Mass of the Faithful Mass of the Catechumens by ert634


									D IS C N U M B ER      1                                                                               D ISC N U MBE R        2
Mass of the Catechumens                              9. Colle                                   1:13   Mass of the Faithful                                12. Improvisation: Dialogue           2:03
                                                        Edward Schaefer, soloist                                                                               Nasard et Bourdon
                                                     10. Epistle (1 Corinthians: 5. 7-8)                                                                       Grand Orgue, Daniel Roth
1. Bells of Saint-Sulpice                4:30                                                          1. Salutation & Offertory Verse           1:48
                                                         Charles Barbier, soloist                         Terra tremuit (Ps. 75. 9, 10)                    13. Confiteor                          1:20
2. Le matin de Pâques                    4:17
                                                     11. Graduel: Hæc Dies (Ps. 117. 24, 1)               Edward Schaefer, soloist                             Hervé Lamy, soloist
   Improvisation on Vidi Aquam                                                                  2:51
                                                         Chœur Grégorien de Paris,                        Chœur Grégorien de Paris,                        14. Free Improvisation                1:12
   and Resurrexi (Introit)
                                                         dir. Thibaut Marlin                              dir. Thibaut Marlin                                  Grand Orgue, Daniel Roth
   Grand Orgue, Daniel Roth
   Orgue de Chœur, Eric Lebrun                       12. Improvisation based on Hæc Dies 1:00          2. Improvisation based on               3:48        15. Communion Verse (I Cor. 5. 7,8)   1:57
3. Vidi Aquam                            3:45            Grand Orgue, Daniel Roth                         Terra tremuit                                        Chœur Grégorien de Paris,
                                                                                                          Grand Orgue, Daniel Roth                             dir. Thibaut Marlin
   Chœur Grégorien de Paris,
   dir. Thibaut Marlin                               JAC OB US G AL L U S (1550-1591)
                                                                                                       G I O VA N N I G A BR I E LI (1555-1612)            16. Communion Improvisation           2:50
                                                     13. Alleluia: Alleluia, in resurre ione    1:51
4. Dialogue                               1:31                                                         3. Jubilate Deo                          5:22           based on Pascha Nostrum
                                                         tua Christe
   Edward Schaefer, soloist                              Chœur d’Oratorio de Paris,                       Chœur d’Oratorio de Paris,                           (Communion Verse)
   Chœur Grégorien de Paris,                                                                              dir. Jean Sourisse                                   Grand Orgue, Daniel Roth
                                                         dir. Jean Sourisse
   dir Thibaut Marlin                                                                                  4. Salutation and Preface               3:09        L O UI S VI ERN E
                                                     14. Sequence: Vi imae Paschali             3:52
5. Improvisation based on Resurrexi       2:13                                                            Edward Schaefer, soloist                         17. Tantum Ergo, Op. 2                2:45
                                                         Chœur d’Oratorio de Paris,
   Grand Orgue, Daniel Roth                                                                               Chœur Grégorien de Paris,                            Chœur d’Oratorio de Paris,
                                                         dir. Jean Sourisse
                                                                                                          dir. Thibaut Marlin                                  dir. Jean Sourisse
6. Introit, Resurrexi (Ps. 138, 18, 5, 6) 4:06           Grand Orgue, Daniel Roth
   Chœur Grégorien de Paris,                                                                           5. San us from Messe Solennelle          2:18       18. Postcommunion                     1:04
                                                     15. Gospel (Saint Mark: 15. 1-7)          2:36
   dir. Thibaut Marlin                                                                                                                                         Edward Schaefer, soloist
                                                         Hervé Lamy, soloist                           6. Free Improvisation during            3:04
                                                                                                                                                               Chœur Grégorien de Paris,
                                                     16. Free Improvisation                      :38      the Canon
L OU IS VI E RNE (1870-1937)                                                                                                                                   dir. Thibaut Marlin
                                                         Grand Orgue, Daniel Roth                         Grand Orgue, Daniel Roth
Messe solenelle, Op.16
                                                                                                                                                           19. Dismissal and Blessing           1:03
Chœur d’Oratorio de Paris,                           17. Credo                                 4:32    7. Benedi us from Messe Solennelle      3:36
                                                                                                                                                               Edward Schaefer, Hervé Lamy, soloists
dir. Jean Sourisse                                       Edward Shaefer, soloist                       8. Improvisation: Récit de Cornet        1:54           Chœur Grégorien de Paris,
Grand Orgue, Daniel Roth                                 Hervé Lamy, soloist                              Grand Orgue, Daniel Roth                             dir. Thibaut Marlin
Orgue de Chœur, Eric Lebrun                              Chœur Grégorien de Paris,
                                                                                                       9. Dialogue and Pater Noster            1:34        20. Improvisation based on            1:57
7. Kyrie from Messe Solennelle            5:28           dir. Thibaut Marlin
                                                                                                          Edward Schaefer, soloist                             Gloria Patri, Psalm Tone V
8. Gloria from Messe Solennelle          7:05                                                             Chœur Grégorien de Paris,                            Grand Orgue, Daniel Roth
                                                                                                          dir. Thibaut Marlin
                                                                                                                                                           21. Postlude Improvisation            7:23
Cover of Packaging: View down the Nave of Saint-Sulpice taken around 1900.                             10. Improvisation: Chœur de              :48            Grand Orgue, Daniel Roth
Portrait of Louis Vierne from his 20s.                                                                     voix humaines                                       Orgue de Chœur, Eric Lebrun
Cover of Booklet: Photograph of Louis Vierne sitting at his desk, taken in his early           20s.        Grand Orgue, Daniel Roth
                                                                                                       11. Agnus Dei from Messe Solennelle      4:58

                                                 2                                                                                                     3
                                                                                                  work appeared, the Verset fugué sur “In exitu Israël.” In
                                                                                                  addition to this intensive training, Vierne continued private
                                                                                                  lessons with Widor until 1907. Vierne wrote:

Louis Vierne                                                                                           “These lessons continued even after I left the Con-
                                                                                                       servatoire during which time I received coaching in

  Messe Solennelle
                                                                                                       composition and instrumentation and perfe ed my
                                                                                                       writing and improvisation technique. Until 1907 I
                                                                                                       did not write one page without showing it to the

    Op. 16                                                by Mark Dwyer
                                                                                                         The 1890s saw Vierne’s promising career as organ-
                                                                                                  ist, teacher and composer unfold before him. The summer
                                                                                                  of 1899 found Vierne in Cayeux-sur-Mer with his new Louis Vierne standing
                                                                                                  wife, the beautiful 19-year-old Arlette Taskin. It was then at the console in
The Messe solennelle, Op. 16 by Louis Vierne (1870–1937) rests squarely on the grand              and there that he began work on his Messe solennelle, the Cathedral of
tradition of the Church of Saint-Sulpice, Paris. It is often asserted that the work was writ-     completed in 1900 and dedicated to Théodore Dubois (1837– Notre-Dame in Paris
ten “with the Cathedral of Notre-Dame in mind” or even erroneously “in celebration of             1924). In February of 1900, Vierne began to substitute at
Vierne’s new position at Notre-Dame.” It is more likely that it was influenced by the              Notre-Dame and in May was appointed organiste titulaire. Widor encouraged Vierne to
Messe à deux chœurs et deux orgues, Op. 36 written by Charles-Marie Widor (1844–1937)             compete for this important position and had supported Vierne in competitions for several
as well as Vierne’s eight years experience as Widor’s assistant at Saint-Sulpice.                 other important posts in the city of Paris; Vierne had been a competitor at the churches
      What organist-composer could possibly resist the opportunity to make composed music         of Saint-Germain-des-Prés and Sainte-Clotilde. Vierne himself was relu ant to apply for
using all of the forces available at Saint-Sulpice together and in alternation: west-end organ,   Notre-Dame. In his own words:
east-end organ, four-part choir of boys and men and a unison choir of seminarian barytons?
Saint-Sulpice organist Charles-Marie Widor wrote his mass for just these forces shortly                “I confess at first I was unenthusiastic. I had been playing the organ at
before assuming command of the organ class at the Paris Conservatory on December 11,                   Saint-Sulpice for eight years, had become attached to it, and was proud of
1890. And it was at this class that Widor first met the 20-year-old Louis Vierne, who was               being the deputy of a man I admired and loved.”
to become his new protégé.
                                                                                                       In 1901, the following year, Vierne’s Messe solennelle premiered at Saint-Sulpice on
      To the organ class at the Conservatoire Widor introduced the revolutionary play-
                                                                                                  Sunday, December 8. Widor played the grand orgue, Vierne returned from his new post
ing technique of his Belgian virtuoso-teacher Nicolas-Jacques Lemmens (1823–1881); Louis
                                                                                                  at Notre-Dame to play the orgue-de-chœur. It is the work of a devoted disciple, composed
Vierne became a dedicated pupil of Widor and advanced rapidly. In the fall of 1891, Widor
                                                                                                  during Vierne’s years of private composition study with Widor. The mood is serious but
asked Vierne to teach technique and plainsong improvisation to the auditors of the class. In
                                                                                                  brimming with youthful promise; the tortured chromaticism of the third organ symphony
February of 1892, Widor appointed Vierne his suppléant or deputy at the grand orgue of
                                                                                                  lay twelve years in the future. Widor’s own mass in f-sharp minor seems very much a
Saint-Sulpice. Vierne was awarded his Premier Prix in July of 1894 and Widor immediately
                                                                                                  model for Vierne’s mass in C-sharp minor. Vierne’s work is scored for the same forces as
appointed him his teaching assistant as well. In the same year, Vierne’s first published
                                                                                                  Widor’s but without the provision of a unison part for the seminarians from the Grand

                                              4                                                                                                5
LI TU RGI C A L P R A C T I C E & T RA DIT IONS                                                                                                 LI TU R G IC AL P R AC TI C E & TR ADI TIO NS

      There are many fine presentations of the Vierne Mass available, but this recording is             Of course there was only one form of Mass that Vierne knew, the standard Traditional
the only one performed in Saint-Sulpice, the church in which Vierne played while the             Mass celebrated between 1570 and 1962. In reconstru ing this Traditional Mass, we tried
work was being composed. But we wanted to take things one step further, and present this         as much as possible to preserve distin ive French historical pra ices while acknowledging
Mass as it would have been heard at the time: not as a concert piece, each movement sung         that between 1899 and 1937, these pra ices were quickly evolving and present in varying
consecutively, but as one part of the larger, more complex musical fabric that is the High       degrees within the Parisian parishes. For example, the slower-paced Gregorian chant ac-
Mass. Thus, we have taken the Ordinary that Vierne set to music, and programmed a Mass           companied by a contrabass would have been more readily heard in 1899 than in 1937, when
as it could have been heard between the year of its composition and the year of Vierne’s         the Solesmes reform had taken hold. Louis Niedermeyer’s ancient-music revival was also
death (1899–1937). This means you will hear five different pieces of music that make up            spreading; people were rediscovering Giovanni Pierluigi da Palestrina, Giovanni Gabrieli and
this Mass, interspersed with organ solos, improvisations, motets, Gregorian chant in all its     Josquin Desprez while continuing to program “new” works by composers like Théodore
forms (the Proper, blessings, the Canon), and even the bells that the altar boys would have      Dubois, Léon Bœllmann and Philippe Bellenot.
rung.                                                                                                  It should be noted that on our disc, the Vi imae Paschali is sung by women. This
      Due to the nature of a modern CD recording, we had to make some compromises in             certainly would not have been done at the time—women did not sing in the choir. The
regard to performance pra ice. Our 90-voice mixed choir is a group of trained choristers.        treble voices (in Vierne’s time provided by a boys choir) could have sung the Vi imae
In Vierne’s time, large parishes like Saint-Sulpice could boast of choirs composed of 40 or      Paschali in the “Parisian style,” as heard on this disc, with singers performing the odd-
so professional opera singers.                                                                   numbered verses while the organ improvised on the even-numbered ones. This pra ice
                                                                                                                                              continues today.
                                                                                                                                                       Similar choices needed to be made for
                                                                                                                                              the Gregorian chant, as up until the 1950s
                                                                                                                                              there cœxisted two distin types. We opted
                                                                                                                                              for the style resulting from the Solemnes re-
                                                                                                                                              form, which began in 1889. Although the oth-
                                                                                                                                              er interpretation was widespread and indeed
                                                                                                                                              sung at Saint-Sulpice, for a CD recording it
                                                                                                                                              was impra ical. That chant was sung slowly,
                                                                                                                                              which would have caused the Gregorian tracks
                                                                                                                                              to disproportionately dominate the CD.
                                                                                                                                                       The Tantum Ergo is a motet com-
                                                                                                                                              prising the last two verses of the hymn Pange
                                                                                                                                              Lingua heard at Benedi ion of the Blessed
                                                                                                                                              Sacrament, not necessarily at the Mass. This
                                                                                                                                              was purposely done to illustrate how the ri-
                                                                                               Thibaut Marlin condu ing                       valries and politics between the musicians and
                                                                                               his choir in the Plain Chant                   the clergy in the large fashionable parishes
                                                                                               for the CD with Eric Lebrun
                                                                                               at the Orgue de Chœur                          could result in liberties taken with the liturgy.

                                              10                                                                                               11
Grand Orgue                                                                                Solo (V)
                                                                                           Wind — CC to B:        mm; c to g''    mm
                                                                                                                                              Pedalboard, 30 notes CC to f

    of Saint-Sulpice                                                                             Bourdon
                                                                                                 Flûte cônique
                                                                                                                                              20 combination pedals (from left to right)
                                                                                                                                              (The stops written in italics in the stoplist
                                                                                                                                              speak only when the corresponding pedale
                                                                                                 Violoncelle          C                       d'anche is lowered.)
Grand-Chœur (I)                                            Gambe                B                Gambe                C                       1     I/P
Wind — CC to cs:     mm; d to g'' mm                       Unda maris           C                Kéraulophone         C                       2     II/P
    Salicional           B                                 Flûte douce          B                Flûte harmonique B/C                         3     IV/P
    Octave               C                                 Flûte octaviante     B                Bourdon            A/C                       4     Anches Pédale
    Bombarde             A                                 Dulciane             B                Quinte               B                       5-9 I II III IV V Octaves graves
    Basson               C                                 Quinte           A/B/C                Prestant         A/B/C                       10    I/II
    1ière. Trompette     A                                 Doublette            B             4 Octave                C                       11-13 V III IV Anches
    2ième. Trompette     A (d to g" 16')                   Tierce               A                Flûte octaviante   B/C                       14-18 I/I II/I III/I IV/I V/I
    Basson               C                                 Larigot              A                Tierce               C                       19    IV/III
    Clairon           A/C (4'-8'-16')                      Picolo               A          2     Quinte               C                       20    Expression Récit
    Clairon-Doublette    C (2'-4'-8')                III-VI Plein jeu           C          2     Septième             D
 V Cornet                A (d to c': 8',              16 Basson                 D             2 Octavin               C                       Five combination knobs: Pédale, Récit,
                              cs' to g": 16')          8 Trompette              A             V Cornet                A (c to g")             Positif, Solo, Grand-Orgue & Grand-
 IV Fourniture            A                            8 Baryton                A            16 Bombarde              C                       Chœur.
 IV Plein jeu             A                            4 Clairon                A 4 -8        8 Trompette             A                       To engage a stop, one must first draw the
 VI Cymbale               A                                                                   4 Clairon             A/B 4 -8 -16              combination knob associated with its divi-
                                                     Récit Expressif (IV)                                                                     sion. Once retired, the combination for that
Grand-Orgue (II)                                     Wind — CC to B: mm; c to g'' mm       Wind — CC to B:       mm; c to ds'   mm; e'        division is “frozen,” allowing the next restira-
Wind — CC to cs:      mm; d to g'' mm                      Quintaton         A             to g''   mm                                        tion to be prepared by the assistants. Then,
    Basson                C                                Diapason          D                    Trompette en Chamade B                      at the appropriate point in the music, the
    Principal             A                            8 Flûte harmonique    C                                                                knob is engaged and the new combination
    Montre                A                                Violoncelle       C             Pédale                                             takes effect.
    Bourdon               A                                Bourdon         A/C             Wind — CC to f:     mm
    Flûte cônique         C                                Voix céleste      C                  Principal           A/C                       A:     Clicquot 1781
    Montre                A                                Prestant        A/B                  Principal             E                       B:     Daublaine et Callinet 1845
    Diapason              B                            4 Dulciana            B                  Contrebasse         A/C                       C:     Cavaillé-Coll 1862
    Bourdon               A                            4 Flûte octaviante    C                  Soubasse              A                       D:     Mutin 1903
    Flûte à pavillon      B                                Nazard          A/B                  Principal             E                       E:     Pleyel-Cavaillé-Coll 1933
    Flûte traversière     C d to g"                        Doublette         A                  Violoncelle           B
    Flûte harmonique A/C                               2 Octavin             C                  Flûte                 A
  ' Quinte            A/B/C                            V Fourniture          A                  Flûte               A/B
    Prestant              A                           IV Cymbale             A              32 Bombarde             A/B
    Doublette             A                            V Cornet              A (c to g")    16 Bombarde               A
                                                           Cromorne          A              16 Basson                 B
Positif (III)                                              Basson-Hautbois A/C               8 Trompette              A
Wind — CC to B: mm; c to g''          mm                   Voix-Humaine      A               8 Ophicléide             A
      Violonbasse           C                         16 Bombarde            C               4 Clairon                A
      Quintaton             C                          8 Trompette           C
      Quintaton           B/C                          4 Clairon             C
      Flûte traversière     C                              Trémolo                         5 manuals, 56 notes CC to g''
      Salicional        A/B/C

                                                16                                                                                       17
                                                                                                                     XI. The Gospel
                                           14      TRACK
                          L SEQUENCE: Vi imæ paschali laudes M
                                             Gregorian chant, COP

C. Vi imæ paschali laudes immolent                              C. Christians! To the Paschal Vi im offer
Christiani.                                                     your thankful praises.
O. Agnus redemit oves: Christus innocens                        O. The Lamb the sheep redeemeth: Christ,
Patri, reconciliavit peccatores.                                who only is sinless, reconcileth sinners to
                                                                the Father.
C. Mors et vita duello conflixere mirando,                       C. Death and life have contended in that
Dux vitæ mortuus, regnat vivus.                                 confli stupendous: the Prince of Life,
                                                                who died, deathless reigneth.
O. Dic nobis Maria, quid vidisti in via?                        O. Speak, Mary, declaring what thou
                                                                sawest wayfaring.
C. Sepulcrum Christi viventis, Et gloriam                       C. "The tomb of Christ who now liveth:
vidi resurgentis.                                               and likewise the glory of the Risen.
O. Angelicos testes, sudarium et vestes.                        O. Bright Angels attesting, the shroud and
                                                                napkin resting.
C. Surrexit Christus spes mea: Præcedet                         C. Yea, Christ my hope is arisen: to Gali-
suos in Galilæam.                                               lee He gœth before you."
O. Scimus Christum surrexisse, a mortuis                        O. We know that Christ is risen, hence-
vere: Tu nobis, vi or Rex, miserere.                            forth ever living: Have mercy, Vi or
                                                                King, pardon giving.
C. Amen. Alleluia.                                              C. Amen. Alleluia.
Afterwards the deacon takes the book from the altar, and again kneeling down before the priest, asks his
blessing, saying:                                                                                                     The deacon incenses the open Evangelarium (Book of Gospels) before proclaiming the Gospel, recognizing
                                                                                                                           that Christ, Who is the Word of God, is especially present in the words of the Gospel sung
D. Jube benedicere.                                             D. Sir, give me thy blessing.                                                                    by the deacon.
P. Dominus sit in corde tuo, et in labiis tuis: ut digne        P. The Lord be in thy heart and on thy lips, that
et competenter annunties Evangelium suum: In no-                thou mayest worthily and in a becoming manner pro-
mine Patris, et Filii, et Spiritus San i. Amen.                 claim His holy Gospel: In the Name of the Father,                                              TRACK 15
                                                                and of the Son, and of the Holy Ghost. Amen.
                                                                                                                                                           L THE GOSPEL M
The deacon and the attending ministers process to the north side of the san uary. Then turning towards the                                                         Hervé Lamy
Gospel book, with his hands joined, the deacon sings:
D. Dominus vobiscum.                                            D. The Lord be with you.                             And while saying:
S. Et cum spiritu tuo.                                          S. And with thy spirit.                              D. Sequentia san i Evangelii secundum D. The continuation of the holy Gospel
                                                                                                                     Marcum. St. Mark 16. 1-7.             according to Saint Mark. St. Mark 16. 1-7.

                                                                                                                     The deacon signs the book, and himself on the forehead, mouth and breast; the attendants respond:

                                                                                                                     S. Gloria tibi, Domine.                                  S. Glory be to Thee, O Lord.
                                                                                                                     The deacon sings the Gospel.

                                                           30                                                                                                            31
                                                                                                                      P. Per intercessionem beati Michælis Archangeli,              P. May the Lord, by the intercession of blessed Mi-
                                                                                                                      stantis a dextris altaris incensi, et omnium ele orum         chæl the Archangel, who standeth at the right side of
                                                                                                                      suorum, incensum istud dignetur Dominus bene                  the altar of incense, and of all His Ele , vouchsafe
                                                                                                                      dicere, et in odorem suavitatis accipere. Per Christum        to bless this incense and receive it as an odour of
                                                                                                                      Dominum nostrum. Amen.                                        sweetness: through Christ our Lord. Amen.

   The priest blesses the water, which the subdeacon pours into the chalice, mixing it with the wine to
 represent the blood and water that poured forth from Christ's side on the Cross, showing that He is both
                                         truly human and divine.

P. Deus, qui humanæ substantiæ dignitatem mirabili-           P. O God, Who, in creating human nature, didst
ter condidisti, et mirabilius reformasti: da nobis per        wonderfully dignify it, and hast still more wonder-
hujus aquæ et vini mysterium, ejus divinitatis esse           fully restored it, grant that, by the mystery of this
consortes, qui humanitatis nostræ fieri dignatus est           water and wine, we may become partakers of His di-
particeps, Jesus Christus Filius tuus Dominus noster:         vine nature, Who deigned to become partaker of our
Qui tecum vivit et regnat in unitate Spiritus San i           human nature, even Jesus Christ our Lord, Thy Son,
Deus: per omnia sæcula sæculorum. Amen.                       Who with Thee liveth and reigneth in the unity of
                                                              the Holy Ghost, God: world without end. Amen.                                   The priest incenses the gifts of bread and wine at the altar.
Then the priest takes the chalice, and with the deacon offers it, saying:
                                                                                                                      Receiving the thurible from the deacon, the priest incenses the bread and the wine, while saying:
P. Offerimus tibi, Domine, calicem salutaris, tuam             P. We offer unto Thee, O Lord, the chalice of salva-
deprecantes clementiam: ut in conspe u divinæ ma-             tion, beseeching Thy clemency, that it may ascend       P. Incensum istud a te benedi um ascendat ad te, P. May this incense, which Thou hast blessed, O
jestatis tuæ, pro nostra et totius mundi salute cum           before Thy divine Majesty as a sweet savour, for our    Domine: et descendat super nos misericordia tua. Lord, ascend unto Thee, and may Thy mercy de-
odore suavitatis ascendat. Amen.                              salvation and for that of the whole world. Amen.                                                         scend upon us.
The priest makes the Sign of the Cross with the chalice, places it upon the corporal, and covers it with the          Then he incenses the altar, saying:
pall. Then, with his hands joined upon the altar, and slightly bowing down, he says:                                  Ps. 140. 2-4. Dirigatur, Domine, oratio mea, sicut            Ps. 140. 2-4. Let my prayer, O Lord, be dire ed as
P. In spiritu humilitatis, et in animo contrito suscipi- P. Accept us, O Lord, in the spirit of humility and          incensum in conspe u tuo: elevatio manuum mearum              incense in Thy sight: the lifting up of my hands as
amur a te, Domine: et sic fiat sacrificium nostrum in contrition of heart, and grant that the Sacrifice which            sacrificium vespertinum. Pone, Domine, custodiam ori           an evening sacrifice. Set a watch, O Lord, before my
conspe u tuo hodie, ut placeat tibi, Domine Deus.        we offer this day in Thy sight may be pleasing unto           meo, et ostium circumstantiæ labiis meis. Ut non              mouth, and a door round about my lips. Incline not
                                                         Thee, O Lord God.                                            declinet cor meum in verba malitiæ, ad excusandas             my heart to evil words: to make excuses in sins.
                                                                                                                      excusationes in peccatis.
Raising his eyes towards heaven, extending and then joining his hands, the priest makes the Sign of the
Cross over the host and the chalice, while he invokes the Holy Spirit:                                                Giving the censer to the deacon, he says:

P. Veni, San ificator omnipotens æterne Deus,                  P. Come, O almighty and eternal God, the San ifier,      P. Accendat in nobis Dominus ignem sui amoris, et P. May the Lord enkindle within us the fire of His
et bene     dic hoc sacrificium tuo san o nomini               and bless this Sacrifice, prepared for the glory of      flammam æternæ caritatis. Amen.                    love, and the flame of everlasting charity. Amen.
præparatum.                                                   Thy holy Name.

XV. The Incensing of the Offerings

The priest now blesses incense, saying the following prayers:

                                                         36                                                                                                                    37
A RTI S T B I O G R A P H I E S                                                                                                                                                                         AR TIST B I O G R APH I E S

                                  THIB AUT MARL IN                                                                           nized for its high-quality performances of chant and sacred polyphony. Dr. Scha efer has
                                  Born in Paris in 1971, Thibaut Marlin studied piano at the École                           studied chant at the Paris national conservatory, sung with the Chœur Grégorien de Paris,
                                  Normale de Musique de Paris. In 1994 he graduated from the Paris                           and authored Missa Cantata and Evangelia Cantata.
                                  national conservatory with first prize in Gregorian chant condu -
                                  ing. A member of the Chœur Grégorien de Paris for the last 18                                                         H E R VÉ LAMY
                                  years, he began as a soloist and in 2007 was named dire or. Mr.                                                       A versatile tenor, Hervé Lamy performs as both ensemble singer
                                  Marlin also teaches Gregorian chant at the School of the CGP.                                                         and soloist. His expertise has led him to work with such dire ors

                                                                                                       Photo by Guy Vivien
                                                                                                                                                        as Philippe Herreweghe, William Christie and Jean-Claude Mal-
J EA N S O URI SSE                                                                                                                                      goire. His interpretive skills include all styles of music, including
Organist, composer, and voice teacher Jean Sourisse began his ca-                                                                                       Gregorian chant, baroque and contemporary opera, oratorio singing
reer in music education. He perfe ed his choral-condu ing skills                                                                                        and lieder. His discography contains more than 80 titles, one of
under Michel Corboz, Eric Ericson and Frieder Bernius. His vocal                                                                                        which (Christus Rex) was awarded a Diapason d’Or.
ensembles have excelled in all styles, from a cappella repertoire
to large-scale works solicited by renowned dire ors Colin Davis,                                                             DANIEL ROTH
Mstislav Rostropovich, Neville Marriner and Yehudi Menhuin.                                                                  Daniel Roth, international concert artist and teacher, has been the
He has often collaborated with organists Marie-Madeleine Duruflé                                                              titular organist at Saint-Sulpice since 1985. Professor of organ studies
and Marie-Claire Alain. With a large discography, Mr. Sourisse                                                               at the Frankfurt Musikhochschule from 1995 to 2007, Mr. Roth
specializes in French sacred music of the 19th and 20th centuries.                                                           taught for more than 40 years before retiring to dedicate more
                                                                                                                             time to composing. He has written works for solo organ; flute and
                                  CH A RL E S B ARB IE R                                                                     organ; choir and organ; orchestra; and piano and orchestra. Most
                                  Chares Barbier began his vocal studies as a boy in Brittany and                            recently, he has been named Chevalier de la Légion d’honneur. He
                                  later studied Gregorian chant, choir dire ion, acoustics and Laban                         continues to tour and give master classes all over the world.
                                  notation at the Paris national conservatory. He is currently at
                                  the Sibelius Academy of Helsinki, studying choral and orchestral                                                      E R I C LEB RUN
                                  dire ion. Barbier sings both tenor and soprano, and his repertoire                                                    Eric Lebrun is recognized as one of the most accomplished musi-
                                  encompasses the Middle Ages through the present day. His per-                                                         cians of his generation: educator, composer, soloist, writer and
                                  formance tours have included Europe, South America, Northern                                                          titular organist of Saint-Antoine des Quinze Vingts in Paris since
                                  Africa and Asia.                                                                                                      1990. His endeavors have been crowned with the highest accolades,
                                                                                                                                                        from the Grand Prix de Chartres to composition commissions and
ED WA R D SCH AE FE R                                                                                                                                   award-winning recordings. He and his wife, Marie-Ange Leurent,
Edward Scha efer is a permanent deacon and Associate Dean of                                                                                            form a brilliant team, playing duos with four hands, and, more
Fine Arts at the University of Florida. He spent 21 years as choral                                                                                     recently, recording the complete works of Buxtehude.
dire or at Gonzaga University, where he led a program recog-

                                                     56                                                                                                                      57

                                  C H OE UR D ’ ORATORIO D E P A R I S
                                                                                               JAV Recordings, Inc.
                                  Founded in 1989 by Jean Sourisse, the 90-voice Chœur
                                  d’Oratorio de Paris has an extensive sacred and secular
                                  music repertoire ranging from the baroque period to the
                                  20th century. Regularly called upon by the most cele-
                                                                                               Paul Roumanet, P.P.S., Curé de Saint-Sulpice
                                  brated condu ors (James Conlon, Théodor Guschelbauer,
                                  Alberto Zedda, Tamas Vasary and others), they have           Daniel Roth, Titular Organist of Saint-Sulpice
been honored to work with soloists such as Barbara Hendricks, Sandrine Piau, and Vero-         Camille Haedt, Proje Manager
nique Gens. In 2005, the choir recorded Beethoven’s 9th Symphony under the dire ion of         Jean Sourisse, Dire or of Chœur d’Oratorio de Paris
John Nelson and the Ensemble Orchestral de Paris.                                              Thibaut Marlin, Dire or of Chœur Gregorien de Paris
                                                                                               Eric Lebrun, Orgue de Chœur
The Chœur Grégorien de Paris has a mission to culti-                                           Michel Goussu, Organ Curator of Saint-Sulpice
vate Gregorian chant today. The choir gives concerts,                                          Christoph Frommen, Recording Engineer, Editing and Mastering
participate in festivals, records, CDs, collaborates with                                      Janice Walker & Dan Madden, Graphic Designers
the CNSM de Paris in Gregorian chant education. Most                                           Jœl Newman, Baronius Press Ltd., for use of the English translation of the Mass
importantly to their mission they regularly sing Mass at
                                                                                               Fr. Richard Cipolla, Britt Wheeler, Bill Riccio, Nicholas Renouf, Daniel Russbach,
l’Eglise Royale du Val-de-Grace in Paris thus rendering
                                                                                               Jacob Horvath, Michael Nazzaro of the Saint Gregory Society, for staged photos of
the profound and mystical Gregorian chant in its natural liturgical context. The choir tours
                                                                                               the Traditional Catholic Celebration in the Missal part of the booklet
frequently to such places as Colombia, Lebanon, China and Estonia.
                                                                                               Fr. Michael Perry, Fr. Revert, Fr. Peter Rocca, Fr. Ian McDole, Jœ Chapman,
                                                                                               Mark Dwyer, Daniel Sheerin, and Britt Wheeler, for proofreading the Missal
                                                                                               Fr. McDole, for captions for photos in the Missal
                                                                                               Rollin Smith, for the historic photo of Vierne
                                                                                               Yale University Organ Curators’ Shop, for the photo of the Nave of Saint-Sulpice, c. 1900
                                                                                               Harold Shaprio, Joseph Vitacco, photography
                                                                                               Recorded O ober 4, 5, 6, 2007


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