Antiennes:    
1.Anesto (1er mode)
2.Bene fundata est (8e mode)
3.Haec est Domus Domini (1er mode)
4.Non est hic aliud (7e mode)
5.Introïbo (4e mode A)
6.O quam metuendus est (6e mode)
7.O quam gloriosum (6e mode)
8.Istorum est enim (8e mode)
9.Ingredimini (2e mode)
10.Sub altare Dei sedes (6e mode)
11.Sub altare Dei audivi (7e mode)
12.Corpora sanctorum (1er mode)
13.Lapides pretiosi (1er mode)
14.Unxit te Deus (7e mode)
15.Stetit Angelus (4e mode A)
16.Data sunt ei (8e mode)
17.Ascendit fumus (4e mode A)
Versus:
18.Veni Sancte Spiritus (2e mode)
Antienne:
19.Confirma hoc Deus (8e mode)
Repons:
20.Fundata est (2e mode)
Graduel:
21.Locus iste (5e mode)
Alleluia:
22.Adorabo (7e mode)
Offertoire: 
23.Domine Deus (6e mode)

Choeurs des moniales de l'Abbaye Notre-Dame d'Argentan
Dom Joseph Gajard – director

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1 Introit. Circumdederunt me in Mode V	00:03:47 
2 Kyrie XI in Mode I	00:02:21 
3 Oraison	00:00:55 
4 Epître	00:02:09 
5 Graduel. Adjutor in Mode III	00:04:16 
6 Trait. De profundis in Mode VIII	00:04:50 
7 Evangile	00:04:38 
8 Credo I in Mode IV	00:04:27 
9 Offertoire. Bonum est in Mode VIII	00:01:25 
10 Préface	00:03:23 
11 Sanctus XI in Mode II	00:01:49 
12 Pater noster	00:02:02 
13 Agnus Dei XI in Mode I	00:01:21 
14 Communion. Illumina in Mode I	00:01:04 
15 Postcommunion	00:01:01 
16 Benedicamus Domino XI in Mode I	00:00:28

Choeur Des Moines De L'Abbaye Saint-Pierre De Solesmes
Dom Joseph Gajard – director

With Septuagesima, we definitely abandon Christmas Time to enter the Easter cycle. External rites peculiar to this new liturgical season are: suppression of the Glória at mass, deletion of joyful Alleluias everywhere in the celebration, even at Deus in adjutorium meum intende, to which it virtually adheres, purple ornaments. All this is singularly evocative and sufficient to characterize the atmosphere in which the liturgy will now take place: it is a spirit of penance that will - increasingly so as we approach the holy celebration of the mystery of the Lord's passion - be the hallmark of the Church prayer.

In short, as Lent is preparation for the Holy Week, the Septuagesima period is a preparation for Lent. It is like a kind of anticipated Lent. It seems that before starting the great fast of atonement for the sins of the world, and leading to it, the Church makes us examine our conscience, remembering the mistakes and crimes that humanity has made itself guilty of, and which will be erased by the shedding of the redeeming blood: original sin and actual sins. As a matter of fact, it has us read in Genesis, during the week of Septuagesima, the story of creation and the fall from Eden, and during the week of Sexagesima, the story of the flood, so circumstantial.

We've all been subsumed in the death sentence pronounced in Eden. Let's just remember the repeated assertions of St. Paul and the definitions of the Church on the subject. It is this keen awareness of our misery before God that reflects the admirable liturgy of Septuagesima, including the Mass of the three Sundays of Septuagesima, Sexagesima and Quinquagesima. But one can also see, like in the liturgy of Lent, how the Church understands penance, done, of course, out of pain for our mistakes, but also with an invincible confidence in the infinite mercy of God. It is very good for the soul to reach such lofty heights. --- musique-liturgique.com

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Purification de la Sainte Vierge
1.Lumen (8e mode) (2:25) 
2.Adorna (6e mode) (2:45) 
3.Obtulerunt (2e mode) (3:15) 
4.Suscepimus (1er mode) (3:50) 
5.Suscepimus (5e mode) (2:40) 
6.Senex puerum (1er mode) (3:30) 
7.Diffusa est (8e mode) (2:00) 
8.Responsum (8e mode) (:40) 

Notre-Dame des sept douleurs
9.Stabant juxta cruxem (1er mode) (2:45) 
10.Kyrie VIII ad libitum (6e mode) (2:00) 
11.Dolorosa (4e mode) (2:55) 
12.Stabat Sancta Maria (2e mode) (3:00) 
13.Stabat Sancta Maria (2e mode) (2:25) 
14.Stabat Mater (2e mode) (5:15)
15. Recordare (1er mode) (1:20)
16. Felices sensus (1er mode) (1:00)

Choeur des Moniales de l'Abbaye Benedictine d'Argentan
Dom Joseph Gajard – director

Dom Jean Claire served as choirmaster at the Abbey of Solesmes in France from 1971 to 1996, succeeding Dom Joseph Gajard. He studied in classics and composition, entering the abbey in 1944. During his tenure as choirmaster, he made over 25 recordings of Gregorian chant and published numerous scholarly articles on the origins of Western modality. He is known for his refinement of the Solesmes style in which the duration of individual notes is flexibly interpreted rather than given a fixed measure. The Abbey of Solesmes has been the center of the modern revival of Gregorian chant performance since the mid-nineteenth century, and the monks of the abbey have provided the official chant books of the Catholic church from the beginning of the twentieth century. --- Robert Adelson, Rovi

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