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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Chants for the Feast of the Transfiguration

Jeff Ostrowski · August 2, 2017

F YOU SCROLL towards the bottom of St. René Goupil, you will notice that scores and audio files for the Feast of the Transfiguration have been added (6 August).

Here is a sample:


The rest of this post deals with the ending of the Communion antiphon.

The Communion antiphon (“Visiónem quam vidístis”) is identical to a Magnificat antiphon, except for one note:

4779 Feast of the Transfiguration


At first, it seemed a typo, since the Vatican Edition of the Antiphonale appeared several years after the Graduale.

Further examination, however, shows that some manuscripts only have the punctum:

4770 who


…while other manuscripts have the podatus:

4771 double 4774 c 4774 b

Dom Mocquereau’s 1903 Liber Usualis has a podatus:

4773 Mocquereau 1903


Abbot Pothier’s 1891 Liber Gradualis has a punctum:

1891 Pothier


Pothier’s 1896 Liber Usualis has the punctum for the Magnificat antiphon:

4773 1896 Pothier


…but the selfsame book (Pothier’s 1896 Liber Usualis) uses the podatus for the Communion antiphon:

4773 Pothier was well 1896


Using the search function to quickly find “visionem” in the NOH shows how the composers provided a completely different harmonization both times:

    * *  2,279 pages of Harmonized Plainsong


For the record, the NOH has a typo in the Communion antiphon:

4768 errors


Never have I encountered so many typos in one feast! Yesterday, I spoke of a typo in the Introit that desperately needed correction.

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

    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“For me, religious music ceased with the sixteenth century. The fresh, childlike souls of that time alone expressed their vehement, untainted fervor in music free from worldliness. Since then we have had pious musical improvisations more or less made for show. That wonderful man Johann Sebastian Bach only escaped because of his natural genius. He built harmonic edifices as a devout architect and not as an apostle.”

— Claude Debussy (1862-1918)

Recent Posts

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