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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

New Compositions Worthy Of Your Attention

Guest Author · May 19, 2017

170 Sperabo MICHAEL DURYEA PRESENTS:

Mass in honor of St. John of the Cross

    * *  PDF • Mass in honor of St. John of the Cross

    * *  PDF • Worship Aid for the Congregation

My goal in writing this setting of the Mass Ordinary was to create something singable by the congregation I currently serve, while maintaining a musical style fitting for the great musical deposit of the faith. The melody is not difficult, but the accompaniment is tricky. I urge accompanists to be totally faithful to all the harmonies presented in the organ part (whether played on organ or piano), especially the exact inversion of each chord, so as to maintain the general oblique or contrary motion I have written between the soprano and bass. This attentiveness to the accompaniment is necessary because the music relies heavily on the accompaniment for its musical meaning. This style of writing relieves the congregation of the burden of singing complicated harmonies while still accomplishing a musical style that is suitable for the Mass via its mystical and transcendental nature.

Mr. Duryea provides rehearsal files on his website.

THOMAS J. MOSSER PRESENTS:

“Requiem Aeternam” and “Angelus Domini”

    * *  PDF • Requiem Aeternam

    * *  Mp3 file • Requiem Aeternam

    * *  PDF • Angelus Domini

It is with a tangible sigh of relief that we perceive the decreasing “trendiness” of attacking the supposed backwardness of the Middle Ages.  And this is not only among  Catholics, who should always have a healthy veneration for the era of some of the Church’s greatest glories; but even among those in the academic and scientific communities we find renewed appreciation for the accomplishments of the medieval mind, which in their proper perspective represent a synthesis of past advances and a foundation for future progress no less remarkable than what we have seen in our own time—taking into consideration the frenetic pace of modern progress driven more by material greed than the glory of God and the true good of man.

And I think we could say this not only about technology, but also about music. Just as the medieval architects started with something so simple and fundamental as gravity and so arranged the stones to build a breathtaking cathedral, so did the medieval composers start with something so simple and fundamental as natural harmonics and so arranged the tones to build such exquisite polyphony that was never heard before, nor anywhere else. And as the basic ecclesiastical structure of the humble parish church was elaborated into an architectural marvel, so the basic ecclesiastical song of humble chant was elaborated into an aural glory that was little less than celestial.

One of the more readily adaptable manifestations of this development was the fauxbourdon—admittedly, a later-medieval production.  I think this particular style can find a place again in our time of rebuilding, where increasing numbers of choirs are ready to embrace something more than chant, but are perhaps not quite ready for Josquin.  And it also provides a good starting-point for new composers to begin with existing material (chant) and embellishing it while experiencing the fundamentals of harmony and counterpoint; for more experienced musicians it provides a tool at-the-ready to quickly add solemnity and beauty to any liturgy.

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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President’s Corner

    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

Quick Thoughts

    “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

Random Quote

We should note that upon being opened up, the Scriptures proved to contain such “rich fare” that parts of the banquet were removed at once from the “table of God’s word,” lest they should prove indigestible to liberal stomachs. In twenty-two places the new lectionary expunges whole verses from the text of the Gospels used at Mass in order to remove references to the Last Judgment, the condemnation of the world, and sin.

— Fr. John Parsons (2001)

Recent Posts

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  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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