Views from the Choir Loft

Ten “Ave Maria” Settings from Different Lands

Dr. Lucas Tappan · May 12, 2017

AST SUNDAY the Most Pure Heart of Mary Schola Cantorum (both our adult and children choirs combined) presented a musical reflection on a Decade of the Most Holy Rosary in honor of the 100th anniversary of the first apparition of Our Lady of Fatima. (The choir will repeat this concert next Saturday at 6 p.m. at Holy Angels Catholic Church in Basehor, KS, for those interested.)

The program began with the plainsong Pater noster followed by ten settings of the Ave Maria from different eras and lands before closing with Stanford’s setting of Psalm 150 and the Doxology. I thought I would share a few of the Ave Maria recordings from the day, which I hope you enjoy!

* * 2. AVE MARIA (Plainsong)

This chant provides the melodic material for Victoria’s setting.

* * 3. AVE MARIA attr. to Fr. Victoria (d. 1611)

Conducted by my assistant John Deahl.

* * 5. AVE MARIA by Colin Mawby (b. 1936)

Composed specifically for the Most Pure Heart of Mary Schola Cantorum.

* * 7. AVE MARIA by Matthew Martin (b. 1976)

Sung by Choristers only.

* * 9. AVE MARIA by Rachmaninoff (d. 1943)

Conducted by my assistant John Deahl.

* * 10. AVE MARIA by Charlie Wulke

This work was newly composed by our school music teacher for the concert!

* * 11. AVE MARIA by Gabriel Fauré (d. 1924)

Like Beethoven, Fauré was deaf as he grew older.

Many of our families are devoted to the Rosary, and the children enjoyed this musical “decade of the Rosary.”

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

About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

2-Voice Arr. • “Creator of the Starry Height”

Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”

—Jeff Ostrowski

“Equal Voices” Choir Pieces

My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!

—Jeff Ostrowski

Typo in the “Missale Romanum” (1962)

The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]

—Jeff Ostrowski

“Our Father” • Musical Setting?

Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?

—Jeff Ostrowski

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

“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

“Dom Pothier does not belong to the dim past, as the silence which surrounds his name would lead one to believe. Only a few years separate us from the time when—growing old and heavily burdened by trials—Dom Pothier was concentrating his ever keen attention on the study of manuscripts in the Belgian place of retreat where his community had found refuge. For he was the abbot; and there can be no doubt that the cross he wore during those days was a cross of sorrow, though he bore it with a smile.”

— Dom Ermin Vitry, OSB (31-OCT-1936)