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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

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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

Quick Thoughts

    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
    “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

Random Quote

“…it would be a very praiseworthy thing and the correction would be so easy to make that one could accommodate the chant by gradual changes; and through this it would not lose its original form, since it is only through the binding together of many notes put under short syllables that they become long without any good purpose when it would be sufficient to give one note only.”

— Zarlino (1558) anticipating the Medicæa

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  • Why A “Fugue” Here?

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