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Views from the Choir Loft

The Only Hymn Father Fortescue Ever Wrote

Jeff Ostrowski · November 24, 2018

HE BRÉBEUF HYMNAL is finally available for purchase, after five years of painstaking production. The hymnal came out a million times better than any of us could have hoped. We began the project with a “no garbage” policy; we would only accept excellent texts, excellent tunes, and excellent translations. We never broke this policy, and the resulting hymnal—932 pages long!—is absolutely breathtaking.

The Church’s oldest known Latin Eucharistic Hymn is “Sancti Venite,” from the 7th century. Father Adrian Fortescue wrote a translation in 1913…matching the original meter! The Brébeuf Hymnal contains multiple settings. Consider this contemporary melody by Peter Lejeune:


As far as I know, that is the only rhyming hymn Fortescue ever wrote.

THAT IS JUST ONE SETTING, OF COURSE. The Brébeuf Hymal contains several more, as well as additional translations. Moreover, the Brébeuf provides a literal translation—which it does for all the major Latin hymns. Ours is the only source containing literal English translations for certain hymns, such as Jam Desinant Suspiria and Rebus Creatis Nil Egens—how cool is that?

Those of us who participated in editorial work received “proof” copies, printed on loose-leaf paper. Here’s a sneak peek:

87052 - Fr Adrian Fortescue Hymn • SANCTI VENITE

By the way, you will notice that rehearsal videos are starting to appear.

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

Filed Under: Articles Tagged With: Jean de Brebeuf Hymnal, Oldest Latin Eucharistic Hymn, Rev Fr Adrian Fortescue Liturgy, Sancti Venite Eucharistic Last Updated: May 3, 2021

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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 Los Angeles.—(Read full biography).

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Quick Thoughts

19 May 2022 • “Trochee Trouble”

I’m still trying to decide how to visually present the “pure” Editio Vaticana scores, using what is (technically) the official rhythm of the Church. You can download my latest attempt, for this coming Sunday. Notice the “trochee trouble” as well as the old issue of neumes before the quilisma.

—Jeff Ostrowski
16 May 2022 • Harmonized Chant?

This year’s upcoming Sacred Music Symposium will demonstrate several ways to sing the CREDO at Mass. This is because—for many parishes—to sing a full-length polyphonic CREDO by Victoria or Palestrina is out of the question. Therefore, we show options that are halfway between plainsong and polyphony. You can hear my choir rehearsing a section that sounds like harmonized plainsong.

—Jeff Ostrowski
14 May 2022 • “Pure” Vatican Edition

As readers know, my choir has been singing from the “pure” Editio Vaticana. That is to say, the official rhythm which—technically—is the only rhythm allowed by the Church. I haven’t figured out how I want the scores to look, so in the meantime we’ve been using temporary scores that look like this. Stay tuned!

—Jeff Ostrowski

Random Quote

“The Church has always kept, and wishes still to maintain everywhere, the language of her Liturgy; and, before the sad and violent changes of the 16th century, this eloquent and effective symbol of unity of faith and communion of the faithful was, as you know, cherished in England not less than elsewhere. But this has never been regarded by the Holy See as incompatible with the use of popular hymns in the language of each country.”

— Pope Leo XIII (1898)

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