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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

Jennifer D. Behnke • “Brébeuf Hymnal Review”

Guest Author · July 25, 2019

ERY SOON AFTER its release, I ordered a copy of the St. Jean de Brébeuf hymnal, and have been utterly in love with this resource since it arrived in my mailbox. Indeed, between the dark, hard bound book with soft matte texture lies some of the Catholic Church’s most treasured jewels. It feels like a well loved first edition of a favorite novel which you cherish and re-read time and time again.

THE LITURGICAL WONK IN ME adores the numerous scholarly treatments of texts. From inclusion of the original Latin urtext, to historical and canonically backed translations, to modern “singable” versions that do not lose the lustre of the poetic imagery, the primacy of the text is apparent on each page. In light of the 2010 revisions to the English language Roman Missal, made to eliminate paraphrasing in our liturgies, the St. Jean de Brébeuf hymnal takes the same direction from the Liturgiam Authenticam:

“The translation of the liturgical texts of the Roman liturgy is not so much a work of creative innovation as it is of rendering the original texts faithfully and accurately into the vernacular language. While it is permissible to arrange the wording, the syntax and the style in such a way as to prepare a flowing vernacular text suitable to the rhythm of popular prayer, the original text, insofar as possible, must be translated integrally and in the most exact manner, without omissions or additions in terms of their content, and without paraphrases or glosses. Any adaptation to the characteristics or the nature of the various vernacular languages is to be sober and discreet.”

However, where the Brébeuf hymnal differs is that its texts do in fact adhere to a very high style of poetic meter as well as theological clarity—and for that, our congregations can be intensely grateful. The modern hymnody of other major hymnals profits off of paraphrase and shaky theological textual footing, some hymns even straying into the heretical. The Brébeuf ancient texts and authoritative translations will offer no such abuse to worshippers.

83596-sacred-heart-bloomfield-new-jersey THE MUSICAL WONK IN ME adores the multiple settings of each text, which can be interchanged as required by seasonal and festal usage. Indeed, there are over 20 different settings and translations to sing some version of “Pange Lingua Gloriosi”—by both Bishop Fortunatus and St. Thomas Aquinas—each with its own textual intricacies and utilizing poetic foot and word painting. Can you imagine more versatility within prescribed liturgical hymnody as a music director? Many of the tunes are already familiar to most Catholic congregations, but restore a sense of dignity and timelessness to the music for worship which has been discarded in the past 50+ years of intentionally adolescent liturgical practice.

Finally, the Brébeuf Hymnal treats Catholic music in English as the wealth and treasury of thought and substance that it is. It strikes the perfect balance of theologically sound texts, sublime and timeless musical treatment and thoughtful research that our congregations can mature into. This is a hymnal that not only will inspire our congregations to sing, but to delve deeper into their spiritual life with a solid foundation in two millennia of artistic excellence.

Jennifer D. Behnke
Director of Music Ministries
(Sacred Heart Church)
Choral Music Teacher
(Immac. Conception High School)


We hope you enjoyed this guest article by Jennifer D. Behnke.

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

Filed Under: Articles Tagged With: Jean de Brebeuf Hymnal Last Updated: September 1, 2023

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President’s Corner

    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
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —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

At papal Masses, the regulations against tardiness were more stringent than at Masses celebrated by cardinals or bishops. Giovanni Maria Nanino records that any singer who is not in his place—and in his vestments—by the end of the repetition of the “Introit” will be fined eight vinti. At papal Vespers, the singer who is not present at the “Gloria Patri” of the first psalm pays a fine of fifty balocchi.

— Giovanni M. Nanino (d. 1607), Papal “Maestro di Cappella”

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