THE GREGORIAN TONES.
(Vol. vi., pp. 99. 178.)
I have neither time nor inclination to expose all the errors and fallacies of Mr. Matthew Cooke's article on "Gregorian Tones;" but I cannot resist pointing out certain statements which are calculated to mislead the readers of "N. & Q." in no trifling degree. The writer says:
"The most ancient account we have is, that St. Ambrose of Milan knew of four tones in his day, and that he added four others to them; the former being those termed authentic, the latter the plagal modes."
Now the fact is, that St. Ambrose, Bishop of Milan (A.D. 374 to 397), chose from the ancient Greek modes four series or successions of notes, and called them simply the first, second, third, and fourth tones; laying completely aside the ancient heathen names of Doric, Phrygian, Lydian, Ionic, &c. St. Gregory the Great, who governed the Christian Church from A.D. 591 to 604, added the four additional tones. These eight ecclesiastical successions or scales, which still exist as such in the music of the Roman Liturgy, are called Gregorian after their founder. Thus the old Ambrosian chant is known at present only through the medium of the Gregorian.
The writer continues his statement in these words—
"Some years since, the renowned French theorist, Mons. Fetis, went to Milan for the express purpose of consulting the celebrated Book of Offices, written by St. Ambrose in his own handwriting, which is there preserved [the Italics are added]; and in his work, published in Belgium, he says that he collated them with those known and received amongst us; and that the variations were of the slightest possible character, the tones being ostensibly the same."
This extraordinary statement cannot be accepted without the title of M. Fetis' work, and the passage upon which it rests, verbatim in the author's own words. But I have no hesitation in saying that it is founded in error.
Thibaut (Ueber der Reinheit der Tonkunst, pp. 28-30.) speaks of a MS. of the Gregorian chants at St. Gall, in Switzerland, as old as the ninth century. This is believed, by all accredited modern writers upon music, to be the oldest MS. of the tones extant.
Edward F. Rimbault.