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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

“Adoro te devote” (SATB) • Rehearsal Videos

Jeff Ostrowski · March 31, 2017

285 Thomas Aquinas OMETIMES PROTESTANTS accuse Catholics of an “abuse” regarding hymns, saying whenever we sing hymns during Mass we should sing all the verses. This sounds like a powerful, self-evident truth—just like when somebody says “peace” and “piece” couldn’t possibly be pronounced the same way because they’re spelled differently.

Those who carefully study hymns know better. Consider Tantum Ergo; which is not the complete hymn. Consider O Salutaris, Hostis Herodes, A solis ortus, and Angularis fundamentum; none of which is the complete hymn. For that matter, look at the ancient verses of the Offertories, which omit and combine verses constantly. Indeed, sections are sometimes omitted from Sequences (e.g. Credendum est from “Victimae Paschali”). 1

I’m teaching a hymn to our children’s choir, but we only do four verses:

    * *  PDF Download • “Adoro te devote” (SATB)

The melody is very “nineteenth-century”—and I’ll be curious to read the Facebook comments regarding this tune. The children like it.

The SATB section begins at the 0:37 marker:

REHEARSAL VIDEOS for each individual voice—along with PDF score—await you at #5855. If you like them, please consider donating $5.00 per month.


The English translation is by Fr. Adrian Fortescue (d. 1923):

1. Humbly I adore Thee, hidden Godhead,
veiled truly under these figures.
All my heart I give to Thee,
for it all fails in contemplating Thee.

1. Adóro te devóte, látens Déitas,
Quae sub his figúris vére látitas:
Tíbi se cor méum tótum súbjicit,
Quia te contémplans tótum déficit.

2. Sight, touch and taste tell me nothing
of Thy presence; yet safely I trust what I hear.
I believe whatever the Son of God has said;
nothing can be more true than the word of Truth itself.

2. Vísus, táctus, gústus in te fállitur,
Sed audítu sólo túto créditur:
Crédo, quídquid díxit Déi Fílius:
Nil hoc vérbo Veritátis vérius.

3. On the cross Thy Godhead was hidden;
here is hidden Thy manhood too.
Yet I believe and confess both,
praying as prayed the good thief.

3. In crúce latébat sóla Déitas,
At hic látet símul et humánitas:
Ámbo támen crédens átque cónfitens,
Péto quod petívit látro paénitens.

4. I do not see Thy wounds like Thomas;
yet I confess Thee my God.
Grant that I may ever more and more
believe in Thee, hope in Thee, love Thee.

4. Plágas, sícut Thómas, non intúeor:
Déum támen méum te confíteor:
Fac me tíbi sémper mágis crédere,
In te spem habére, te dilígere.



NOTES FROM THIS ARTICLE:

1   For the record, even melodies are sometimes added or torn out, which made a big difference in Gloria IX. This is simply what happens with a Faith as ancient as ours.

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

    “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
    “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
    Kids’ Choir Sings Thomas Aquinas
    Last Sunday, a children’s choir I’m teaching sang with us for the very first time at Sunday Mass. Females from our main choir sang along with them. If you’re curious to hear how they sounded, you can listen to a ‘live’ recording. That’s an English version of TANTUM ERGO by Saint Thomas Aquinas. That haunting melody is called GAUFESTRE and was employed for this 2-Voice Arrangement of a special hymn for 9 November (“Feast of the Dedication of the Lateran Basilica in Rome”) which replaces a Sunday this year.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of September (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
    “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

“One must pray to God not only with theologically precise formulas, but also in a beautiful and dignified way. The Christian community must make an examination of conscience so that the beauty of music and song will return increasingly to the liturgy.”

— Pope Saint John Paul II (26 February 2003)

Recent Posts

  • “American Catholic Hymnal” (1991)
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  • “Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough
  • “Music List” • 27th in Ordinary Time (Year C)
  • Kids’ Choir Sings Thomas Aquinas

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