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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

Review: An English Gradual (Belmont Abbey, 2013)

Jeff Ostrowski · December 10, 2014

583 An English Gradual ALWAYS TRY to be meticulous and thorough in my postings on this blog. Sometimes, my posts represent the fruit of immense study. Today, however, I want to make it clear that I’m not an expert on Belmont Abbey. Moreover, their new “English Gradual” is rather mysterious, since it’s an in-house publication. I’ve attempted to do some “detective work,” but please verify all information.

The Belmont Abbey we’re talking about is located in England. We’re not talking about the Benedictine Monastery in North Carolina also called “Belmont Abbey.” The book appears to have been done in homage to Dom Alan Rees, Gregorian composer and Abbot of Belmont Abbey from 1986 to 1993, who died tragically—due to an accidental fall at the abbey—on 2 October 2005 at the age of 64.

I believe I can give my opinion of this book in a very few words.

579 BELMONT PAGES IT APPEARS TO BE A SOMEWHAT RANDOM collection of texts. It does not correspond to the Roman Gradual (SUNG PROPERS). Nor does it correspond to the Roman Missal (SPOKEN PROPERS). The antiphons and psalms lack Latin references, so it’s sometimes difficult to understand exactly whence each comes. Perhaps the easiest way to describe it would be a type of “Englished” Graduale Simplex. 1 From time to time, the antiphon matches (in a general way) the assigned Introit. For example, the Introit chosen by Belmont for the Baptism of the Lord is similar to the one in the Roman Missal.

In terms of the compositions, they range from metrical tunes to unmeasured melodies which draw their inspiration from Gregorian chant. In my personal opinion, most of these melodies are not inspired. Some of them are just okay. Only a small percentage are worth writing home about. As you can tell, I was disappointed by the melodies. However, from what I can tell through basic Google searches, Dom Rees was one of the very first to create English “Gregorian” settings. Therefore, perhaps I should cut him some slack!

      * *  Purchase “An English Gradual” (Belmont Abbey, 2013)

The book is softcover. In my view, the binding is quite poor. My pages are already falling out, even though the book has received almost no usage whatsoever. The typesetting is of average quality. To my knowledge, there are no organ accompaniments available for any of the chants in this 270+ page book—a fatal flaw. Those of us who have created such collections know that writing the antiphons is the easy part. The difficult part is providing organ accompaniments for the entire collection, including the psalm verses! The Preface says that a CD of some of these chants is in production.

587 Belmont Abbey FOR YEARS, WE HAVE NOTED the amazing renaissance of collections being produced which set the MASS PROPERS to music. This process was long overdue, and we have welcomed it. I think the Belmont Gradual is a welcome addition, while not rising to the level of indispensable. At the very least, it can show additional possibilities when it comes to creating “Gregorian” settings in English.

As I mentioned, I was not impressed with most of the settings. The melodies are unworthy of an abbey whose architecture is so sacred and stunningly gorgeous.

I have to admit, this Gradual forced me to think about the whole concept of “Gregorian” compositions in English. I started asking myself, “Why are we doing this, if the results are sometimes so poor? Are we not acting arrogantly and foolishly to replace the ancient & beautiful chants of our liturgy? To what end?” Moreover, in the case of this Belmont Gradual, the texts do not even correspond to the Church’s assigned texts!

Obviously, this is a conversation for another day, but I would note in passing what I’ve said before. Even though the Vatican Council specifically allowed a liturgy with both Latin and vernacular, I find the juxtaposition somewhat jarring. Others will disagree. For myself, I prefer the liturgy entirely in Latin or entirely in the vernacular. Again, others will disagree. In any event, it seems to me that the primary advantage of English “Gregorian” settings is their ability to be used well in those liturgies which—in spite of the decrees by Vatican II—take place entirely in the vernacular.



NOTES FROM THIS ARTICLE:

1   That is to say, Scriptural texts loosely related to the feast in a general way.

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

Filed Under: Articles Tagged With: Graduale Romanum Roman Gradual Propers 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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
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    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

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    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

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