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Taken from 'Gregorian Chant', a recording of 'The Monastic Choir of the Abbey of St. Pierre de Solesmes', adapted from the note by Robert Hartford, Double CD MUCD9516, 1996 Start Entertainments Ltd, London.

'There is something about Gregorian Chant that appeals directly to the modern ear. It may be that its serenity serves to counter the stress and strain of everyday life at the end of the second millennium; in a perpetually changing and often perplexing world the slow and inevitable progress of this music acts as a reminder of things eternal. It is the aural equivalent of stepping into a great, ancient cathedral from the hustle and bustle of a busy city street.

'Just as the solemn presence of old stone walls can convey an impression of enduring tradition so the time-denying sounds of Gregorian Chant can likewise bring a reassuring sensation that they have existed since mankind first gave voice. And, just as seeking calm repose in a church may be far removed from any religious leaning, then lending an ear to ancient plainsong no longer involves devotion. But it must not be forgotten that, for many millions throughout the ages, these are the sounds of mortals presuming to address their God.

'Gregorian Chant can be traced in documents as far back as the 11th-century and, on oral tradition, some 300 years earlier. An alternative name 'Old Roman Chant', is now seen to be misleading; the present version is a response by the Frankish church of around AD 800 to the introduction of elements originating in eastern Europe. The source of these is believed to be in the Jewish synagogue rite; to try to trace it further back, to ancient Greece, is highly speculative - and even more so if ancient Egypt is brought into the picture, although Coptic and its development from the language of the pharaohs demonstrates a possible line of transmission. It was a confused state of affairs, with many different centres responding to, and adopting, the various traditions that impelled Pope Gregory (590-604) to sort out the tangled strands and establish the one true system that bears its name.

'There are three melodic styles of chant: 1) syllabic: each syllable of text is set is set to a single note; this is usually found in antiphons and psalms, 2) neumatic: from two to a dozen notes related to one syllable, as in introits, the Sanctus and Agnus Dei, 3) melismatic: one syllable sung to many notes as heard in graduals, alleluias and offertories. Antiphonal plainsong is that in which two separate parts of the choir sing psalm verses in alternation, adding a refrain (or respond); and direct plainsong, where the verses are sung with no refrain. The music is remarkably free of constraints and is, itself, surprisingly neutral; the same music may be used for settings of quite different texts.

'The greater part of what is known as Gregorian Chant has been in use since as least the 8th century, whereas the chants with standard texts such as the Kyrie (and 'Ordinaries') of the Mass were most likely developed during the 10th century and later. At first, the distinctions of style may not be evident; a certain sameness and monotony is frequently the initial impression of plainsong and, while this may be why it appeals to those jaded by excessive chromaticism (as in the cases of minimalists like Philip Glass and Michael Nyman), the longer and deeper the listener delves into plainsong, the more it will yield its subtleties'.