Hark! Hear Voices from Heaven As Gregorian Choir of Paris Sings in Manila

On February 19, 2015, the Gregorian Choir of Paris performed at the UNESCO declared World Heritage Church of San Agustin in Intramuros, the walled city of Manila, promoting three things: 1. The 450th anniversary of the presence of the Augustinian order; 2. The remarkable resilience of the Filipino people after recent encounters with natural and man made catastrophes and tragedies; and 3. The cultural heritage of the Roman Catholic Church through its sacred music tradition.

Depending on your perspective, it was a most timely, and iconic performance!

It was the second day of Lent, traditional a period of repentance, penitence and sacrifice toward self transformation, and the Gregorian chants were music still considered the most transcendent and suitable for worship.

It was also the first day of the spring festival, the Lunar New Year, and the Gregorian monophonic harmony that ensued seemed a resplendent if sublime way to celebrate a joyous occasion, a reason to praise.

16 men and 10 women from all over the world comprise the Gregorian Choirs of Paris, formed in 1974 and 1994.  They were led by conductor Charles Barbier, who is himself both an elegant tenor and male soprano, and accompanied most powerfully on the organ by Pascal Marsault.

Common knowledge attributes the origins of the Gregorian chant to Pope St. Gregory(hence the name?), though some scholars believe it evolved mostly in Western and Central Europe sometime before the 11th century.

Common knowledge has the Gregorian chants initially being sung by choirs of men and boys in churches, or men and women of religious orders in chapels, convents, and monasteries.

Common knowledge has the Gregorian chants being used originally to singing the Office, or parts of the Mass...involving what are called Proper chants and Ordinary chants, from the Introit( or the entrance procession ) to the Kyrie, and Gloria, through the Alleluia, Credo, Offertory, Sanctus, Benedictus, Agnus Dei, and then Communion.  At the end of these chants, any one or combination of Marian antiphons are sung.  

 The repertoire of the Choir was traditional Roman Rite, even if not all the choir were religious or clergy.  

And even if not all the choir members were clergy, some individual voices stood out for their divinetimbre, especially a Korean soprano by the name of Soowon Kim.

And of course the harmony was classic Gregorian, rhapsodic even in its monophony.

The choir members were mostly young singers, as espied by their casual footwear, their informal jeans and slacks underneath plain white capuchin robes, and the simple hairdos of the girls held away from their freckled, scrubbed faces by elastic bands and braids.

Apart from the processional and recessional, there was a bit of choreography involved.  The blocking of the choir members varied, as if to keep the interest of the audience from waning.

But they need not have worried.  This rare performance, made possible by the arrangements of the Alliance Francais, and the sponsorship and support of the SSI Group, Ayala Malls, together with a host of other prestigious companies, gave the packed audience a chance to hear a bit of heaven on earth.  

This unique recital enabled the hushed crowd a chance to experience first hand, once in a blue moon, the charm of the sacred.  

And most of all, this by invitation only event made the appreciative gathering realize that perhaps, it's is proven once again,  that the most beautiful musical instrument in the world is the human voice.