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Views from the Choir Loft

Jennifer D. Behnke • “Brébeuf Hymnal Review”

Guest Author · July 25, 2019

83593-Jennifer-D-Behnke 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: January 1, 2020

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Quick Thoughts

Alabama Assessment!

We received this evaluation of Symposium 2022 from an Alabama participant:

“Oh, how the Symposium echoed the words of Cardinal Merry Del Val: …choosing only what is most conformed to Thy glory, which is my final aim. In one short and fast paced week, the faculty and attendees showed me the hand of God and our Lady working in our lives. The wide range of education—from Gregorian Chant, jazz modes in organ improvisation, to ‘staying sane’ while leading a choir—were certainly first-class knowledge from the best teachers of the art. However, the most powerful lesson was learning how to pray as a choir. The sacrifice of putting songs together, taking time to learn the sacred text, meditating on the church teaching through the chants, and gaining the virtues required to persevere in these duties were not only qualities of a choir but of a saint. The sanctification of the lives of the attendees was a beautiful outcome of this event … and that in itself is worth more than a beautifully-sung Solesmes style chant!”

—Jeff Ostrowski
PDF Download • Trinity Sunday (22 pages)

Feel free to download this Organ Accompaniment Booklet for Trinity Sunday (Second Vespers). Notice how the modes progress by number. Psalm 1 is mode 1; Psalm 2 is mode 2; Psalm 3 is mode 3; Psalm 4 is mode 4; Psalm 5 is mode 5. I am told by an expert that other feasts (such as Corpus Christi) are likewise organized by mode, and it’s called a “numerical office.”

—Jeff Ostrowski
10 June 2022 • “Official” rhythm of plainsong

I continue to search for the most beautiful way to present the “pure” Editio Vaticana scores. (Technically, the “pure” rhythm of the official edition is what everyone is supposed to use.) You can download my latest attempt, which is the Introit for this coming Sunday: Feast of the Most Holy Trinity. Because this is not an ancient feast, the Introit had to be adapted (perhaps around 750AD). Prior Johner says the adaptation is “not an entirely happy one.”

—Jeff Ostrowski

Random Quote

Friedman met Egon Wellesz in Altaussee on one of the walks, and Egon started to speak about atonal music—and Ignaz replied: “No, no, no. Melody for me.”

— From the Life of Ignazy Friedman

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