About this blogger:
A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.
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“Philip the presbyter and legate of the Apostolic See said: There is no doubt, and in fact it has been known in all ages, that the holy and most blessed Peter, prince and head of the apostles, pillar of the faith, and foundation of the Catholic Church, received the keys of the kingdom from our Lord Jesus Christ, the Savior and Redeemer of the human race, and that to him was given the power of loosing and binding sins: who down even to today and forever both lives and judges in his successors. The holy and most blessed pope Celestine, according to due order, is his successor and holds his place, and us he sent to supply his place in this holy synod.”
— Council of Ephesus (A.D. 431)

“Veni Veni Emmanuel” • Original Setting (Two Voices)
published 16 December 2015 by Jeff Ostrowski

HEN THE FAMOUS hymn “Veni Veni Emmanuel” first appeared in the 1850s, it was claimed that its tune was ancient. However, as time went on, many wondered if the melody had actually been composed in the 19th century. In the 1960s, Mother Thomas More—a student of Nadia Boulanger—discovered that the melody was indeed ancient, going back to the 15th century (or earlier).

Here’s the authentic hymn, which was written for two voices:

You can learn this version (PDF) with the help of these rehearsal videos:

EQUAL VOICES : YouTube   •   Mp3 Audio

PRIMUS : YouTube   •   Audio

SECUNDUS : YouTube   •   Audio

THE TUNE IS QUITE ANCIENT, but in those days it was used during Masses for the Dead. It was a “trope” (poetic extension) for the Responsory Libera Me. As you can see by this 15th century manuscript, it flows beautifully back into the Responsory:

The ancient text was “Bone Jesu dulcis cunctis.”