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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When you consider that the greatest hymns ever written—the plainchant hymns—are pushing the age of eight hundred and that the noble chorale hymn tunes of Bach date from the early eighteenth century, then what is the significance of the word “old” applied to “Mother at Thy Feet Is Kneeling”? Most of the old St. Basil hymns date from the Victorian era, particularly the 1870s and 1880s.
— Paul Hume (1956)

Easter Hymn • Contemporary (SATB)
published 21 March 2017 by Jeff Ostrowski

IKE OTHER musicians—even Horowitz—I often view my earlier projects with disgust. The passage of time can reveal flaws in earlier works. But “for every rule there is an exception,” and I recently stumbled upon a 2001 edition I made of an Easter hymn (based on a work by Msgr. Jules Van Nuffel).

I think it holds up pretty well:

    * *  PDF Download • “O FILII ET FILIAE” (SATB)

Pardon my squeaky Soprano notes, but I wanted to show how it sounds:

REHEARSAL VIDEOS for each individual voice—along with PDF score—await you at #5909. If you like them, please consider donating $5.00 per month.

Sing along with the Tenor Rehearsal video—could anything be more fun?

MY EDITION is similar to the version found in the special “English translation edition” of the Solesmes Liber Usualis, which can be downloaded here. If you examine the setting of words like “Salóme” as printed in that 1957 book, you might almost be forgiven for thinking the accent is on the antepenult. On the other hand, similar techniques were used by Machaut and Dufay—and it certainly helps prevent the tonic accent from becoming heavy and predictable.

O fílii et fíliae,
Rex caeléstis, Rex glóriae,
Mórte surréxit hódie.
O sons and daughters,
The King celestial, the King of glory,
From death arose to-day.
Et María Magdaléne,
Et Jacóbi, et Salóme,
Venérunt córpus úngere.
And Mary Magdalene, Salome,
And also Mary of James
Came to anoint the body.
In álbis sédens, ángelus
Praedíxit muliéribus:
In Galilaéa est Dóminus.
In white robes sitting the Angel
Foretold to the women:
In Galilee is the Lord.
Discípulis adstántibus,
In médio stétit Chrístus,
Dícens: Pax vóbis ómnibus.
The disciples standing by,
In the midst stood Christ,
Saying: Peace be to you all.
Víde, Thóma, víde látus,
Víde pédes, víde mánus,
Nóli ésse incrédulus.
See, Thomas, see my side,
See my feet, see my hands,
Do not be unbelieving.
Quándo Thómas Chrísti látus,
Pédes vídit átque mánus,
Díxit: Tu es Déus méus.
When Thomas saw Christ’s side,
When the feet he saw and the hands,
He said: Thou art my God.
Beáti qui non vidérunt,
Et fírmiter credidérunt,
Vítam aetérnam habébunt.
Blessèd they who have not seen,
Yet have firmly believed,
Life eternal shall they have.
In hoc fésto sanctíssimo
Sit laus et jubilátio,
Benedicámus Dómino.
On this feast most holy
Be there praise and jubilation,
Let us bless the Lord.

Monsignor Jules Van Nuffel’s school certainly loved pedal tones in middle voices—as you know if you purchased Volume 5 of the NOH hardcopy, which explains their compositional principles—and the Alto is chock-full of them in the above arrangement.