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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

Easter Hymn: “O Filii et Filiæ” • Contemporary setting (SATB)

Jeff Ostrowski · March 21, 2017

IKE OTHER musicians—even Horowitz—I often view my earlier projects with disgust. The passage of time can reveal flaws in earlier works. But “for every rule there is an exception,” and I recently stumbled upon a 2001 edition I made of an Easter hymn (based on a work by Msgr. Jules Van Nuffel).

I think it holds up pretty well:

* *  PDF Download • “O FILII ET FILIAE” (SATB)

Pardon my squeaky Soprano notes, but I wanted to show how it sounds:

REHEARSAL VIDEOS for each individual voice—along with PDF score—await you at #5909. If you like them, please consider donating $5.00 per month.

Sing along with the Tenor Rehearsal video—could anything be more fun?

MY EDITION is similar to the version found in the special “English translation edition” of the Solesmes Liber Usualis, which can be downloaded here. If you examine the setting of words like “Salóme” as printed in that 1957 book, you might almost be forgiven for thinking the accent is on the antepenult. On the other hand, similar techniques were used by Machaut and Dufay—and it certainly helps prevent the tonic accent from becoming heavy and predictable.

O fílii et fíliae,
Rex caeléstis, Rex glóriae,
Mórte surréxit hódie.

O sons and daughters,
The King celestial, the King of glory,
From death arose to-day.

Et María Magdaléne,
Et Jacóbi, et Salóme,
Venérunt córpus úngere.

And Mary Magdalene, Salome,
And also Mary of James
Came to anoint the body.

In álbis sédens, ángelus
Praedíxit muliéribus:
In Galilaéa est Dóminus.

In white robes sitting the Angel
Foretold to the women:
In Galilee is the Lord.

Discípulis adstántibus,
In médio stétit Chrístus,
Dícens: Pax vóbis ómnibus.

The disciples standing by,
In the midst stood Christ,
Saying: Peace be to you all.

Víde, Thóma, víde látus,
Víde pédes, víde mánus,
Nóli ésse incrédulus.

See, Thomas, see my side,
See my feet, see my hands,
Do not be unbelieving.

Quándo Thómas Chrísti látus,
Pédes vídit átque mánus,
Díxit: Tu es Déus méus.

When Thomas saw Christ’s side,
When the feet he saw and the hands,
He said: Thou art my God.

Beáti qui non vidérunt,
Et fírmiter credidérunt,
Vítam aetérnam habébunt.

Blessèd they who have not seen,
Yet have firmly believed,
Life eternal shall they have.

In hoc fésto sanctíssimo
Sit laus et jubilátio,
Benedicámus Dómino.

On this feast most holy
Be there praise and jubilation,
Let us bless the Lord.

Monsignor Jules Van Nuffel’s school certainly loved pedal tones in middle voices—as you know if you purchased Volume 5 of the NOH hardcopy, which explains their compositional principles—and the Alto is chock-full of them in the above arrangement.

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

Filed Under: Articles, Featured, PDF Download Tagged With: Harmonized Gregorian Chant, O Filii Et Filiae Last Updated: March 7, 2023

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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

It should be borne in mind that there is no preference expressed in the liturgical legislation for either “versus populum” or “ad orientem.” Since both positions enjoy the favor of law, the legislation may not be invoked to say that one position or the other accords more closely with the mind of the Church.

— ‘Congregation for Divine Worship (Vatican City), 10 April 2000’

Recent Posts

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  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?

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