Several years ago, in order to realize a project of personal interest as well as to fulfill frequent requests from various circles, we considered one day developing and publishing a new accompaniment for Gregorian chants.

Conscious of the enormous labor that a work of such scope would require, and knowing on what slippery terrain we would engage ourselves, we decided to postpone execution until, another careful consideration and much deliberation, we could formulate a precise and definitive plan that would fully satisfy all of our collaborators. is preliminary cooperation proved fruitful, and the Nova Organi Harmonia could be justly considered the work of the entire Lemmens institute. Surpassing the means of one or two people, the project in question was produced through the close collaboration of the director and the professors of the Institute, with such success that the organ accompaniment of the entire Gradual – without excepting or omitting a single melody – could be sent to press aer a relatively short period of time.

Although the parts of the work were harmonized by different individuals, giving each harmonization a unique color – which one cannot hold against us – the unity of style and conception is nonetheless guaranteed to assure a perfect homogeneity of the work as a whole.

We would like to emphasize that we did not intend in any way to challenge either the merit or historical impact of the Organum Comitans of our venerable predecessors, Messieurs Alph. and Aloys DESMET and Monsieur Oscar DEPUYDT; we, more than any others, respect its importance, as it constituted, for the era in which it appeared – nearly thirty years ago – a pioneering work. The Organum Comitans rightly holds a place of honor in both the history of sacred music and of our institute.

Since then, we have had the privilege of closely studying the new Vatican Edition, so as to examine in depth the structure, spirit, and character of new Gregorian melodies both individually and in relation to the organ accompaniment which, in our opinion, fits very well. On the other hand, the musical art has evolved since then, producing certain advantages not denied by any contemporary musician and increasingly influencing all composition, including Gregorian harmony.

These favorable circumstances, including the exceptional experience in Gregorian
art of the eminent professors of the Institute, increased our confidence in the likely success of our endeavor. Additionally, we could never have undertaken a task of such great scope and difficulty without the prospect of a satisfactory result nor without conviction in the usefulness of this work. In effect, so many musicians wanted to have a Gregorian accompaniment which, unlike the majority of similar works, offered both graceful harmonization and easy execution. We sought to produce a Gregorian accompaniment whose artistic value was not compromised by its ease of execution.

The Nova Organi Harmonia demanded of each of us an unusual commitment; we
have dedicated to it the best of our energies. Would it be, therefore, presumptuous on our part to be satisfied with the result and to expect its welcome reception in the musical
world?