Views from the Choir Loft

Catholic Hymns Before Vatican II Will Shock You!

Jeff Ostrowski · February 28, 2016

NE OF OUR MOST CONTROVERSIAL articles appeared on 19 August 2013. That was the day we posted a 1937 article by Dom Gregory Hügle, OSB, affirming that selections from the Ordinarium Missae and Proprium Missae could be sung during LOW MASS. Some demanded that the post be taken down, e.g. the head of an anonymous “ultra-conservative” blog who sent several nasty emails. It seems that Fr. Hügle’s article contradicted a narrative this person had been promoting about the pre-conciliar liturgy and he felt the truth should be kept secret—I disagreed.

In spite of what you may have read online, hymns and selections from the Ordinarium Missae were often sung during Low Mass in English. Consider these pages from a 1913 hymnal published by a English Benedictine monk:

* * PDF Download • From a 1913 Roman Catholic Hymnal

Is this a fluke? No, because the hymnal’s IMPRIMATUR PAGE includes several distinguished clerics, including Francis Aidan Gasquet (who later became a Cardinal). ¹ In light of this, the “hype” that accompanied Alexander Peloquin’s 1964 performance of a Mass Ordinary in English seems silly.

Those who have read the PREFACE to the Campion Hymnal realize that prior to 1965, Catholics were free to worship any way they wished. ² After Vatican II, the strong emphasis on external participation caused some to neglect internal participation:

NOTES FROM THIS ARTICLE:

1 Unless I’m wrong, it isn’t every day that a Benedictine monk is elevated to the cardinalate.

2 This is why official rubrics for the congregation at Low Mass do not exist.

About Jeff Ostrowski

A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.

“Daily I sat in the temple, close to you…”

Fulton J. Sheen always said the “very best translation” of Sacred Scripture was the version by Monsignor Ronald Knox, and here’s what Knox had for the Passion read today (Pre-1955 Palm Sunday): “And Jesus said to the multitude at that hour, You have come out to my arrest with swords and clubs, as if I were a robber; and yet I used to sit teaching in the temple close to you, day after day, and you never laid hands on me.” (Mt 26:55)

Did you catch that? Our Lord sat close to them! He was near them! The Second Person of the Blessed Trinity touched them, and was friendly toward them! Truly, the people who can hurt us the most—and betray us the most—are those whom we have loved.

—Jeff Ostrowski

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski