Views from the Choir Loft

Impatiently Awaiting the Publication of the English Translation of von Hildebrand’s Aesthetics

Gwyneth Holston · December 16, 2013

ccording to the Dietrich von Hildebrand Legacy Project website, volume I of Dietrich von Hildebrand’s writings on aesthetics was translated this year. How thrilling! I believe it will be a work of intense interest to Catholic artists and musicians.

For those of you who have not had the pleasure of discovering the writings of Dietrich von Hildebrand or his esteemed wife, Dr. Alice von Hildebrand, I encourage you to read his biography, Soul of a Lion. It is the story of the brilliant son of a famous sculptor and his growth from a childhood immersed in a pagan appreciation of beauty to an adulthood focused on the Christian notion of beauty. An outspoken idealist and philosopher, von Hildebrand was hunted by the Nazis during World War II until he escaped to America.

Dietrich von Hildebrand’s father was the sculptor Adolf von Hildebrand who wroteThe Problem of Form in Painting and Sculpture in 1907. It is a excellent treatise for artists on the depiction of three-dimensional space.

Each summer, the Dietrich von Hildebrand Legacy Project hosts a summer seminar to promote study of his writings and ideas. I went last summer and enjoyed the week immensely. It was astonishing to see how the writings of one man brought together professionals from such fields as philosophy, theology, education, and the arts.

Watch the video below to see the highlights from last year’s program:

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

About Gwyneth Holston

Gwyneth Holston is a sacred artist who works to provide and promote good quality Catholic art. Her website is gwynethholston.com. Read more.

PDF Download • “Sprinkling Rite”

Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.

—Jeff Ostrowski

‘Sarum’ Good Friday?

Plainsong of the Roman Rite has many variants—i.e. slight ‘variations’ or ‘alterations’ made to the ancient melodies. Variants often thrive in particular religious orders. Likewise, before Henry VIII broke away from the Catholic Church, Gregorian Chant variants were frequently associated with individual cathedrals in England: Hereford, Lincoln, Salisbury, and so forth. In the early 20th century, the (Anglican) organist at Westminster Abbey married “Let All Mortal Flesh Keep Silence” to this beautiful variant melody from England. Those who sing Gregorian Chant on Good Friday will recognize the melody. What do you think of this pairing?

—Jeff Ostrowski

PDF Download • “Eb Organ Postlude”

Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?

—Jeff Ostrowski

“Gregorian Chant Quiz” • 24 March 2026

How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!

—Jeff Ostrowski

PDF Download • “Ubi Caritas” (SATB)

I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.

—Jeff Ostrowski

PDF Download • “Holy, Holy, Holy”

For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.

—Jeff Ostrowski

After ordering the bishops to appoint in each diocese “special commission of persons who are really competent in the matter, to whom they will entrust the duty of watching over the music performed in the churches in whatever way may seem most advisable,” Pope Pius X continues—“this commission will insist on the music being not only good in itself, but also proportionate to the capacity of the singers, so that it may be always well executed.”

— Dom Alphege Shebbeare (Downside Review)