I'm saying all the modern Solesmes recordings (all of Angelus Press offerings of Solesmes are modern) follow the Novus Ordo propers, with those things I mentioned peculiar to the Novus Ordo. "Etc." means, among other things, using different propers. Not that I mind (some are more ancient than some of the one in the older rite), but it makes for more options, and the last thing we need is more options. And also they follow a newer Solesmes interpretation, as distinguished from the classic Solesmes (exemplified in the Schola Bellarmina and older Benedictine recordings).
Okay. I guess that's all right. I was hoping you might be able to easily list the
differences, but if not, I can deal with it. I might have to ask some people I know
who are involved with the Novus Ordo music. I'm reluctant to do that because it
usually results in an argument!
But you say they use a "different interpretation." Can you provide any clues as to
what that is, for example? It's a musical interpretation, I would presume.
Do they use a faster tempo? Is their phrasing different? Do they end their phrases
with a loud volume, and make abrupt cut-offs? Do they give the individual neums
a more constant time value, or a less consistent time value? Do they somehow
introduce a pop-style to the lyric melody, or use harmony?
I get the feeling that they might use Chantacleer-type idioms.
One problem I have with the Schola Bellarmina is they always (almost) use an
organ accompaniment. This is technically incorrect for Gregorian Chant. I know it
helps them to stay in tune, but there are other techniques to keep intonation
accurate: especially that of the proper forming of the TONE in each voice, which
then done well, evokes perfect adherence to pitch, even over a long chant of
several minutes' duration. But the Schola does not adhere to this principle, nor
are they willing to learn it, apparently. It seems to be an element of pride there.
But their overall product is pretty good, otherwise.
Thank you for your help!