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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

Brébeuf Review! • “Society for Catholic Liturgy”

Jeff Ostrowski · September 24, 2019

DETAILED REVIEW of the Brébeuf Hymnal recently appeared in Antiphon: A Journal for Liturgical Renewal, which is published by the Society for Catholic Liturgy. The review was written by Dr. Aaron James, who currently serves as choirmaster at Holy Family Catholic Church, run by clergy from the Oratory of St. Philip Neri. Before I encountered this review, I had never heard of Dr. Aaron James—but his credentials are stellar. According to Google, he earned a double doctorate (Organ+Musicology) from Eastman, a very fine conservatory. 1 The review appears in volume 23.2. Dr. James clearly spent considerable effort examining this new and unique hymnal. His time is quite valuable, and I am deeply grateful he deemed the Brébeuf Hymnal worthy of exploration. Someday I hope to meet Dr. James—and I’ll thank him for “spreading the word” about the Brébeuf project. He is a skilled writer, and his review has an overarching “shape” which is praiseworthy.

The review is generally quite positive. Dr James says: “The editors of the Brébeuf Hymnal have done a great service to the profession” in this “extensively researched volume,” which is “worthy of careful study by liturgical musicians.” Time and again, Dr. James expresses admiration for the research that went into this hymnal. For example, consider his statement on page 199:

This detailed exploration of classic Latin hymnody and its English translations is not only a labor of love, but an original contribution to research, and I hope that the results of this research project are shared more widely for the use of musicologists and liturgical historians.

I would, however, like to make a few corrections to the review by Dr. James. This is not intended as “nitpicking”—rather, my response is in the spirit of the old journals, wherein authors would engage in “public disagreements” which were often enjoyable and educational for the readership.

Inaccurate Statement • “Austria” Initial Repeat

On page 201, Dr. James accuses the Brébeuf editors of a “sometimes cavalier handling of classic musical material,” saying that “numerous tunes have been metrically altered.” For example, he says AUSTRIA appears “unaccountably, in an abbreviated form without the repeat of the first phrase, destroying the musical symmetry” and “infuriating anyone who knows the original tune.” This statement by Dr. James is fallacious. This form of AUSTRIA has been printed in Catholic hymnals for at least 150 years; it is not an “alteration” perpetrated by the Brébeuf editors. Consider how it appeared in one of the most popular Catholic pew books ever printed, viz. the Saint Basil Hymnal (1918):

* *  Example: Tantum Ergo — From the Saint Basil Hymnal

Indeed, the Tantum Ergo was often sung in precisely that way. Yet, other texts were also sung in the way which Dr. James erroneously claims will infuriate “anyone who knows the original tunes.” Consider the Hymnal and Vesperal for the Ecclesiastical Year (1878), published with the approbation of Most Rev. James Gibbons, Archbishop of Baltimore:

* *  Example: Austria Melody — Again Without Initial Repeat

Dr. James was unaware of this 150+ year tradition, and inadvertently propagated misinformation. Perhaps the editors of Antiphon could add a correction to some future volume?

(Erroneous statements were also made about other Brébeuf melodies; I would welcome an opportunity to address all of them at some point.)

Inaccurate Assumption • Multiple Tunes and Texts

Dr. James makes an incorrect assumption (cf. pp. 199-200) regarding what he calls the “idiosyncratic pedagogical plan.” He seems to believe that congregations using the Brébeuf Hymnal must sing all the translations and melodies for each hymn provided. This is not correct. These options were provided to give the choirmaster flexibility. Suppose a particular congregation would struggle with a particularly athletic melody. Or suppose the choirmaster believes a particular translation sounds “too archaic.” Or suppose a particular translation brings out a theological aspect of a certain verse more vividly. Or suppose the choirmaster needs to use a common melody, since a more unfamiliar version has not yet been introduced to the congregation. These are a few reasons a particular melody or translation might be chosen; but attempting to use every single option the hymnal provides would be foolish.

Dr. James attempted to prove such flexibility is “bewildering” (page 199) by talking about Conditor Alme Siderum. I don’t want to get too technical, but I must say he chose poorly—because that hymn is quite a special case, and deserves all the “attention” it got. (Entire dissertations could be written about that hymn, its content, its revisions, its theology, its melodies, and so forth.)

The Single Numbering System Is Not Confusing

Dr. James speaks of the “logistical confusion of finding one’s place in a hymnal with so much duplication.” It is difficult to understand what confusion could occur because the Brébeuf Hymnal carefully avoided a “double” numbering system. (Anyone who’s encountered hymnals with page numbers and hymn numbers will recall how frustrating those systems are.) When using the Brébeuf Hymnal, if the hymn is 322, simply turn to number 322. If the hymn is 456, simply turn to number 456. We use the hymnal every Sunday at my parish; nobody gets confused.

Furthermore, there is something that needs to be said. Some ancient hymns have risen to a place of great importance: theologically, historically, and liturgically. In the Brébeuf Hymnal, such hymns are given a more robust treatment. (Some examples would be Pange Lingua, Vexilla Regis Prodeunt, Sancti Venite, and Ad Cenam Agni Providi.) I feel that Dr. James should have mentioned this, rather than leaving the impression that random and insignificant hymns are thoughtlessly given multiple melodies. 2

A Bizarre Suggestion

On page 200, Dr. James criticized the optional melodies in the Brébeuf Hymnal, and proceeded to make the following statement:

In this digital age, anyone who wishes can underlay any text to any tune and produce a typeset version of near-professional quality for their choir; this reduces the practical value of printing alternate tunes, as anyone who is unhappy with the hymnal’s chosen tune can substitute another with minimal effort.

The suggestion that a choirmaster can “simply” produce alternate versions of hymns for the congregation, choir, and organist is utterly bizarre. Having directed choirs for 20 years, I can say this without reservation! Loose-leaf papers quickly get lost, or members of the choir misplace them. Moreover, typing out the precise version of the lyrics takes quite an effort (to say nothing of attributions, translations, titles, copyright information, and so on). Remember that each hymnal has slightly different versions of the texts, the most famous example being the New Saint Basil Hymnal (1958), which inexplicably made slight alterations to almost every text and harmonization.

Misunderstandings About Hymnal Indices

On page 203, Dr. James takes issue with the placement of the Brébeuf index, which he says is confusing. But there’s really nothing confusing about it. Indeed, the placement of the index is hardly an innovation; many liturgical books don’t place the index at the end of the book. For example, Mass & Vespers (Solesmes Abbey, 1957)—perhaps the greatest liturgical book ever published—places their index 167 pages from the back of the book! To put that in perspective, the Liber Cantualis is only 118 pages long; no sane person would claim 167 pages is insignificant.

More importantly, those who have spent a long time with hymnal indices—and I certainly have—realize how frustrating the standard ones can be. Indeed, many of them require an index for the indices! For example, the indices for GIA Worship IV Hymnal constitute about 60 pages. There are no page numbers, so one must spend hours thumbing through items such as:

Acknowledgments (on page ???)|;
Hymns for the Church Year (on page ???)|;
Scripture Passages Related to Hymns (on page ???)|;
Index of Psalms and Canticles (on page ???)|;
(their) Liturgical Index (on page ???)|;
(their) Topical Index (on page ???)|;
Metrical Index (on page ???)|;
Tune Index (on page ???)|;
Index of Service Music (on page ???)|;
Etc. Etc. Etc. Etc.

It’s a complete mess. Furthermore, by deliberately making their index difficult to use, they probably hope people won’t notice how their book basically contains only a handful of decent tunes which they’ve been selling over and over for fifty years. A similar tactic is employed in hymnals which are alphabetical; that makes it virtually impossible to notice gaping holes in the hymn selections. Unsuspecting users don’t notice these tricks, but it’s time they did.

The Brébeuf Hymnal brilliantly solves such problems. One simply turns to the back of the book, where a beautiful sheet of paper shows one exactly where one needs to go. It may not be exactly like every other hymnal, but who cares? It saves a massive amount of time and eliminates tons of frustration.

False Claims About Missing Tunes

On page 201, Dr. James calls the lack of Gregorian melodies in the Brébeuf Hymnal a “significant impoverishment,” but there is no justification for such a claim. Serious publishers realize that no book can be “all things to all people.” Indeed, the worst hymnals are those which thoughtlessly and recklessly include little bits of pieces of everything. Imagine an EVANGELIARIUM which also contains several Offertory antiphons or Victoria’s setting of O Magnum Mysterium; it would be absurd. Serious book editors must ruthlessly reject every temptation to include items which don’t belong.

The Brébeuf Hymnal was designed to contain metrical hymns which can be sung well by a congregation. Period. 3

On page 201, Dr. James says Gregorian hymns notation should have been included “for use by the choir”—but he forgot he was reviewing a book intended for the congregation. A congregation can (probably) sing the most basic Gregorian melodies, such as Jesu Dulcis Memoria, although the choirmaster must never allow such melodies to drag. I have yet to hear any congregation sing the more complicated melodies adequately. Consider these examples of Gregorian hymnody:

* *  PDF Download • Gregorian Hymn in Latin

* *  PDF Download • Gregorian Hymn in English

Such delicate and exquisite melodies have no business being included in a hymnal dedicated to metrical hymns for the congregation. Intelligent choirmasters who direct choirs in real life—as opposed to “internet loudmouths”—realize that very few congregations could sing such pieces properly. Such pieces are better left to the choir. Besides, choirmasters who desire such pieces can already find them available in a billion places, such as:

The Liber Usualis (Solesmes Abbey, 1961)|
Cantus Selecti (Solesmes Abbey, 1957)|
Parish Book of Chant (Richard Rice, 2012)|
The Liber Hymnarius (Solesmes Abbey, 1983)|
Cantus Varii (Solesmes Abbey, 1923)|
Hymnal for the Hours (Fr. Samuel Weber, 2014)|
The Liber Antiphonarius (Solesmes Abbey, 1949)|
Mass and Vespers (Solesmes Abbey, 1957)|
A Plainsong Hymnbook (Sir Sydney Nicholson, 1932)|
Hymnarium (Dominican Province of St. Joseph, 2013)

Conclusion

The Brébeuf Hymnal pew edition is 932 pages. The organ accompaniment is 1,292 pages. The Choral Supplement—scheduled to be released in about seven weeks—is also hundreds of pages long. Footnotes and references are found at the bottom of each page, in small type. Dr. James could not be expected to master every aspect of this massive, innovative hymnal, and the mistakes he made in his review should not be held against him.

 


NOTES FROM THIS ARTICLE:

1   This is exceptionally rare. Indeed, in my entire life, I have only encountered two people who earned a double doctorate.

2   While we are on the subject of “thoughtless actions,” Dr. James (footnote 7) says one of the texts must have been copied “from a modern hymnal by mistake.” In response, I can only gently suggest that Dr. James consult page 566 in the Brébeuf Hymnal with greater diligence. When it comes to the Brébeuf texts, absolutely nothing was done without deep deliberation. The approach taken is explained on page 566, which was deliberately placed right before the color pages so it cannot be missed.

3   To be clear, the Brébeuf editorial committee is acutely aware of the beauty of Gregorian hymns. Indeed, one of the members (a Catholic priest) is probably the world’s expert on Gregorian hymns. Nevertheless, we had an obligation to be faithful to the goal. Readings, psalms, propers, Gregorian hymns, motets—none of these were appropriate to include; and exceptions were rare.

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

Filed Under: Articles, Featured Tagged With: Antiphon Journal, Jean de Brebeuf Hymnal Last Updated: May 25, 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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Corpus Christi Watershed

President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

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