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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 • “Pope Pius XII Hymnal” (1959)

Jeff Ostrowski · November 6, 2018

N LATE OCTOBER, the Brébeuf Hymnal was officially sent off to the printer. Within a few weeks, it should be available for purchase. Folks, I’ve got to tell you: this book is a game changer. The world of Catholic music will never be the same after its release. It is a million times more powerful than any of us could have dreamt. Please stay tuned…I have much more to share.

I was recently sent a fascinating hymnal from 1959:

* *  PDF Download • PIUS XII HYMNAL (1959)

The 1959 editors placed a serious emphasis on excellent hymn tunes, similar to what we did in the Brébeuf hymnal. However, they were more bold and daring than the Brébeuf committee. They mixed Advent and Lent tunes with “general” texts in ways that—in my humble opinion—went too far.

In the Brébeuf hymnal, we carefully emphasized the very best, most traditional, most Catholic melodies. We placed them strategically, so they can be used at various times throughout the liturgical year. We realize too many Catholic congregations don’t have in their repertory an abundance of excellent tunes. They must be taught—but this is no easy thing. When it comes to the strategic repetition of hymn tunes, no effort was spared by the editors of the Brébeuf hymnal.

Were you shocked to see the Pius XII Hymnal assigning vernacular hymns to different parts of the Mass? This was common at Low Mass in those days. Indeed, I own numerous Catholic hymnals (from the 1940s and 1950s) which promote the same exact same thing. 1

“During a Low Mass there is usually time for four hymns—one from the beginning of Mass up to or through the Gospel, but certainly to be finished by or before the end of the Gospel, so as not to interfere with or delay the making of announcements or the preaching of the sermon. A second hymn can be started at the Credo; another after the Elevation, and the last one during Communion, to end with the last Gospel for the prayers after Mass.”
—Caecilia Magazine of Catholic Church Music, 64:4 (1937)


This was not just done in America. Look at this example from a 1913 hymnal by Fr. Gregory Ould, OSB.


NOTES FROM THIS ARTICLE:

1   Customs such as this helped pave the way for the liturgical reforms of the 1960s. Vatican II wanted to have Catholics “sing the Mass” instead of “singing at Mass.” Unfortunately, things got even worse after the Council—and we’ve reached a point where nobody has a clue what it means to “sing the Mass.” There is much work to be done…

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

Filed Under: Articles, PDF Download Tagged With: Affordable Hymnal for Catholic Parishes, Jean de Brebeuf Hymnal, Low Mass Vernacular Hymns, Pope Pius XII Hymnal 1959 Last Updated: November 2, 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 Michigan. —(Read full biography).

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President’s Corner

    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski
    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. 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 spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    New Bulletin Article • “14 September 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“These liturgists protest that the choir must be encouraged, but in the same breath we are told its purpose is to lead the congregation in the singing of hymns and other unison music. These directions from non-musicians who have never created a musical sound—let alone direct a choir—are the cause of consternation among practicing musicians, both instrumentalists and singers.”

— Monsignor Richard J. Schuler (30 November 1967)

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