Chants of the Vatican Graduale - MusicaSacra

x Foreword to the First German Edition
2nd ed., 1926); Reck, Das Missale als Betrachtungsbuch (Herder, Freiburg,
5 vols.), and similar excellent works devote little attention to the
texts that are chanted. Only occasional and very general remarks are
made concerning the melodies themselves. Periodicals of sacred music
in Germany, with few exceptions, lack a genuine appreciation of the
intrinsic value of the melodies of the Vatican Gradual. Periodicals in
other countries offer more on chant. A pertinent bibliography, as a guide
to further study of the subject, is subjoined. For the most part, however,
the author has had to rely on his own resources, and, for this reason,
feels keenly that his work is that of a pioneer in this particular field. He
knows well that our modern age listens to ancient melodies with some
misgivings. He realizes also that melodies have more than one signification
and can therefore be interpreted in a manner different from that
which he has outlined in the following pages. The reader will find that
the author is not entirely alien to subjectivism, which often adapts more
than it explains. This fact, however, is not exactly a great misfortune.
Much greater is the danger that many choirs will sing the chant without
any feeling or art whatsoever. May this book lead them to the true
spirit of the chant and effect a more intimate understanding of the
melodies of Gregorian chant, to the end that these chants may be sung
as so many prayers by means of which the faithful soul may soar aloft
to God. May it also inspire the reader to strive after better technique,
so that he may express outwardly in a more perfect manner that which
he feels and understands inwardly.
An essential condition for understanding the content of the following
pages is the simultaneous use of the Vatican Gradual. The musical
notation of the text has not been included in the book, although, without
doubt, it would have helped greatly for a better understanding of the
explanations given. Hence, whenever notes are indicated by the use of
their corresponding letters, the distinction of octaves (G-g-g 1 ) is, as a
rule, not made.
Whenever reference is made to some other Sunday or feast for the
explanation of a designated text, there is always a question of similarity
of text and melody. If, for example, the explanation of a certain Introit
is referred to the Introit of another Mass, then the two are to be treated
alike in their rendition, unless, of course, something else to the contrary
has been expressly stated.
Here and there attention has been called to certain imperfections in
the melody. This has been done not in a spirit of criticism but out of
sincerity, and only to warn against the false notion that love and enthusiasm
for chant must be artifically aroused. This is not at all required.