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Corpus Christi Watershed

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

Where do you obtain your Psalms?

Jeff Ostrowski · September 27, 2016

NGLISH HAS LAWS of accentuation we seldom think about. For example, notice how the accent shifts: hypocrite, hypocrisy, hypocritical. Those of us who grew up speaking English know this by instinct. In Latin, the placement of the accent can change the meaning. For example, ádvenit has a different meaning than advénit. Likewise, the word cónditor has a different meaning than condítor.

A truly excellent resource is Catholic Bible Online, but accents are not given. So where does one find accented psalms when extra verses for liturgical music are needed?

My favorite source is the 1942 BREVIARY by the Desclée brothers:

    * *  (Part A) Desclée Breviary — HIEMALIS “Winter”

    * *  (Part B) Desclée Breviary — VERNA “Spring”

    * *  (Part C) Desclée Breviary — ÆSTIVA “Summer”

    * *  (Part D) Desclée Breviary — AUTUMNALIS “Fall”

If those massive files are too large your computer, download the 1888 Pustet Breviary:

    * *  (1 of 4) 1888 • Pustet Breviary (“Winter”)

    * *  (2 of 4) 1888 • Pustet Breviary (“Spring”)

    * *  (3 of 4) 1888 • Pustet Breviary (“Summer”)

    * *  (4 of 4) 1888 • Pustet Breviary (“Autumn”)

Those Breviaries are helpful when it comes to Latin syllabification—indeed, there’s no better source. By the way, one of the reasons I’m hooked on the Catholic Bible Online (SEE ABOVE) has to do with acrostics. Do you see the way Msgr. Ronald Knox imitates the Hebrew pattern, where each line begins with a subsequent letter of the alphabet? I never realized Psalm 33 was also an acrostic in the Hebrew.

GETTING BACK TO the Desclée Breviary, notice how every single page is done with unbelievable attention to detail. Consider the beautiful «Æ» employed for the hymn ÆTERNE RERUM CONDITOR:

990 Desclée Breviary


Henri and Jules Desclée were remarkable beyond words. Many readers will be familiar with their intimate relationship with the Abbey of Solesmes, which led to the production of so many stunning liturgical publications. The breviary above is peppered with artwork sometimes shared amongst various books. However, there is so much more to the story of the Desclée family, and this article is a good starting point.

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

Filed Under: Articles 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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President’s Corner

    💲 5.00 💵
    Our tiny 501(c)3 nonprofit organization exists solely by generous readers who donate $5.00 per month. We have no endowment; we have no major donors; we run no advertisements; we have no savings. A donor wrote to us: “I so appreciate all you do and have done, and your generosity is unprecedented. I am honored to be able to make a monthly contribution.” Another monthly donor says: “Thank you for everything CC Watershed does. We are able to add so much solemnity to Holy Mass due to the resources made available here.” Can you spare a few dollars each month to help us survive?
    —Corpus Christi Watershed
    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“It is when they are practicing that large groups stop in order to sleep; they don’t give themselves a new impetus after a pause (even if it is minimal) and singers pause when they should not (quarter-bar, half-bar)—everything provides temptation to go to sleep! It is thus not a question of rhythm but of musical integrity.”

— Justine Ward (20 July 1952)

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