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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

PDF Download • Responsorial Psalms (502 Pages)

Corpus Christi Watershed · October 9, 2017

ANY RECOGNIZE Brian Michael Page as a composer of Responsorial Psalms. He is that, but it turns out he also composes melodies and harmonizations for the Introit, Alleluia, Offertory, and Communion. Today he unveiled a project whose scope is unbelievable. Indeed, it has been underway for 22 years:

    * *  PDF Download • Organist & Vocalist Score (502 pages)

    * *  PDF Download • Pew Responses (70 pages)

The full title is:

Psalm 151

A collection of Introits, Responsorial Psalms,
Alleluias, Gospel Acclamations,
Offertories, Communions, and More!

Written and compiled by
Brian Michael Page

The following sample page uses the melody from Creator Alme Siderum (for Advent):

4245 Brian Michael Page PSALM 151


The following appears at the Christus Vincit Website, written by the composer:

ELCOME TO A PROJECT that is finally finished after 22 years in the making, maybe even more than that. Perhaps 32 years. That’s it! Thirty-two years ago was when I first attempted to write my first series of Responsorial Psalms, in the break room at a cabinet factory in Holliston, Massachusetts, less than a mile from the church at which the venerable Leo Abbott was organist before making his move to where he is today, the Cathedral of the Holy Cross in Boston. One of my co-workers had told me about Mr. Abbott and how great of an organist he was. At that time, I was at my first ever music director position at Sacred Heart Church in Woonsocket, Rhode Island (the cabinet factory was my “day job” then). Sacred Heart was once served musically by the late great C. Alexander Peloquin, who prospered in his 40 years at Providence’s Cathedral of Saints Peter and Paul. I had the pleasure of serving another of Dr. Peloquin’s former parishes later on, Precious Blood Church, also in Woonsocket. His “Songs of Israel” project, two volumes of seasonal Psalms for Mass, was a major influence on my early work on this project. At that time, my focus was only on Responsorial Psalms.

A decade later, give or take a couple of Psalm settings in between, I found myself improving on this project, again, using Alex Peloquin’s style as my main influence, this time in my car in the parking lot at a Ford dealer in Franklin, Massachusetts, while on lunch breaks there. Some of these were put to use at the aforementioned Precious Blood Church while I was there, and some parishes at which I later served, most notably Holy Name of Jesus Church in Providence.

Holy Name Church was one of those parishes where I really got to grow liturgically, as they had not only two Masses each weekend in the Ordinary Form, but also a Sunday Mass in the Extraordinary Form. This was my first experience with actual Propers of the Mass (Introit, Gradual, Alleluia or Tract, Offertory, and Communion). We actually sang the Mass, not just sang at Mass. While there, I received from Reuel Gifford, a longtime mentor who was also a predecessor of mine from Holy Name, a copy of The Complete Proper of the Mass, written by Msgr. Koch and Fr. Green in the mid 1940’s, and published by McLaughlin and Reilly.

I was thinking of doing an English language project in the style of Koch and Green, but about a third of the way my brain said, “Go away, Brian! You’re fried!” Well, there will be another project in the not-too-distant future based on the Koch and Green collection, which will be discussed later. Right now, before your very eyes is a collection of Propers for the Ordinary Form, combining the Roman Missal with the Roman Gradual, most of them in English, most of which are written in chant style, and dubbed with the rather sophomoric sounding title I’ve been wanting to use since 1985 (mind you, I was barely old enough to drink back then), Psalm 151.

Psalm 151 is a collection of Introits, Responsorial Psalms, Alleluias (Gospel Acclamation during Lent and Passiontide), Offertories, and Communions. The Introits, Offertories, and Communions are based on those in the Graduale Romanum and Gregorian Missal, while the Responsorial Psalms and Alleluias are based on those in the Roman Missal and the Lectionary for Mass. The style emulated in most of these selections is that of the late Theodore Marier, who was a huge contributor to the Pius X Hymnal of 1953, and his own later brainchild, Hymns, Psalms, and Spiritual Canticles, published in 1984.

Many of the selections have chant-style responses, with a Gregorian psalm tone for the versicles, along with an optional original SATB tone for alternating versicles (emulating such composers as the aforementioned Dr. Marier, Dr. Peter Latona, and Sam Schmitt). Some non-Gregorian tones have been retained because of their popularity with musicians I have run into (albeit mainly via Facebook). Examples of those non-Gregorian tones include those for Psalms 34 and 95. Some responses are based on chants, some from the Graduale Romanum, some from more familiar chant hymns (many of the Alleluias in this collection use the latter as their source).

While the Gregorian tones for the versicles come with an accompaniment, such versicles may be even better rendered a capella. Same with the original SATB “alternating” tones. Sometimes one may only have two parts available (e.g., soprano and alto), in which case, one could effectively have the two parts sing the alternating tones with a soft accompaniment, preferably no louder than piano.

The Alleluias in this collection contain versicles for a group of Sundays plus any Solemnities that normally run within that group.

The selections are sorted in liturgical order, with the Temporal Cycle (Proper of Time, or Proper of Seasons) first, followed by the Sanctoral Cycle (Proper of Saints). Although Thanksgiving Day is not in the Sanctoral Cycle (it is a “Mass for Various Occasions”), I included it within the November feasts in that cycle for reasons of continuity, as music is often supplied for Mass on that day, at least based on my own experience in Catholic church music. Additionally, any Proper of one day which uses the same response as a Proper for another day will get a reference instead of needless repeating. For example, the Year C Responsorial Psalm for the Fifth Sunday of Lent is the same as that in Year C for the Second Sunday of Advent. Therefore, under the Fifth Sunday of Lent, you would see “Responsorial Psalm (C): See #10.” As it is, there are 407 selections in all. Repeating would result in something the size of most full-blown hymnals, if not bigger.

Finally, if you like adding brass, some selections for Christmas, Easter, and Ascension include parts for brass, mainly two trumpets, trombone, and French horn (yes, I use two trumpets and a French horn at my current parish on occasion). Timpani has also been added to some of these, and even handbells for a couple of pieces.

Special thanks to those pastors who have allowed me to expose the work of this project, as well as its earlier conceptions, to parishes at which I’ve served, namely Fathers Rene Gagne (deceased), Kevin Fisette, and Richard Bucci (my current pastor as of this writing). Also, my dear family (wife Ann, children Christopher, Jessica, Brian, and Brittany, and grandson Anthony, alias “A.J.”) who have put up with me over the many years I’ve worked on this, and for their love and support over my entire career as a church musician and composer.

It is my hope that there is something in Psalm 151 that is accessible for congregations and choirs alike, whether in large Cathedrals (like the Cathedral Basilica of St. Louis in St. Louis, Missouri, who has used some of my work) or small clapboard churches. It is my goal, as well as the goal of a good number of composers today, that our congregations do not just sing at Mass, but SING THE MASS!

Save the liturgy, save the world!

CHRISTUS VINCIT, CHRISTUS REGNAT, CHRISTUS IMPERAT!

Brian Michael Page
October 3, 2017

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

Filed Under: Articles, PDF Download Last Updated: January 1, 2020

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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Since the English is not meant to be sung, but only to tell people who do not understand Latin what the text means, a simple paraphrase in prose is sufficient. The versions are not always very literal. Literal translations from Latin hymns would often look odd in English. I have tried to give in a readable, generally rhythmic form the real meaning of the text.”

— Fr. Adrian Fortescue (1913)

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