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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

Jennifer D. Behnke • “Brébeuf Hymnal Review”

Guest Author · July 25, 2019

ERY SOON AFTER its release, I ordered a copy of the St. Jean de Brébeuf hymnal, and have been utterly in love with this resource since it arrived in my mailbox. Indeed, between the dark, hard bound book with soft matte texture lies some of the Catholic Church’s most treasured jewels. It feels like a well loved first edition of a favorite novel which you cherish and re-read time and time again.

THE LITURGICAL WONK IN ME adores the numerous scholarly treatments of texts. From inclusion of the original Latin urtext, to historical and canonically backed translations, to modern “singable” versions that do not lose the lustre of the poetic imagery, the primacy of the text is apparent on each page. In light of the 2010 revisions to the English language Roman Missal, made to eliminate paraphrasing in our liturgies, the St. Jean de Brébeuf hymnal takes the same direction from the Liturgiam Authenticam:

“The translation of the liturgical texts of the Roman liturgy is not so much a work of creative innovation as it is of rendering the original texts faithfully and accurately into the vernacular language. While it is permissible to arrange the wording, the syntax and the style in such a way as to prepare a flowing vernacular text suitable to the rhythm of popular prayer, the original text, insofar as possible, must be translated integrally and in the most exact manner, without omissions or additions in terms of their content, and without paraphrases or glosses. Any adaptation to the characteristics or the nature of the various vernacular languages is to be sober and discreet.”

However, where the Brébeuf hymnal differs is that its texts do in fact adhere to a very high style of poetic meter as well as theological clarity—and for that, our congregations can be intensely grateful. The modern hymnody of other major hymnals profits off of paraphrase and shaky theological textual footing, some hymns even straying into the heretical. The Brébeuf ancient texts and authoritative translations will offer no such abuse to worshippers.

83596-sacred-heart-bloomfield-new-jersey THE MUSICAL WONK IN ME adores the multiple settings of each text, which can be interchanged as required by seasonal and festal usage. Indeed, there are over 20 different settings and translations to sing some version of “Pange Lingua Gloriosi”—by both Bishop Fortunatus and St. Thomas Aquinas—each with its own textual intricacies and utilizing poetic foot and word painting. Can you imagine more versatility within prescribed liturgical hymnody as a music director? Many of the tunes are already familiar to most Catholic congregations, but restore a sense of dignity and timelessness to the music for worship which has been discarded in the past 50+ years of intentionally adolescent liturgical practice.

Finally, the Brébeuf Hymnal treats Catholic music in English as the wealth and treasury of thought and substance that it is. It strikes the perfect balance of theologically sound texts, sublime and timeless musical treatment and thoughtful research that our congregations can mature into. This is a hymnal that not only will inspire our congregations to sing, but to delve deeper into their spiritual life with a solid foundation in two millennia of artistic excellence.

Jennifer D. Behnke
Director of Music Ministries
(Sacred Heart Church)
Choral Music Teacher
(Immac. Conception High School)


We hope you enjoyed this guest article by Jennifer D. Behnke.

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

Filed Under: Articles Tagged With: Jean de Brebeuf Hymnal Last Updated: September 1, 2023

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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (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

Quick Thoughts

    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “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
    “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

Random Quote

“No official approbation is required for hymns, songs, and acclamations written for the assembly.”

— Statement by the “Bishops’ Committee on the Liturgy” (10-NOV-1996)

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