Solesmes sometimes defies their own editions (and theories)

BEFORE I even type a word, I want you all to know that I love the Solesmes rhythmic markings, and I use them every day.

I always keep my ears open for when Solesmes doesn't follow the markings in their own editions. For instance, listen to the beginning of Kyrie III, or certain quilismas they add in Gloria II, or the second "sanctus" of Sanctus II.
(You can hear all these HERE).

Dom Gregory Murray once wrote a long article about Credo I, EXCORIATING Solesmes for not marking certain accents as long ... but if he had only listened to their recording of Credo I, they ACTUALLY MAKE ALL THOSE SYLLABLES LONG ANYWAY!

Let's face it: the longer you do chant, you begin to realize that the Solesmes rhythmic symbols are basically suggestions, rather than hard and fast, numerical "tempo" marks!

-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-

In any event, those of you who have read my article in Sacred Music realize that many of the Solesmes rhythmic "holds" (morae vocis) are in direct opposition to where the Vatican Edition wanted them. There can be absolutely no doubt about this after one reads This official letter to Cardinal Martinelli, 1910, written by Pius X, leaving aside the other legislation on this subject. Here I am not speaking about EVERY SINGLE rhythmic mark, but only the hundreds that are in direct opposition to the Vaticana rhythm. In the 1950's, I think it was, the Vatican (finally!) officially "sanctioned" these rhythmic markings, by saying that they are "tolerated."

-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-=|=-

What I find exceedingly interesting are those times that Solesmes actually follows the Pothier/Vaticana markings INSTEAD OF their own markings . . . like here (the second and third notes)

SCORE ••• MP3.