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Corpus Christi Watershed

Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Shortest “Kyrie” Palestrina Ever Wrote

Jeff Ostrowski · December 20, 2016

ACK IN 2013, I released a “simple plan” to improve music at Mass. In that article, I mentioned my belief that an a priori decision made after Vatican II—which eliminated the ancient praxis of simultaneous song & prayer—will someday be corrected. However, waiting for that day would be foolish; we must do our best with the current situation. As I’ve said before, the most “painless” way to introduce worthy music to the Ordinary Form (without irritating your pastor) is choral extensions, which embellish the music while still allowing congregational participation.

For the first few years, this will require polyphony that isn’t too long. Did you know Palestrina set entire litanies to polyphony? 1 The “Kyrie Eleison” from such works can be excerpted, and a simple plainsong melody can be sung by the congregation as shown here:

    * *  PDF Download • Shortest “Kyrie” Palestrina Ever Wrote

REHEARSAL VIDEOS for each individual voice—along with PDF score—await you at #6482. If you like them, please consider donating $5.00 per month.


Palestrina’s CANTUS FIRMUS is the litany melody, which you probably know by heart:

543 Litany


The chart below shows the clever way Palestrina mixes three polyphonic lines together—using beautiful invertible counterpoint—while still respecting the conventions of vertical harmony. (Yes, such horizontal rules did exist, in spite of assertions by some today.)

544 invertible counterpoint


Much ink has been spilled regarding problematic music introduced after the Second Vatican Council, and let’s not kid ourselves: the situation is dire. Too many musicians today rigidly refuse to be inclusive, eliminating from Mass practically everything composed before 1965.

My problem with many of today’s Catholic composers is their almost complete ignorance of counterpoint. I cannot understand why they excuse themselves from studying something considered essential by Marenzio, Bach, Mozart, Chopin, Brahms, and every other great composer. The worst is when I read forums or magazines where contemporary composers bloviate about the rules of counterpoint. Then I peek at their compositions only to discover they haven’t the foggiest notion of authentic counterpoint—which cannot be faked.



NOTES FROM THIS ARTICLE:

1   We recently posted about the complete works of Palestrina, which can be downloaded in their entirety online!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Which Mass?
    In 1905, when the Vatican Commission on Gregorian Chant began publishing the EDITIO VATICANA—still the Church’s official edition— they assigned different Masses to different types of feasts. However, they were careful to add a note (which began with the words “Qualislibet cantus hujus Ordinarii…”) making clear “chants from one Mass may be used together with those from others.” Sadly, I sometimes worked for TLM priests who weren’t fluent in Latin. As a result, they stubbornly insisted Mass settings were ‘assigned’ to different feasts and seasons (which is false). To understand the great variety, one should examine the 1904 KYRIALE of Dr. Peter Wagner. One should also look through Dom Mocquereau’s Liber Usualis (1904), in which the Masses are all mixed up. For instance, Gloria II in his book ended up being moved to the ‘ad libitum’ appendix in the EDITIO VATICANA.
    —Jeff Ostrowski
    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

Although the New Testament is now so much more important to us than the Old, we must remember that the archetype of the Canon of Scripture is the Old Testament. At first that was the whole Bible, to Christians as to Jews. When the apostles speak of “Scripture” they mean the Old Testament only. Indeed, the way in which the books of the New Testament came to be considered canonical was by making them equal to those of the Old.

— Rev’d Doctor Adrian Fortescue

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