Giovanni Tebaldini e l’accompagnamento al canto gregoriano

The history of organ accompaniment to Gregorian Chant in the 19th century and in the first decades of the 20th century is rather complex: a style similar to the German ‘‘Choral’’ was slowly and gradually replaced by accords aimed to support the performance of the chant. This was primarily due to the influence of the theories on Gregorian rhythm developed at Solesmes. Tebaldini, who had studied at Regensburg, proposed in his Manuale accompaniments basically faithful to the Regensburg tradition and particularly to Haberl. Giulio Bas, one of Tebaldini’s pupils, sometimes criticised by Tebaldini, followed the new French principles and style strictly and rigorously