Chant Ensembles

by Gary D. Penkala

To be very clear, Gregorian chant is the preferred music for the Roman Rite of the Catholic Church.

• These qualities [holiness, true art, universality] are to be found, in the highest degree, in Gregorian Chant, which is, consequently the Chant proper to the Roman Church, the only chant she has inherited from the ancient fathers, which she has jealously guarded for centuries in her liturgical codices, which she directly proposes to the faithful as her own, which she prescribes exclusively for some parts of the liturgy, and which the most recent studies have so happily restored to their integrity and purity. On these grounds Gregorian Chant has always been regarded as the supreme model for sacred music, so that it is fully legitimate to lay down the following rule: the more closely a composition for church approaches in its movement, inspiration and savor the Gregorian form, the more sacred and liturgical it becomes; and the more out of harmony it is with that supreme model, the less worthy it is of the temple. The ancient traditional Gregorian Chant must, therefore, in a large measure be restored to the functions of public worship, and the fact must be accepted by all that an ecclesiastical function loses none of its solemnity when accompanied by this music alone. Special efforts are to be made to restore the use of the Gregorian Chant by the people, so that the faithful may again take a more active part in the ecclesiastical offices, as was the case in ancient times. Tra le sollecitudini #3 (Saint Pius X, 1903)
   
• It is the duty of all those to whom Christ the Lord has entrusted the task of guarding and dispensing the Church's riches to preserve this precious treasure of Gregorian chant diligently and to impart it generously to the Christian people. Hence what Our predecessors, Saint Pius X, who is rightly called the renewer of Gregorian chant,[19] and Pius XI[20] have wisely ordained and taught, We also, in view of the outstanding qualities which genuine Gregorian chant possesses, will and prescribe that this be done. In the performance of the sacred liturgical rites this same Gregorian chant should be most widely used and great care should be taken that it should be performed properly, worthily and reverently. Musicæ sacræ #44 (Ven. Pius XII, 1955)
   
• The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services. Sacrosanctum concilium #116 (Vatican Council II, 1963)
   
• The study and practice of Gregorian chant is to be promoted, because, with its special characteristics, it is a basis of great importance for the development of sacred music. Musicam sacram #52 (Sacred Congregation of Rites, 1967)
   
• Among the musical expressions that correspond best with the qualities demanded by the notion of sacred music, especially liturgical music, Gregorian chant has a special place. The Second Vatican Council recognized that "being specially suited to the Roman Liturgy" it should be given, other things being equal, pride of place in liturgical services sung in Latin. Saint Pius X pointed out that the Church had "inherited it from the Fathers of the Church," that she has "jealously guarded [it] for centuries in her liturgical codices" and still "proposes it to the faithful" as her own, considering it "the supreme model of sacred music." Thus, Gregorian chant continues also today to be an element of unity in the Roman Liturgy. Chirograph on Sacred Music #7 (Saint John Paul II, 2003)
   
• Finally, while respecting various styles and different and highly praiseworthy traditions, I desire, in accordance with the request advanced by the Synod Fathers, that Gregorian chant be suitably esteemed and employed as the chant proper to the Roman liturgy. Sacramentum caritatis #42 (Benedict XVI, 2007)

Whenever you're faced with a small ensemble, whether it's due to a pandemic or just the size of your parish — no worries. Chant is the perfect repertoire for a few singers. And here are some resources that can help [the books are listed in increasing order of complexity/difficuty]:

• Booklets of Chant, Volumes 1-4 — These inexpensive booklets of chant contain six to ten chants for a specific season of the liturgical year. All the chant is set to modern music notation. The text provided with the music is the original Latin and an English translation appears at the beginning of each piece.
   
• Simple English Propers — This extraordinary book has been met with widespread acclaim for the beauty and versatility of the music — and also for being the first generally accessible book of chanted propers in English for every parish. It provides complete entrance, offertory, and communion propers in English with Psalms in modal chant, with four-line, square-note notation, for all Sundays and feasts.
   
• Liber cantualis — An excellent resource for the beginning Schola, this book contains the complete Order of Mass, seven chant Masses, the Requiem Mass, four sequences and 40 familiar hymns and other chants — truly some basic music that every congregation should hear (and sing!). The music is in chant notation, but without the florid melismas of more complicated chants, so the selections in the book are easier to read.
   
• Solesmes Chant Resource Set — This wonderfully practical Chant Resource Set contains: Liber cantualis; Gregorian Melodies, Volume 1 CD, Gregorian Melodies, Volume 2 CD. The new Solesmes edition of the Liber cantualis has a handsome dark blue cover and is printed on quality ivory paper. A fantastic help are the two CDs included, produced by the monks of Solesmes, that record most of the chants in the Liber cantualis.
   
• Graduale Simplex — This book includes simplified versions of texts for most Sundays of the liturgical year, as well as for major solemnities and feasts. During Advent, Eastertide and Ordinary Time the Graduale Simplex offers a few "composite" Masses, from which one may choose a Mass to use during any Sunday of that season.
   
• The Propers of the Mass (Weber) — This book contains English chant settings for the Entrance and Communion Antiphons given in The Roman Missal 2010, as well as suggestions for the Offertory Antiphons, following the pattern of the Graduale Romanum. Four or five levels of settings, from complex to very simple, are provided for each antiphon: 1) through-composed melismatic, 2) through-composed simple, 3) Gregorian psalm tone, 4) English psalm tone.
   
• Gregorian Missal — This is a stream-lined but comprehensive version of the Church's official liturgical music book, the Graduale Romanum. The Gregorian Missal, with English titles and rubrics, also has translations of all the chants, not meant for singing but simply for comprehension. It's arranged according to the Liturgical Year, and contains the Propers (Introit, Gradual, Alleluia, Offertory, and Communion) for Sunday Masses and feast days as well as Mass Ordinaries (Kyrie, Gloria, Credo, Sanctus/Benedictus, Agnus Dei).
   
• Graduale Romanum — The General Instruction on the Roman Missal indicates this book to be the primary source for the processional music at Mass (Entrance, Offertory, Communion) and for the chants after the First Reading and before the Gospel. The Graduale Romanum is the Church's official book for the choir.
   

And here are some books to assist your journey in chant:

• A Plain and Easy Introduction to Gregorian Chant (Treacy) — A clear, useful introduction to the art of singing Gregorian chant, intended as a very basic introduction to chant and its notation. In addition to ten chapters that deal with the basics of chant notation and the modal milieu in which chant occurs, the eight appendices are a treasury of reference material. This is the basic chant textbook for many seminaries around the country.
   
• Gregorian Chant: A Guide to the History and Liturgy (Saulnier) — This compact and scholarly book offers a fascinating tour through chant's historical and musical origins, showing the role that chant plays in the history and liturgy of the Western church. Broad themes are discussed, such as the Divine Office and the Mass, as are detailed subjects such as psalmody, cantillation, modes, and pivotal chant manuscripts. This book tells the story of how this unique form of music and worship functions — and has the power to enhance and revitalize worship.
   
• Guide to the Graduale Simplex — This Guide has three basic parts. In the first section, there is a detailed summary of the principles of use described in the introduction. The second section contains a translation of the headings and major descriptive text for the entire book. The final section is a list of translations of common abbreviations and words that are used throughout the Graduale. A copy comes free with each purchase of a Graduale Simplex.
   
• Guide to the Graduale Romanum — This Guide has three basic parts. In the first section, there is a detailed summary of the principles of use described in the introduction. The second section contains a translation of the headings and major descriptive text for the entire book. The final section is a list of translations of common abbreviations and words that are used throughout the Graduale. A copy comes free with each purchase of a Graduale Romanum.

Article written 23 January 2021