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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

A Most Astounding “Graduale” From 1909 … On Modern Staves!

Jeff Ostrowski · August 25, 2015

OLLECTING, TRANSPORTING, AND COPYING the 30,000+ pages of antique books found in the LALANDE ONLINE LIBRARY taught me so much. One book that really caught my attention was the Weinmann 1909 Graduale, which uses medieval noteheads on five modern staves. Sadly, it never really “caught on” because it uses the Vaticana system of rhythm. But until yesterday I had forgotten something important.

Each week, I replace the scores on GOUPIL with improved scores that provide two (2) translations. Recent examples include 01; 02; 03. But Fr. Weinmann beat me by 100 years; do you see how he provided a German translation?

371 Weinmann Graduale

It’s not always easy to give a verbatim translation. 1

I CAN ONLY ASSUME that Fr. Karl Weinmann was attempting to bring Catholics closer to Jesus Christ by helping them understand what they sing. Now it’s our turn, and that’s why I have been trying to replace the Goupil scores. Hopefully by February they will all be finished.

But there’s a difference between our current situation and that of Fr. Weinmann.

Catholic schools have long since abandoned serious musical works, so good Church musicians today usually come from secular universities, where masterworks are still taught and appreciated. I’ll never forget the way the secular professors mocked the Catholic Church in the graduate school I attended, saying things like: “They had it all. They had the greatest composers of all time—Palestrina, Marenzio, Lassus, Vierne, Franck, Fauré, and a thousand others—yet they abandoned them…and for what? Composers like Marty Haugen!”

University professors don’t sit around wondering whether they should teach the music of Tomás Luis de Victoria or David Haas. They don’t break into a sweat trying to decide whether to expose their students to Dan Schutte or the Graduale Romanum. They may be atheists (some of them) but they realize what great music is. Nor is it a question of which is “simpler,” because Gregorian chant can be extremely simple yet sublime. Once a college student gets hooked on the real stuff—even a simple piece like Jesu Dulcis Memoria—there’s no turning back. Once they have fallen in love, they will follow their passion no matter what.

Because I have sung sacred music exclusively at Church for a decade, it seems weird that my college choirs sang so much sacred music at secular venues—Machaut, Byrd, Monteverdi, Morales, Verdelot, Uttendal, Bach, Duruflé, Langlais, Widor, and so forth—but we sure did.

 


NOTES FROM THIS ARTICLE:

1   The lengths of the Latin words create restrictions—but I try my hardest, and the alternate translation I mentioned above helps clear away any difficulties. Sometimes the words themselves are puzzling. The word “immittet,” for example, is usually translated “encamped,” but that’s not really what it means. Perhaps someone who knows German can explain how Weinmann translated “immittet.”

 

UPDATE :

From someone who knows German, regarding the footnote:

The translator is using the German verb “lagern” here which does mean “to encamp” It is used reflexively here and means essentially “to encamp himself ” or something like set himself as a protector or set himself in a camp as a protector. It emphasizes, thus, that the angel is active, that he is the one taking this strong action on our behalf, or , as the text says, on behalf of those that fear him.

So, from beginning to end:

The angel of the Lord places himself in a camp, round about those who fear him, and saves them: taste and see how sweet the Lord is. ( Yes, it really does say, “sweet”. As in the sweetness of honey or fruit.)

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

Filed Under: Articles Tagged With: Karl Weinmann 1873-1929 Last Updated: October 11, 2022

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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

    “Music List” • 23rd in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 7 September 2025, which is the 23rd 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 spectacular feasts website alongside the official texts in Latin. My singers really enjoy singing the resplendent COMMUNION ANTIPHON with its Fauxbourdon verses.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    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
    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

Random Quote

“Pope Francis breaks Catholic traditions whenever he wants because he is free from disordered attachments. Our Church has indeed entered a new phase: with the advent of this first Jesuit pope, it is openly ruled by an individual rather than by the authority of Scripture alone or even its own dictates of tradition plus Scripture.”

— Fr. Thomas Rosica (31 July 2018)

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  • PDF Download • Draft Copy (Pamphlet)
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  • Is ‘Chant’ a Generic Word for ‘Sing’ ? • No!

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