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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

PDF Download • Rare German Hymnal

Jeff Ostrowski · October 17, 2017

4195 In Dulci Jubilo HE Brébeuf Hymnal project is really coming along. I have been privileged (for several years) to serve on a committee creating this book. One of the members is a veritable encyclopedia of hymnody, and it’s difficult to find a tune, text, or author he doesn’t know. The amount of material we have unearthed is overwhelming, and I hope someday 100% can be released online.

We have commissioned a remarkable amount of new texts and melodies for this book. However, we will also include historic Catholic tunes that have been (unfairly) neglected—and the following book by Dreves has several nice ones.

For the first time in history we have placed this celebrated German hymnal online:

    * *  PDF Download •   O CHRIST HIE MERK!   (Rev. Dreves, 1885)

Fr. Robert Skeris, perhaps the world’s preëminent scholar of hymnody, wrote about Dreves:

In order to make available in practise some of the results of his research work, DREVES published two small books which were important and influential in the continuing discussion: Ein Wort zur Gesangbuchfrage and “O Christ hie merk!” DREVES intended his “Wort” as “building material” for an eventual German national hymnal. If the “Wort zur Gesangbuchfrage” is more theoretical, then “O Christ hie merk!” is completely practical: a hymnal with 150 tunes illustrating the principles set forth in the “Wort.” WITT identified himself with this “word” by saying that it expressed “the principles of the Caecilian Society on this point.”

Fr. Guido Maria Dreves was a Jesuit priest who died in 1909. He’s responsible for the definitive work (55 volumes) on Latin hymnody: Analecta Hymnica Medii Aevi.

DESCRIPTION OF THIS BOOK :

Dreves, Guido Maria S. J. — “O Christ hie merk!”
Ein Gesangbüchlein geistlicher Lieder. Freiburg im Breisgau.
Herdersche Verlagshandlung. 1885.
Mit Approbation des hochw. Herrn Erzbischofs von Freiburg.

S. Halbleinen-Bibliothekseinband mit Leinenecken und marm. Deckeln. Handbeschr. Rückenschild oben sowie Bibliotheksschild auf V-Deckel, gestempelt. Kanten und Deckel berieben, sonst gut. Innen stärker gebräunt, die ersten Seiten mit zahlreichen Bibliotheksstempeln und handschr. kleinen Eintragungen. Nach S. X im Gelenk angebrochen. Vorsätze sowie Innendeckel und erste bzw. letzte S. gilbtleckig, sonst sauber.

Zweck dieses Gesangbüchleins ist einzig und allein, die echt christlichen, echt volkstümlichen Lieder, wie sie von Anfang bei unseren Vorfahren in Brauch und Übung gewesen, dann aber in glaubensschwacher, nüchterner Zeit über Bord geworfen oder bis zu Unkenntlichkeit entstellt wurden, unserem Volke zurückzugeben, und zwar in einer Gestalt, die sich möglichst innig der überlieferten Urform des Liedes anschlösse (…) Aus dem Vorwort.

Mit zahlreichen Notenbeigaben.

DREVES. Guido Maria, Jesuit, Hymnologe und geistlicher Lyriker, * 27.10. 1854 in Hamburg als Sohn des Notars und Dichters Leberecht D., † 1.6. 1909 in Mitwitz bei Kronach (Ober.franken).

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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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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Corpus Christi Watershed

President’s Corner

    “Common” Responsorial Psalm?
    I try to avoid arguing about liturgical legislation (even with Catholic priests) because it seems like many folks hold certain views—and nothing will persuade them to believe differently. You can show them 100 church documents, but it matters not. They won’t budge. Sometimes I’m confronted by people who insist that “there’s no such thing” as a COMMON RESPONSORIAL PSALM. When that happens, I show them a copy of the official legislation in Latin. I have occasionally prevailed by means of this method.
    —Jeff Ostrowski
    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

Pope Gelasius in his 9th Letter to the Bishops of Lucania condemned the evil practice which had been introduced of women serving the priest at the celebration of Mass. Since this abuse had spread to the Greeks, Innocent IV strictly forbade it in his letter to the Bishop of Tusculum: “Women should not dare to serve at the altar; they should be altogether refused this ministry.” We too have forbidden this practice in the same words in Our oft-repeated constitution “Etsi Pastoralis” (§6, #21)

— Pope Benedict XIV • Encyclical “Allatae Sunt” (26 July 1755)

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