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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

Which Mass Goes With Which Season?

Jeff Ostrowski · December 30, 2015

897 Verdelot Polyphony “Deo Gratias” ANY BELIEVE the Ordinarium Missae to be more ancient than the Proprium Missae. Nothing could be further from the truth! Most of the Mass Ordinary is quite recent compared to the Proprium, especially the Creed (which to this day is placed in a different section). We have become accustomed to seeing “Mass in honor of Such-And-Such” and the entire setting will match; but this wasn’t how things were done 1,000 years ago. The KYRIE settings were in one place, the AGNUS DEI settings in another, and so forth.

Abbot Pothier and Dr. Peter Wagner made sure to remind those who used the Editio Vaticana that the Mass Settings—Mass I, Mass II, Mass III, and so forth—can be mixed with one another freely, but most people don’t realize this. For example, many believe that only the first Mass Setting can be used for Eastertide. (I once worked for a priest who thought that.) This view is indefensible yet popular. Perusing the ancient manuscripts, we see how freely the Mass settings were mixed, and this was true when the Renaissance composers were creating their masterpieces.

For instance, if you look at Missa de Beata Virgine—for the Blessed Virgin Mary—by Cristóbal de Morales, 1 you’ll see he uses Mass IX for the KYRIE. Mass IX in our current books has the suggestion “In festis B. Mariae Virginis,” and the Gloria was troped with Marian prayers before the Council of Trent. However, Morales uses Mass XVII for the SANCTUS, BENEDICTUS and AGNUS DEI. [The SANCTUS for Mass IX and XVII begin similarly, but there is no doubt Morales was using Sanctus XVII, not Sanctus IX, when you look at the rest of the piece.] Mass XVII is labeled as “Adventus et Quadragesimae.” 2 Francisco Guerrero (d. 1599) uses Mass IV for his “De Beata Virgine” KYRIE. Yet, in another Mass for the Blessed Virgin, Guerrero uses Mass IX for his KYRIE, just like Morales did!

Some Renaissance composers even set the “Deo Gratias” using polyphony. Verdelot’s Mass is an example, as you can see in the upper right corner.



NOTES FROM THIS ARTICLE:

1   Fr. Morales was a Spanish priest who died in 1553.

2   For the record, the plainsong melodies from Mass XVII are used by Morales in a very clear way that is quite striking. I don’t know if I’ve ever seen another Mass quite like it. It is almost a harmonization of the plainsong!

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

Filed Under: Articles Tagged With: Francisco Guerrero Composer 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 • “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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The cemeteries are full of people who thought they were indispensable.”

— Fr. Alan Heet, OFM

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  • “American Catholic Hymnal” (1991)

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