Views from the Choir Loft

Hymn by Professor at St. Charles Borromeo Seminary

Jeff Ostrowski · October 30, 2017

ONSIGNOR Ronald Knox (d. 1957) translated six verses of “Ave Vivens Hostia”—and the full version will be included in the St. Jean de Brébeuf Hymnal. The original hymn (by Iohannes Pecham, Archbishop of Canturbury, who died in 1292AD) has fifteen verses, and was discussed during the 2017 Sacred Music Symposium. The choir sang the Knox version, conducted by Dr. Alfred Calabrese.

A different translation was made by Msgr. H. T. Henry (d. 1946), who taught Gregorian chant at St. Charles Borromeo Seminary in Overbrook, Pennsylvania: ¹

* * PDF Download • SCORE (Latin, Literal English, and Rhyming English)

I declare to you: No microphone can capture choral sound.

Consider the rehearsal video we recorded yesterday:

REHEARSAL VIDEOS for each individual voice await you at #4148.

It’s okay, but let me assure you it’s absolutely nothing compared to what I heard when it was sung at the 2017 Symposium. I sat in front while Dr. Calabrese was conducting, and I was (quite literally) shaking. I’d never heard anything so beautiful. I came close to tears—the sounds were out of this world.

For the second time: No microphone can capture choral sound.

Now listen to a recording from the 2017 Symposium, using the version by Msgr. Ronald Knox. What comes through on the microphone doesn’t come close to an accurate reproduction of the choral sound:

* * Mp3 File • “Live” Version (30 June 2017)

A third time I proclaim: No microphone can capture choral sound.

NOTES FROM THIS ARTICLE:

1 Read the literal translation at the top of the score (by Fr. Valentine Young, OFM) and notice how skillfully Msgr. Henry matches the meaning. Bravo!

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

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).

Bugnini’s Statement (6 November 1966)

With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.

—Jeff Ostrowski

Luis Martínez Must Go!

Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]

—Jeff Ostrowski

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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.

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“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