties, and you are done.

Try it now with this Kyrie

____
name:Kyrie XVII;
%%
(c4)KY(f)ri(gfg)e(h.) *() e(ixjvIH’GhvF’E)lé(ghg’)i(g)son.(f.) bis(::)
Chri(ixj)ste(jv.hijv.) e(ixjvIH’GhvF’E)lé(ghg’)i(g)son.(f.) bis(::)
Ký(f)ri(hj)e(ixjjkij.) e(ixjvIH’GhvF’E)lé(ghg’)i(g)son.(f.) (::)
Ký(f)ri(hj)e(ixjjkij.) *(,) (ixf//hjjkij.) **(,) e(ixjvIH’GhvF’E)lé(ghg’)i(g)son.(f.) (::)
_______

All that is left is understand the logic of the code. Here is the essential guide. You can get more detailed on the next page. It comes down to this: the words are typed and the music is in parenthesis. The notes start with A and go to M.

From there you can create every manner of note shape and compound neume and everything else you can imagine. It is actually completely amazing and very easy once you get the hang of it.

The possibilities here really are incredible to consider. For Church musicians, this is just invaluable for making scores and printing pew resources. I’m imaging a future in which all this code is completely open source. In fact, people like Aristotle Esguerra have already posted the code for the Graduale Simplex. This way, if you need a perfect rendering of Gloria XV, it’s there for the taking.

Here is a bit about the background of the project:

The Gregorio project was born in 2006 at TELECOM Bretagne, a graduate engineering school in France. It was at first a student project of six months duration, supervised by Mr Yannis Haralambous, developer of Omega. When the project was done, Élie Roux decided to continue the project and to develop it under GPL.

From the outset the goal of the project has been to create a graphical interface for the monks of the Abbey of Sainte Madeleine du Barroux so that they could use a gregorian font. This font, Gregoria, is a professional and commercially available OpenType font designed by Elena Albertoni, a typographer and graphic designer. Finally, due to licence issues, it was decided that the project will have its own font called gregorio.

At the end of the year 2006, a new developer, Olivier Berten, joined the project and created its OpusTeX component. By April 2007, Gregorio had reached a certain maturity and could start to be used, at least through its command line interface, as a preprocessor for OpusTeX. A project page was created on gna.org.

This site was set online in April 2007 with a design by Patrick Roux and it has since been corrected and improved by Nicolas Aupetit. Jérémie Corbier has been developing the autotools support and the modularization of the code, also since April 2007.

The development of the graphical interface and the modification of the code structure to use autotools and dynamic libraries has been the subject of my third year project in TELECOM Bretagne. Sadly, the graphical interface is not yet usable.

During a three-month internship starting april 2008 at the Monastero di San Benedetto, in Norcia (Italy), gregorio made considerable progress, The GregorioTeX style is now almost finished, and as a consequence, we’ve made progress in code stabilization. Gregorio is now close to a release.

During the months of October and November 2008, the development is focusing on stabilization for a release. The port to cygwin is working, and the website has been updated and improved. Website development has picked up lately, thanks to Richard Chonak who joined the project as a translator.

How to Sing, from Estonia to Lady Gaga

The Estonia Song Festival is one of the largest amateur singing events in the world. I’m grateful for the youtubes online that give a sense of what goes on there. The newest one apparently took place yesterday.

What I like about this video is that it shows what strong, bold, confident, declamatory singing is like.

Inspired by this video, diversion follows:

Christian liturgical singers could learn something from watching this. The pathetic and insipid stylings of “Christian contemporary” music has infected this generation of singers, so that they come to their Church choirs with that affected, wispy, vulnerable sound that is (I gather) supposed to represent a kind piety. It does not. It suggests something else entirely.

If popular styles eventually make their way into our Churches, and surely they do, there is probably good reason to be optimistic about other changes that are taking place in pop music. The astounding popularity of Lady Gaga here could eventually have a good effect. She rejects that wispy, affected sound completely.

With Lady Gaga, we similarly find this forthright, full-voiced, text-driven declamatory style, an approach that is (ironically) much more suitable for a liturgical approach than what passes for “praise music” today.

An additional interesting fact about Lady Gaga: as the composer of her own music, she is pushed back to a rhythmic style that places the metric emphasis on beats one and three (such as we find in Josquin and Palestrina) rather than on two and four (such as has dominated popular music since the big band age). It is also helpful that despite her obvious shortcomings in the moral area (I can’t even link a video), she is the most articulate pop musician since Benny Goodman, so perhaps she will start something here too: the use of the mind rather than pure emotion.

Indeed, Gaga’s music is complex enough to be fugued: