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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 • “Chant Service Book” (208 pages)

Jeff Ostrowski · January 22, 2019

85597 • Achille Bragers died in 1955 EADERS WILL recognize the name of Achille P. Bragers (1887-1955), who became the most famous exponent of the Solesmes accompaniments—surpassing even Julius Bas, Henri Potiron, and Jean Hébert Desroquettes in fame. 1 An extremely rare item has been scanned, thanks to Mr. Peter Meggison, the proprietor of Catholic Devotional Hymns. I hope someday Peter can send us the rarest book of all: The Monastery Hymnal. That’s a 1954 hymnal by Bragers so incredibly rare that copies may not exist…but I digress.

The “Bragers Service Book” (1941) will please you very much. It contains miscellaneous chants frequently sought by organists: Concordi Laetita, Salve Mater Misericordiae, Inviolata, Rosa Vernans, Virgo Dei Genitrix, Sub Tuum Praesidium, O Quam Suavis (where Sanctus VIII comes from), Ave Verum Corpus, Adoro Te Devote, litanies, and tons more:

    * *  PDF Download • 1941 Bragers “Chant Service Book” (208 pages)

I especially enjoyed what Bragers calls the Modulating link to Alleluia. 2

Monsieur Bragers anticipated the Brébeuf Hymnal by using a marvelous technique too few choirmasters know about. I am talking about “shared melodies.” For example, examine the different melodies Bragers uses for the O SALUTARIS HOSTIA. You will find him using an Advent melody (Creator Alme), a Christmas melody (Jesu Redemptor), and so forth. That way, when the congregation sings at Benediction, they can match the liturgical season. This is the same technique used in the Brébeuf Hymnal—tons of options are provided, to make sure congregations can join in the singing! We did not, however, use as many “extra” melodies as the famous ARUNDEL HYMNAL (which included a Preface by Pope Leo XIII). The Arundel Hymnal sometimes contains as many as fifteen different tunes for a single text! 3

Responses to the Brébeuf Hymnal

Speaking of the new Brébeuf Hymnal, check out these responses:

(1) Church musician friends; Buy yourselves a copy of the Saint Brebeuf Hymnal. This is a revolution in Catholic hymnody. I am astounded into silence at the care put into this hymnal—its simplicity, its theological depth, everything. Just buy and swim in the theology!

(2) Hymnal received! You are right to be proud of your work, this is a treasure.

(3) Just wanted to let you know that a friend of mine got a Brebeuf Hymnal and is thrilled with it. She texted me: “I can’t stop looking at the contents”—and she had an emoji of a person happily dancing on a keyboard.

(4) Outstanding! From cover to cover is just phenomenal.

(5) Music at Mass should be an opportunity for worshiping God. May I suggest a movement to get the Saint Jean de Brébeuf Hymnal (published 24 December 2018) into your parish? I bought a copy because as a teen I was in five choirs: three constantly, two when they needed the young soprano. I love to sing. I had friends who graduated with degrees in sacred music/church music. I have sung a LOT of amazing church music, and the Catholic Church may be the One True Church but the hymnals…sigh! Sorry I probably sound like a commercial, but this hymnal is the most amazing one I have ever had my hands on, and I have a fair few on my bookshelves. It is designed to be a Catholic hymnal; the texts are theologically fabulous (I have a Masters in Theological Studies and am a Bible loving geek); and this is awesome—like having a catechism in the music! I also have a teaching certification, and this music would help teach the faith to children in a way they will never forget! “Sung learning” is internalized deeply as it is heard, read, and physically sung—so it sticks. This hymnal is full of SINGABLE tunes, many of them very old. The lyrics are translations of traditional songs that go way back—like 4th century—and they are just beautiful. The Latin is there, side by side with a more literal translation for understanding, and it tells you what tunes will fit the Latin. There are also carefully selected English translations—all footnoted so you can do research if you want—but there, and clear, and orthodox, and gorgeous! They limited the total number of tunes used to help a congregation to master the singing, so that they can gradually come to where they no longer have to struggle because the tunes will become familiar! This is better than any of the protestant hymnals. I keep spreading the word: THIS should be the hymnal in every Catholic parish; and just do all the singing from it! Everyone who is capable of singing will WANT to sing these songs.

(6) The Saint Jean de Brébeuf Hymnal is quite unlike any other (allegedly) Catholic hymnal you’ve ever seen. Because it actually is a Catholic hymnal—(so far as I know) no other so-called “Catholic hymnal” that’s currently published consists solely and exclusively of music that’s actually fully and completely Catholic in both origin and expression. Hymns selected from the Church’s wonderful tradition and glorious treasury of sacred music, dating back through the centuries to the time of Ambrose and Augustine. […] And alongside these beautiful Latin hymns are printed—and designated as “Assistance for comprehension”—the best literal English translations of these hymns I’ve ever seen. By these criteria, no other Catholic hymnal of which I’m aware comes close to the new standard set by the Saint Jean de Brébeuf Hymnal.

Much more needs to be done to help people understand the value of the Brébeuf Hymnal—and don’t worry, more explanations are coming! For example, there will be musical guides produced, making sure the “hidden treasures” are not missed. And something splendid is coming vis-à-vis the organ accompaniments—which I’m dying to reveal to you! It will be revealed soon.



NOTES FROM THIS ARTICLE:

1   Bragers graduated from a famous Belgium school called the “Lemmens Institute.” In the 1900s, this same institute produced the Organum Comitans Ad Graduale. A few years later, Monsieur Bragers made improvements to these, when he published his own versions. Finally, in the 1940s, the Lemmens Institute built upon these earlier attempts and published the massive Nova Organi Harmonia.

2   An example of that type of modulation is on page 149. By the way, I am not sure why Bragers harmonized certain items, such as the Good Friday chants. (The organ cannot be played on Good Friday.) Speaking of Holy Week, the Bragers book is being released at a particularly excellent moment, since it contains the “old” Holy Week—and Rome recently gave permission for certain parishes to use it.

3   I do believe one can “go too far” in terms of sharing melodies. For example, I would never have the guts to do what the Pius XII Hymnal did in this arena—although its editor created quite a thoughtful accompaniment for Christus Ist Erstanden. Basically, I feel that certain melodies have strong associations with certain texts and, therefore, should not be shared. Look what the Arundel Hymnal attempted, and see if you agree. That’s just plain crazy!

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

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski
    Kids’ Choir Sings Thomas Aquinas
    Last Sunday, a children’s choir I’m teaching sang with us for the very first time at Sunday Mass. Females from our main choir sang along with them. If you’re curious to hear how they sounded, you can listen to a ‘live’ recording. That’s an English version of TANTUM ERGO by Saint Thomas Aquinas. That haunting melody is called GAUFESTRE and was employed for this 2-Voice Arrangement of a special hymn for 9 November (“Feast of the Dedication of the Lateran Basilica in Rome”) which replaces a Sunday this year.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of September (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“You should try to eat their food in the way they prepare it, although it may be dirty, half-cooked, and very tasteless. As to the other numerous things which may be unpleasant, they must be endured for the love of God, without saying anything or appearing to notice them.”

— Fr. Paul Le Jeune (1637)

Recent Posts

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  • “Music List” • 27th in Ordinary Time (Year C)
  • Kids’ Choir Sings Thomas Aquinas

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