Searching the forum I've come to "Singing the Liturgy of the Hours in Latin" - here I could understand better the Anselmo Lentini thing. Apparently he is the author of those hymns whose authorship is not referred to.

Anyway, I keep the other questions. And even so I hope this topic may be useful.

What all does the Liber Hymnarius contain? Does it contain the chant for all the hymns in the latin edition of the Liturgy of the Hours? Does it contain other things such as antiphons? Are all the rubrics/explanations in latin?

The LH is the hymnal for the Roman Office--it's the only published part of the still incomplete, allegedly forthcoming Antiphonale Romanum--and does double duty as the hymnal for the monastic office.

Columba Kelly, OSB has a translation online of the preface (the important part of it anyway, the part Peter Jeffrey has also translated):

http://sacredmusicproject.com/chant-instruction/solesmes-preface-liber-hymnarius/

Richard, surely you are referring to the recently completed three-volume Antiphonale Monasticum, which reflects the Benedictine monastic use rather than the secular Roman version?

I'd be ecstatic if Antiphonale Romanum were finally published, but from what I've heard it's caught in a thicket of red tape somewhere between Solesmes and Rome.

Where can one attain this Antiphonale Romanum?

The Liber Hymnarius seems ... (hate to say it) on the expensive side . . .

"The Liber Hymnarius seems ... (hate to say it) on the expensive side . . ."

The LH is priced at $60 through GIA--$10 dollars more than the Graduale Romanum.

I would encourage anyone who hasn't to pick up this book, or at least try to take a look at one when you can. The notation of the responsories, in particular, is of great value as it will no doubt be the same notation that will be used in the forthcoming revision of the Graduale Romanum, as mandated by Vat. II. This notation incorporates neumes such as the oriscus, the various forms of augmented and diminished liquescence, "initio debilis" neumes, etc. into the 4-line notation. There is no use of the ictus in the "classic" sense, although it is sometimes used, but with a different meaning.

A very worthwhile study to prepare for the future!

bgeorge:

I'll take a stab at your questions. I imagine that there will be varying opinion and perspective on this.

1. To reiterate what was said above, a English translation of the Liber Hymnarius preface can be found here. There is a brief narrative on the neume designs used in the book, although it does not look comprehensive. The "new" neume designs are further developments that Solesmes has made to incorporate the essential information from the early manuscripts into a notation for use in singing editions. At one point I thought that these developments were a very very recent phenomenon, but then I took a look at Dom Gajard's 1934 Antiphonale Monasticum which first introduces the oriscus design into the Solesmes Editions! Solesmes' work in developing the best notation for the singing of chant did not end in 1908--it still continues today! I imagine that there will be a comprehensive guide for the interpretation of these neume designs in a future preface akin to the classic Liber Usualis guide to singing. The best way to go for now is to read Gregorian Semiology which describes the ancient neumes found in the Graduale Triplex which the new designs are based off of.

2. They just give us information for a more nuanced singing of the chant. Again, they are a development of the work done in the 1908 Graduale, not a new creation.

3. It is the current typical edition. Sacrosanctum Concilium 117 states:

"The typical edition of the books of Gregorian chant is to be completed; and a more critical edition is to be prepared of those books already published since the restoration by St. Pius X."

As I understand, Solesmes has already completed this work, it is just yet to be promulgated. I'm not sure why this is, but it seems that the mandate of SC should be fulfilled eventually, perhaps very soon.

4. Sorry, I'm not quite sure what you're asking with this question...

5. The intended audience is any and every Catholic worldwide who seeks to sing the current Liturgy of the Hours in Latin. It is the official hymnal for the hours in the Ordinary Form of the Roman Rite--the normative and official book for the singing of the hymns, invitatories and responsories of the Divine Office.

I'm not an expert on this subject, but I remembered reading a comment from William Mahrt on a previous thread... I just found it and here it is:

I have a particular reservation about the Liber Hymnarius: it contains Latin hymns by some of the great hymnodists, St. Ambrose, Venantius Fortunatus, etc., a few by each of them, and then over forty by a certain Benedictine, Fr. Lentini, the editor of the Liber Hymnarius. I submit that the traditional repertory of hymns should have been the source of practically all of the hymns, with less recourse to the editor for his own compositions.

Here's the complete thread

Robert,

Are the texts in Liber Hymnarius paired with their most traditional melodies? Is there an authoritative source for finding out which melodies pair with which texts?

What is interesting about the two hymns, Venantius's Pange lingua gloriosi praelium, and Thomas's Pange lingua gloriosi corporis, is that the same melodies were used for both hymns; i.e., the melody that we sing to Thomas''s hymn is found before Thomas for Venantius's hymn. This actually points to something more interesting: the text of Thomas's hymn is an imitation of that of Venantius. venantius's hymn narrates the story and then turns to the praise of the cross; Thomas's hymn narrates the story and then turns to the praise of the Eucharist. I think is it quite evident that Thomas was thinking in terms of the same melody for both hymns.

My understanding is there often is not one "authoritative" tune for a Gregorian hymn. Even until the time of Pius XII (and after that with a few hymns that were used most often) the texts of hymns were sung to different TUNES depending on the SEASON (!) Sounds like those people really had flexible musical memories! In any event, even Mocquereau and Pothier often disagreed on the "traditional" tune of a given office hymn. Look, for instance, at PATER SUPERNI LUMINIS (16th century?) in Mocquereau's books as opposed to Pothier's Vatican Edition. Different tunes....radically different modes! I would like to know who was responsible for setting the office hymns composed by Leo XIII.

@bgeorge77

Your best bet will probably be to reference "Gregorian Semiology" which gives descriptions of these neume types. The notations used are the early staffless ones which the new designs are based off of.

Here is Cardine's table of the neumes found in St. Gall with their specific names as found in Gregorian Semiology.

The Liber Hymnarius contains hymns and some responsories, but not all of the music required for the LOH. The Salve Regina is sung at the end of Compline (it is not a Hymn). Settings would be in the books which are more complete for the office [(preVatII- 1912 Antiphonale Romanum also contained in the Liber Usualis, 1934 Antiphonale Monasticum, Office books of particular orders like the Dominicans)(Post Vat.II the new Antiphonale Monasticum there isn't yet a new Antiphonale Romanum for the LOH)]

Another question: On page 604 of the Liber Hymnalis, there is the Gloria Patri in eight tones, with rather elaborate settings. Does anyone know the provenance or history of these settings? Are these settings to be used ad libitum where the other more typical Gloria Patri settings might be used?

There are solemn Gloria Patri settings in the LU? I thought there were just the regular ones that follow the Introit/Communio psalm tones. What page?

Is the index of the Liber Hymnarius available? I have various collections of chants, and it would be nice to know what is actually in the book.

The names in the index refer to text authors.

@tomjaw

There's a lot of wiggle room in "probably." Despite that, this is good information. Do you know if Fr. Juan Escollar is the Spanish Carmelite referred to as Juan de la Concepcion? I'm guessing that Concepcion was a church. The Liber Hymnarius would seem to suggest maybe an earlier time frame, or very near the same time frame. I guess it's not really known who the author is.

Thank you Felicia, wonderful information.
--edit--
I wanted to add that in this month's edition of National Catholic Register is an article, according to Lynn Boughton adjunct professor at the Liturgical Institute at the University of St. Mary of the Lake, says "By the mid-900s the liturgical calander contained a feast day of St. Joseph on March 19."

So it would seem the feast day goes back quite aways.

@Felicia,
I searched for the NCR article on their website but I couldn't find it. I contacted the editors and accordingly it won't be posted until this Friday for the Feast of St. Joseph. So if you keep an eye on the NCR website you can read the full article.