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French Classical Organ Music and the Liturgy

Published online by Cambridge University Press:  01 January 1976

Edward Higginbottom
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Extract

The study of liturgical organ music has often failed to take into adequate account its liturgical role. The following is an attempt to remedy this failure in respect of French classical organ music. It will reveal something of the nature and the extent of the use made of the organ in French churches and religious houses during the seventeenth and eighteenth centuries, and thereby I hope create a perspective in which the extant literature of organ music of this period may be viewed. The essential nature of my inquiry is that it investigates the organ's role in the liturgy not primarily from the extant literature of organ music, but from the documents issued by the Church to regulate its role. Whilst these documents are prescriptive rather than descriptive, there can be no doubt that they reflect contemporary practices. Indeed, it is clear from a reading of some of them that prescription sprang directly from established usage. After reviewing the types of ecclesiastical legislation upon which we are dependent for our information, the main part of this article will be taken up by a close study of the role of the organ in various liturgical items belonging to the Mass and offices. A final section will discuss the alternation of polyphony with organ music.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 103 , 1976 , pp. 19 - 40
Copyright
Copyright © 1978 The Royal Musical Association and the Authors

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References

1 T. J. de Vroye and X. Van Elewyck, De la musique religieuse … et la législation de l'église sur cette matière (Paris, 1866). J. Auer, Die Entscheidungen der heiligen Riten-Kongregation in Bezug auf Kirchenmusik (Ratisbon and New York, 1901). A. Hanin, La législation ecclésiastique en matière de musique religicuse (Paris, Tournai, Rome, 1933). F. Romita, Ius musicae liturgicae (Turin, 1936). Sir Richard Terry, in The Music of the Roman Rite (London, 1931) touches briefly on ecclesiastical legislation on church music, but he does not aim to present a thorough study of the subject.Google Scholar

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3 Gombosi, O., ‘About Organ Playing in the Divine Service circa 1500’ Essays in Honour of A. T. Davison (Cambridge, Mass., 1957), 51–68. E. A. Bowles, “The Organ in the Medieval Liturgical Service’, Revue belge de musicologie, xvi (1962), 13–29. A useful bibliography of shorter articles relating to the later Middle Ages will be found in L. Schrade, ‘The Organ in the Mass of the 15th Century’, Musical Quarterly, xxviii (1942), 329–36.Google Scholar

4 See decrees of: 31 March 1629 (660), 21 Feb 1643 (1285), 19 Sept 1654 (1587), 10 March 1657 (1670), 20 Nov 1660 (1936), 16 Sept 1673 (2504), 12 March 1678 (2710), 2 April 1718 (3755), 2 Sept 1741 (3970), 14 April 1753 (4084). Figures in parentheses refer to transcriptions of these decrees in Decreta authentica Congregationis Sacrorum Rituum (Rome, 6 vols., 1808–19). De Vroye, Auer, Hanin, Romita, Terry and Pons each quote decrees of the Cong, of Rites, but none gives a complete list.Google Scholar

5 See Dom P. Guéranger, Institutions liturgiques (Paris and Brussels, 4 vols., 2nd edn, 1878–85), and in particular ii.Google Scholar

6 Both Jacques Boyvin and François d'Agincourt were organists at Rouen cathedral (1674–1706 and 1706–1758 respectively), as was Jehan Titelouze early in the 17th century; Gilles Jullien served at Chartres cathedral from 1667 to 1703, and Nicolas de Grigny at Rheims cathedral from 1697 to 1703).Google Scholar

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8 See pp. 34–35. The instructions for organists stem directly from the Provincial Council of Rheims held in 1583; see Mansi, Sacrorum conciliorum nova et amplissima collectio (reprinted Paris, 1901-), xxxiv, col. 693A.Google Scholar

9 Cited by N. Dufourcq in Le livre de l'orgue français (Paris, 5 vols., 1971-) i, 635.Google Scholar

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13 The following have been consulted: Cérémonial des religieuses de l'ordre de l'Annonciation (Lyons, 1629 and Paris, 1651), Ordinaire ou ceremonial des religieuses deschaussées de l'ordre de la tris-heureuse vierge Marie du Mont Carmel (Paris, 1616), Ceremonial pour l'usage des religieuses Carmelites des Chaussée (Paris, 1639), Cérémonial pour l'ordre des religieuses dischaussées (Paris, 1659), Rituale fratrum minorum recollectorwm Provinciae S. Franctscia in Gallia (Lyons, 1630), Caeremoniale ad usus [sic] ff.minorum in provincia S. Bernardine recollectorum (Avignon, 1646), Caeremoniale romano-seraphicum ad usum fratrum minorum recollectorum (Paris, 1686), Ceremonial de l'office divin, pour les religieuses de Sainte Ursule de la Congregation de Paris (Paris, 2nd edn., 1668). No ceremonial for the use of the order of Dominicans appears to have been published in France during this time. The Ordinanum sacrarum caeremoniarum et divini officii (Venice, 1582) furnishes scant information, and this text was officially superseded only in the 19th century by the Caeremoniale juxta ritum S. Ordinis Praedicatorum (Malines, 1869). The ceremonial prepared by Ignatius Ciantes for the Dominican order, and published in Naples in 1654, is fuller than the Ordinarium, but had no official status for the whole order.Google Scholar

14 See Caeremoniale ff. minorum recollect. almae nostrae provincial Germania infenoris (Brussels, 1675).Google Scholar

15 See King, A., Liturgies of the Religious Orders (London, 1955), 33.Google Scholar

16 Op cit iv, 94.Google Scholar

17 Graduale Romanum, juxta missale sacro-sancti concilii Tridentini (Paris, 1697). See in particular chants for the feasts of the first class, p. cxviiiff. Identical verset distribution is given in earlier texts, e.g. Graduale Romanan (Paris, 1640), p. cxciff., and the Graduale Romanan (Toul, 1627), p. cxlviiff. 18 The division of the Gloria text conforms to that in the Liber Usualis, apart from the final two versets which run: Cum Soncto Spiritu / in gloria Dei Patris. Amen. The Sanctus is divided as follows: Sanctus / Sanctus / Sanctus Dominus Deus Sabaoth / Pleni sunt… mexcelsis.Google Scholar

19 For modern editions see J. Bonfils (ed.), Le livre d'orgot de Marguerite Thiéry (Paris, n.d.), and J. Bonfils (ed.), Lime d'orgue attribué à J. N. Geoffroy (Paris, 1974).Google Scholar

20 Unless otherwise stated, modern editions of works cited may be found in A. Guilmant (ed.) and A. Pirro (ed.), Archives des maîtres de l'orgue (Paris, 9 vols., 1898–1909).Google Scholar

21 Corrette, M., III elivre d'orgue (Paris, n.d.). No modern edition.Google Scholar

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24 W. Pruitt in his article “The Organ Works of Guillaume Gabriel Nivers' Recherches, xiv (1974), 7–81 provides a table showing the distribution of organ versets in the Thiéry MS (see pp. 51–2). But he is incorrect in suggesting a reduction of versets only at Adoramus te (p. 51, fn. b). The designation ‘Bened[icimus te]’ at the beginning of the second Gloria verset in Cons. Rés. 476 is undoubtedly erroneous. It should read ‘Adoramus’ as in the two Thiéry masses.Google Scholar

25 Cér. de Remiremont (no. 23), 77.Google Scholar

26 But this degree of elaboration was considered appropriate upon double feasts of the first and second class (see op cit, 48)Google Scholar

27 Caer. rom. can. reg. (no.9), i/XI/4. (See notes to Table II above for explanation of reference system).Google Scholar

28 Bauldry, Manuale (no.7), i/VIII/7.Google Scholar

29 Direct. chori (no.8), v/XIXGoogle Scholar

30 Caer. cong. S. Mauri (no.6), ii/XIII/4.Google Scholar

31 Cér. de Toul (no. 18), 62.Google Scholar

32 See for example the chants in G. G. Nivers (ed.), Graduale monasticum … ordinis sancti Benedicti (Paris, 1696). See also collections of plainchants musicals for the mass composed by Henri Dumont and Paul d'Amance.Google Scholar

33 Cér. dt Remiremont (no.23), 47.Google Scholar

34 The so-called ‘Elevation’ verset in Lebègue's mass, a work that otherwise conforms very closely to the 1662 Paris ceremonial, may also have been conceived as part of an unbroken alternatim pattern concluding the Sanctus, since here again F major is retained. The appearance of an Elevation verset in the de Grigny mass runs counter to the Rheims Ordonnances and reglemens of 1648 which forbids organ music ‘depuis l'élévation du Corps de Iesu-Christ jusques à l'Agnus Dei’ (p.35).Google Scholar

35 Cér. de Remirenont (no.23), 77. This is not wholly consistent with the previously-quoted rubric from this source concerning the Benedictus and Elevation (see fn. 33 above).Google Scholar

36 viz Ceremoniall divini officit, secundum ordinem fratrum B. Virginis Mariae de monte Carmeli (Rome, 1616); Caermoniale Benedictinum … monasteriorun Germaniae (Dillingen, 1641); Caeremontale ff. mtnorum recollect. almae nostrae provinciae Germanice (Brussels, 1675).Google Scholar

37 Caeremoniale episcoporum (Rome, 1600), i/XXVIII/9.Google Scholar

38 Caer. monast. ord. S. Benedict. (no. 16), ii/XVI/6. The Gradual verset by G. Corrette must have been intended to serve for the whole of the Gradual in this manner.Google Scholar

39 Rit. Cister. (no.15), i/XIV/2.Google Scholar

40 ‘Ad reiterartionem Alleluia cum pneumate eius, et ad ultimum pneuma Alleluia ante Evangelium’. Caer. Paris. (no.10), iv/VI/11.Google Scholar

41 Versailles, Bibliothèque Municipale, MS 60.Google Scholar

42 The strictures of the Council of Trent concerning Sequences seem to have been little heeded in France. Indeed, during the 17th century the waxing fortunes of the Gallican Church led to an extensive literature of Proses, old and new.Google Scholar

43 Cer. de Metz (no. 17), 38.Google Scholar

44 L'Abbé L. Poisson, Traité theorique et pratique du plainchant (Paris, 1750), 146.Google Scholar

45 ibidem.Google Scholar

46 This is a departure from the rubrics of the Caer. Paris. in both its editions (1662 and 1703).Google Scholar

47 ibidem.Google Scholar

48 Nos. 19 and 24.Google Scholar

49 Ord. Praemon. (no.20), i/XV/5.Google Scholar

50 Cer. d'Angers (no.21), p. 147.Google Scholar

51 Caer. monast. (no. 2), iii/VII/4.Google Scholar

52 Caer. Paris. (no. 10), iv/VI/22.Google Scholar

53 Caer. cong. S. Mauri ord. S. Banedicti (no.6), ii/XIII/4.Google Scholar

54 Cér.de Sens (no.24), i/XIV/V/6.Google Scholar

55 Bauldry, Manuale (no.4), i/VIII/8.Google Scholar

56 A. C. Howell Jr. in his preface to Five French Baroque Organ Massaes (University of Kentucky, 1961), and in his doctoral thesis, ‘The French Organ Mass in the Sixteenth and Seventeenth Centuries’ (Chapel Hill, 1953), 65.Google Scholar

57 Transcriptions of the relevant contracts may be found in the following works: M. Jurgens (ed.), Documents da minutier central concernant l'histoire de la musique, 1600–1650 (Paris, 1967-) i, 662 (St-Pierre-des-Arcis, 1614); ibidem, 667 (St-Jacques-de-1'Hôpital, 1617); ibidem, 676 (St-Jacques-de-la-Boucherie, 1643); N. Dufourcq, ‘De l'emploi du temps des organistes Parisiens’ Revue musicale, ccxxvi (1955), 42 (St Paul, 1643); P. Brunold, Le grand orgue de St Gervais (Paris, 1934), 88–90 (St Gervais, 1653); N. Dufourcq, Nicolas Lebègue (Paris, 1954), 149–30 (St Merry, 1664); N. Dufourcq, Le lime d'orgue français, i, 513 (St-Jean-en-Grève, 1670); N. Dufourcq, ‘Un drame organistique en trois actes à Saint-Sévcrin’ L'orgue, lxxi (1954),49(St Séverin. 1685).Google Scholar

58 Caer. Paris, (no.10), i/XVIII/14. This reference has hitherto been overlooked by those writing about the 1662 Paris ceremonial, since it appears not in the detailed account of the organist's duties in iv/VI, but in a separate account of the ceremonies at Vespers. An account of the performance of the responsory given in the 1703 edition of the Paris ceremonial (no. 19) may be incomplete, reference being made only to the use of the organ for the Repetenda after the V (see op cit ii/I/I/15).Google Scholar

59 Cer. d' Angers (no.21), i/V/8.Google Scholar

60 Paris, Bibliothèque de Sainte Genevieve, MS 2376.Google Scholar

61 Paris, Bibliothèque Nationale, Cons. L16.958.Google Scholar

62 ‘Livre de chant’, now in the private possession of M. Maurice Rousseau, to whom I extend my thanks for the readiness with which he made this manuscript available to me.Google Scholar

63 op cit p.50Google Scholar

64 op cit p. 246.Google Scholar

65 They appear in a 17th-century manuscript of keyboard music by Louis Couperin owned by Mr Guy Oldham, and described by him in ‘Louis Couperin—A new source of French keyboard music of the mid 17th-century’ Recherches sur la musique française classique, i (1960), 51–9.Google Scholar

66 Caer. cong. S. Mauri (no.6), ii/XIII/1.Google Scholar

67 ‘L'exemple de l'Eglise Métropolitaine serait excellent à suivre. On n'y laisse toucher par l'Orgue aucune Antienne, étant juste que ces portions de l'Office qui annoncent la grandeur des Mystéres et des Fètes, surtout aux 1. Vépres, ne soient pas comme supprimées’, (op cit p.243)Google Scholar

68 Caer. Paris, 2nd. edn., 1703 (no.19), ii/I/I/7.Google Scholar

69 Cèr. des relig. de Montmartre (no.11), XIII/2.Google Scholar

70 Caer. Paris. (no. 10), iv/VI.Google Scholar

71 Caer. Paris. (no.10), i/XV.Google Scholar

72 Cer. d'Angers (no.21), i/V/15. ‘Chant sur le livre’ was an improvised descant sung in one or more parts above the plainchant. It was made possible by the strictly metrical performance of plainchant, and was much in vogue in 18th-century France. See Prim, J., ‘Chant sur le Livre in French Churches in the 18th Century’, Journal of the American Musicological Society, xiv (1961), 37–49.CrossRefGoogle Scholar

73 Cer. du Mans (no.26—càthedral usage), 19.Google Scholar

74 ‘… dans les Eglises où l'on a l'usage des Orgues au Service divin, c'cst une Regle de net essité absolue que l'Orgue doit donner le Ton de tout ce qui se chante au Choeur aprés l'Orgue. La premiere Antienne doit donc estre du Ton de la seconde que l'on chante au Choeur immediatement aprés la premiere que l'Orgue aura joüée; et ainsi des autres’, (op cit p. 111).Google Scholar

75 This is not to be wondered at. A comprehensive collection for the Church's year would be truly compendious. And in those places where the use of a plainchant cantus firmus was not de rigueur, the organist would be just as well supplied with a collection of free versets arranged by tons de l'églue.Google Scholar

76 op cit p. 15.Google Scholar

77 op cit p. 45.Google Scholar

78 Cer. de Toul (no. 18), 62.Google Scholar

79 Cer. de Toul (no.18), 62.Google Scholar

80 Transcribed in E. Martinot, Orgues el organistes des églises du diocèse de Troyes (Troyes, 1939), 48.Google Scholar

81 Cér du Mans (no.26—cathedral usage), 32.Google Scholar

82 tome xiv, f.34.Google Scholar

83 tome v, f.6v.Google Scholar

84 tome xxii, f.78.Google Scholar

85 Corrette draws the attention of the user of his Quatre messes to the organ versets in his 1 elivre d'orgue (meaning thereby his Pièces pour l'orgue dans un genre nouveau, Paris, n.d.) which may be employed with his vocal setting.Google Scholar

86 See for example the superius part-book, f.9-f.9v.Google Scholar

87 See ‘Mélanges’, tome xxii, f.91, tome ix, f.28, and tome iv, f.136v.Google Scholar

88 op cit, ‘Observations’.Google Scholar