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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

Josquin Desprez • A Marian Masterpiece

Dr. Alfred Calabrese · May 25, 2017

160 Mary AY IS MARY’S MONTH, and before it gets away from us, I would like to promote one of the most beautiful and truly great motets of the Renaissance, Josquin Desprez’ AVE MARIA…VIRGO SERENA.

In the monumental New Grove Dictionary of Music and Musicians (Stanley Sadie, ed., 1980), Gustave Reese and Jeremy Noble begin their entry on Josquin thusly:

“Josquin Desprez, one of the greatest composers of the entire Renaissance and certainly the most important before the second half of the 16th century, was born about 1440.”

This statement is not hyperbole, yet the name of Josquin today pales in comparison with those of Palestrina, Byrd, and even lesser composers of the era. His genius during his lifetime was, however, met with widespread recognition. His numerous masses and motets were regarded as models for composers of the day. The first important music publisher, Petrucci, dedicated three full books to Josquin’s Masses alone; no other composer was given more than one book. So admired was the motet Ave Maria…virgo serena, that it was placed at the head of Petrucci’s first motet collection, printed in 1502 (although it may have been composed as early as 1476).

The poem was well known in its day. Beginning with the ubiquitous Hail Mary, full of grace the Lord is with thee, the poem then commemorates the major events in the life of the Virgin: conception, birth, annunciation, purification, and assumption, all vividly depicted amongst the percolating polyphony. These events are then followed by a personal plea to the Blessed Mother, O Mother of God, remember me. Amen, sung to Josquin’s signature solemn homophony.

Listen to this motet, read the poem, and see if you don’t agree that this is a real masterpiece, and that Josquin Desprez belongs in the pantheon of the most important composers in history:

Translation :

Hail Mary, full of grace, the Lord is with thee, joyous Virgin. Hail thee whose conceiving, full of solemn gladness, fills heaven and earth with a new joy. Hail thee whose birth was to us a holy day, of thou who surpasses the shining light in the east, the very sun. Hail thy humanity, thy conception without a man, thou whose annunciation was our salvation. Hail thy true virginity, thy spotless chastity, thou whose purification was our expiation. Hail thee, most excellent in all angelic goodness, thou whose assumption was our glorification. O Mother of God, remember me. Amen.

(Translation by William Earle Nettles)


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 Dr. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

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President’s Corner

    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“In condemning us, you condemn all your own ancestors—all the ancient priests, bishops and kings—all that was once the glory of England, the island of saints and the most devoted child of the See of Peter. For what have we taught, however you may qualify it with the odious name of treason, that they did not uniformly teach?”

— Father Edmund Campion (to the Anglicans about to murder him)

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