Julie,

Very interesting .....but why on earth would one accompany the responses?

Julie,

Thank you for such a measured and thoughtful response. I confess that it has never occurred to me to accompany the dialogues. Knowing that French traditionalists do this makes me curious as to how the practice developed.

I know that English choirs often have organ underlay, and everyone takes it as normal, but that I barely have time to change manuals (when I had manual to change, but more on that another time) between double bars in the ordinaries because everyone is going at such a breakneck pace.

I would say, if it is not needed, then don't. Although, it could make an extra Solemn occasion a bit more "special". If it would help the congregation to join in on their parts, I would do it in a heartbeat.

The main problem is getting the Celebrant on the same page, i.e. on the right key. Just blasting away as written when it's not in the same key makes a mockery of the whole idea!

Our Latin Mass congregation has no problem either Ferial of Solemn "Pater noster", so it's never accompanied. Likewise the "Sursum corda". We only chant the "Our Father" during Advent and we do accompany these English Mass congregations since they actually do need it.

We stopped using multiple "Amen" arrangements years ago for the Great Amen. But the congregations still respond better given a note in octaves on the organ. The only trick is finding the Celebrant's note!

As has Julie, I have heard this done (via youtube) at Notre Dame, Paris, at the Sistine Chapel, and get the impression that it's rather common in Europe. They are not just 'accompanied' but are played with full organ, meaning reeds and all. Needless to say, it is a ghastly sound which is in incredibly poor taste. I'm always amazed at some of the things that Europeans do. After all, they are supposed to be cultural exemplars. Too often, they aren't.

I remember mentioning the assumption that the organist might have perfect pitch. I suppose it's possible that the cardinal might, as well.

I know of one Episcopal parish where the choir sings a harmonization (unaccompanied) for the dialogs at the beginning of the Eucharistic Prayer. It is quite lovely.

I'm interested in M. Jackson's original thoughts (were they regarding Adam's statement).

Definitely - having worked for various parishes in TEC, we used to do it as well. I wonder whether M. Jackson had any further insight about it.

Sonic mess. Agreed, Melo.
Responses are meant to be natural... responses. How jarring it is to hear a fanfare din when a simple response is expected. It's out of proportion.

Don't get me wrong- I like a lot of things about the French liturgical customs and I'm very grateful for all their work in the area of chant restoration. Still, it seems like accompanying the responses is eccentric. Not that I advocate outlawing it or anything, I just find it jarring for the flow of prayer.

I think Charles has a point. Unless your priest is tuned to the same system as your organ, having perfect pitch does no one any good. Matching pitch with the voice isn't nearly as hard as altering the tuning system of the organ, on the fly. (The funny video hereabouts in which an accompanist changes keys multiple times notwithstanding).

As far as responses go, my rector sings the correct conclusion to the solemn tone collect from the Liber Usualis, but the choral/congregational response is the one prescribed for the responses after the Secret and Per Ipsum. So, whether one accompanies or not depends on how thoroughly trained the priest was…