There is a lot of difference between a solo cantor singing a gradual verse (or an entire Mass in case of necessity) and an aria masquerading as a motet. Someone might be confused about the distinction. Apart from the Triduum, I'm unaware of a minimum number of singers. You are correct in saying that solo singing by a cantor is an ancient tradition. The rubrics of the Graduale actually specify one singer for parts of the chants on certain days.With the exception of the melodies proper to the celebrant at the altar and to the ministers, which must be always sung in Gregorian Chant, and without accompaniment of the organ, all the rest of the liturgical chant belongs to the choir of levites, and, therefore, singers in the church, even when they are laymen, are really taking the place of the ecclesiastical choir. Hence the music rendered by them must, at least for the greater part, retain the character of choral music.
By this it is not to be understood that solos are entirely excluded. But solo singing should never predominate to such an extent as to have the greater part of the liturgical chant executed in that manner; the solo phrase should have the character or hint of a melodic projection (spunto), and be strictly bound up with the rest of the choral composition.
Exactly! If you've never seen this, it's worth your time:Much that has been done in the mass over the centuries has been done out of necessity, working with the resources actually available. Very few parish churches ever had the resources to perform the ideal.
I can't speak for everyone, but the men's schola is the principal choir at my parish. Paragraph 13 is superseded by subsequent legislation, as are other parts of TLS. I don't think that invalidates the document as a whole, let alone the principles enumerated therein.The next item in Tra le sollecitudini would eleminate most choirs at Mass today which makes me question the applicability of this moto proprio for today
13. On the same principle it follows that singers in church have a real liturgical office, and that therefore women, being incapable of exercising such office, cannot be admitted to form part of the choir.
or because he dislikes prancing around or (pseudo)historical re-enactments.
Whenever, then, it is desired to employ the acute voices of sopranos and contraltos, these parts must be taken by boys, according to the most ancient usage of the Church.
My emphasis, he didn't even wait to get it cast into Latin.Earlier in his career Pope Pius taught courses on liturgical music and chant to seminarians. In 1888, as Bishop of Mantua, he removed women from church choirs and ended the use of bands. A few years later as Patriarch of Venice, he ended the use of a popular setting of "Tantum Ergo" and instituted Sunday Vespers chanted by a choir of men and boys. In 1893, when Pope Leo XIII was considering issuing guidance on liturgical music, the future Pius X submitted a 43-page proposal. A section of that document, substantially unchanged, he issued ten years later, less than four months after becoming pope, as Tra le sollecitudini.
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