I am the one that stuffed Berhanes head with the idea he posted here a month ago.
In essence what he posted I agree with but it demands further commentary to not be misconstrued, plainchant is an issue that demands better education and explanation to make sense of and more importantly…to have it actually have sung in our Latin Catholic Churches, which due to the ignorance of the typical pastor is very hard to be seen as anything beyong an exotic impractical artform at odds with the utilitarian view of music taken by our “hymnals” in in the continuance of our simplified “liturgical renewal 1970s” world of 2010. Though plainchant is gradually gaining momentum it is largely because most seminaries and priests of the latin catholic church are not taught liturgical history and continuity very well even to this very day that it struggles with acceptance. besides that translating it into english, though it exists, is also somewhat controversial with traditionalists. thus we do not have the unbiased approach that the Eastern Catholic and Orthodox Churches have. Pray Bishops change that.
example of the future:
www.musicasacra.com/books/americangradual1.pdf
The idea with interpretation is relating to the nature of all art which God uses to inspire and illuminate us with his divine Word in his divine liturgies/offices, foremost in the psalms and biblical texts but also the words written by his humble servants in the relevant theological hymns, sequences, kontakion that match the ordinary or propers of the day or season.
Solesmes republished chant in modern printing presses, they promoted the singing of it, theyve done great things, but they have not given us 100% the exact received tradition we had before. Latin/western plainchant as with much Eastern plainchant is a localized tradition. Local ways of interpretation, local improsivation, like in jazz music (but not taken too far). I am only one who disagrees that the whole western world must sing with solesmes interpretation and “performance practice” the soft ethereal way of making the end syllables silent and soft…this has no historical basis.
However many of the gregorian chant that I encounter being sung near me does not use the Solesmes approach which for me is more effeminate. It has more the qualities that marcel peres or any intense traditional “folk music” will have…full of deep bass. So for me I think the days of Solesmes monopoly are now ended.
So, My view is only with singing the original medieval manuscripts with interpretation similar to indigenous western european folk music , of say corsica/southern france and influence from eastern churches techniques because theyre tradition was has always been living and never broken. the 1700’s enlightment broke most of the living gregorian chant interpretation tradition we had and created the world we have today.
so see what I mean, compare the different interpretations of St Nektarios most beloved anthem to the Blessed God bearer and ever virgin Mary. Every Eastern Orthodox knows and sings it.
We Catholics can do the same with our own medieval chant hymns and more authentic folk melodies…(not as in Bob Dylan, but as in Rocio Jurado acapella
youtube.com/watch?v=d5PRBlWH63k&feature=related)
youtube.com/watch?v=3XPI14UkkAs
Agni Parthene in greek
youtube.com/watch?v=-hwc91M4VA0
Fecioara curata (Agni Parthene)
mt athos style
youtube.com/watch?v=ZVK9FJqJWKw&feature=related
perhaps a more smoother rumanian cathedral or professional style
St. Tikhon’s Seminary Male Choir
youtube.com/watch?v=pZQa3UqDsjc&feature=related
a marvelous interpretation with the english adaptation by
St. Tikhon’s Seminary Male Choir
youtube.com/watch?v=L4E3ToVNOD4
Boston Byzantine Choir English adapation version
(they are criticized for too western sounding, true in many instances,
but nevertheless this is one of the better more authentic recordings)
youtube.com/watch?v=wa6fWfzxRlY&feature=related
(Church Slavonic - ancient liturgical language used in Russia, Bulgaria, Ukraine, Serbia etc)
I’m French 
