Stella Caeli, Antiphona contra luem contagiosam
Dear colleagues:
Regretfully the decision has been made to postpone the IGC/GIC conference in Toronto from July 2020 to July 2021. We are working out the details now, and will circulate the new plans as they become established. We hope that the full conference with all its participants, and our guest leader, Marcel Peres, will be a wonderful celebration in 2021.
Thank you for your understanding, and best wishes for good health to all.
The directors
Le français est en dessous
15th Annual Colloquium of the Gregorian Institute of Canada
July 9 to 12, 2020
St. Augustine’s Seminary (ON)
CHANT ALIVE!
The program features: daily Lauds, Vespers, Compline;
Concert with Adelphi Choir; and
Sunday Mass with full sung propers
The draft colloquium program is available here.
Registration information is below.
Accommodation will be at the St Augustine’s Seminary in Scarborough. The facility has been renovated and now has AIR CONDITIONING!! Those who were there a few years ago will appreciate this.
Accommodation can be arranged directly with the seminary and that information is available on their web-site: Seminary Accommodation
Approaches to Chant Performance by Marcel Pérès
Marcel Pérès, has spent his life championing this close connection between research and performance through his Ensemble Organum, founded in 1982. In 2001, he founded CIRMA, the Centre itinérant de recherche sur les musiques anciennes, in Moissac, France. His recordings with Ensemble Organum have attracted much attention and great acclaim for their compelling and fresh interpretations of ancient music, based on new research. We celebrate his presence with us by inviting scholars and liturgical musicians to speak about how the performance of chant fits within the scope of their own work.
What is Gregorian chant?
This question could seem astonishing in the frame of a meeting about Gregorian chant, but in fact it is really important to try to figure out what do these two words mean: Gregorian and Chant.
Maybe the first question to explore should be: What is chant for us today, and what was chant for those who, in the 19th century wanted to restore Catholic Church music?
But that’s not enough. We must have an historical approach of chant. During the 20th century, most of the scholars have focused on the neumatic notation, of the 10th and 11th centuries, looking down on the square notation of the following centuries. The result is that today very few gregorianists have a clear vision of these centuries – 12th -19th c. – when square notation was the main means of construction of the liturgical celebration.
During this workshop we will try to describe what happened with chant during the second millennium, and we will go further, into the first millennium, using as a guide Old roman and Beneventan chant.
But this would not be complete, if we do not wonder what all this means for us today, to look at theses testimonies of late Antiquity.
For those of the first millennium, the conception of singing was radically different to what it’s now. Can their testimony radically change our vision of liturgical challenges?
Matters that will been treated:
- The 19th century and the beginning of the 20th chant revival.
- The square notation, from his origin, in the middle of the 12th century until now.
- Old roman chant, the link between eastern and western liturgical traditions and also between the first and the third millennium.
- What can be done today with the Vatican editions of the beginning of the 20th century? How these editions can been used, knowing the history of square notation and the information brought by Old roman chant.The colloquium also features a daily vespers led by Aaron James.
Aaron James is the Director of Music for the Toronto Oratory of St Philip Neri, and a Sessional Lecturer in Organ at the University of Toronto. He holds a PhD degree in musicology from the Eastman School of Music, University of Rochester, where he previously earned a DMA degree and Performer’s Certificate in organ. His activities as a scholar and performer center on the motet in the mid-sixteenth century, building on his dissertation, which examined the career of Augsburg music editor Sigmund Salminger. His most recent publications appear in the Journal of the Alamire Foundation, Early Music, and Sacred Music.
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REGISTRATION
PLEASE NOTE THAT REGISTRATION DOES NOT INCLUDE ACCOMMODATION WHICH MUST BE OBTAINED DIRECTLY FROM ST AUGUSTINE’S SEMINARY Seminary Accommodation
To register by mail please download this form, fill it in and send with your cheque.
To Register on-line please fill in this form and email it to igc.gic@gmail.com and pay using the buttons below.
ALL REGISTRANTS MUST BE MEMBERS OF GIC/IGC FOR THE YEAR 2020-2021. PLEASE INCLUDE THE MEMBERSHIP FEE WITH YOUR REGISTRATION IF YOU ARE NOT ALREADY A MEMBER OF GIC/IGC FOR 2020-2021.