Views from the Choir Loft

Extremely Rare! • Pages from the “Directorium Chori” (Solesmes Abbey, 1864)

Jeff Ostrowski · November 29, 2020

OM PAUL JAUSIONS and Dom Joseph Pothier were both ordained priests in 1858. These two monks were the ones who restored plainson: the authentic rhythm, the true musical pitches (“tones”), and the “type-fonts” of the traditional notation. Both of them spent hours copying ancient Gregorian manuscripts—both diastematic and adiastematic—carefully by hand, and both were quite adept at this. On a trip to America in 1870, Dom Jausions died in Indiana at the age of 36. Anyone who wants to learn about the “early history” of Gregorian chant should obtain The Restoration of Gregorian Chant: Solesmes and the Vatican Edition, which was published in the 1960s by Dom Pierre Combe. A wonderful English translation was published in 2003 by Father Robert Skeris and Dr. Theodore Marier (who died before the project was finished). The very first serious book they created together was called “Directorium Chori.” Dom Pierre Combe wrote as follows: “The Directorium Chori of 1864 was the first book of the Gregorian restoration at Solesmes, and even, it can be said, of the Gregorian restoration anywhere.” Unfortunately, Dom Prosper Guéranger (d. 1875) delayed the distribution of the Directorium chori, and the entire edition, except for a few rare copies (only four), was destroyed in a fire at the Vatar Printing Company around 1866.

Here are two pages of this extremely rare book:

72449-DIRECTORIUM

72451-DIRECTORIUM-CHORI-B-KR

For a first attempt, it’s quite gorgeous—although Solesmes would continue to improve over the next 100 years. The most beautiful book Solesmes ever produced was probably the ANTIPHONALE OF 1949, which was reprinted circa 1961. In this “Directorium Chori” of 1864, the fonts are slightly too small. Also, they use the “æ” ligature, whereas in later publications they would always use “ae.”

The “shocking” feature of this publication was the fact that no Virga was placed above the accented syllables, as corrupt editions did. Consider this corrupt edition from 1858:

Some authors attribute the composition of the Directorium chori to “Dom Jausions, with the collaboration of Dom Pothier.”

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

14th Sunday in Ordinary Time (Year C)

Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.

—Jeff Ostrowski

Bugnini’s Statement (6 November 1966)

With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.

—Jeff Ostrowski

Luis Martínez Must Go!

Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]

—Jeff Ostrowski

Pope Pius XII Hymnal?

Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.

—Corpus Christi Watershed

“Hybrid” Chant Notation?

Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.

—Corpus Christi Watershed

Antiphons Don’t Match?

A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).

—Corpus Christi Watershed