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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

What Palestrina Did With Kyrie II (“Fons Bonitatis”)

Jeff Ostrowski · January 15, 2020

AGNIFICENT! There is no other word for it. I am speaking of the Palestrina’s Kyrie based on the Gregorian Kyrie II (“Fons Bonitatis”), which is divided—as you might guess—into three marvelous sections. You can listen all three sections by visiting Lalemant Polyphonic and scrolling to 81668. I strongly encourage you to do this!  And just where does “Kyrie Fons Bonitatis” come from?  We remember that prior to the Council of Trent, the prayers at Mass were “troped.” Many erroneously believe the Kyrie was the only thing troped, but that’s not even close to true. The Gloria, Sanctus, Agnus Dei—and even the readings!—were troped.

Here’s a rehearsal video we made for Part 1 of 3. (I again humbly request that you go listen to the other sections, as well.)


Kyrie II (“Fons Bonitatis”) has remained remarkably stable. Look how it appeared in Cantus Varii, a marvelous collection by Solesmes printed in 1928:

— PDF Download • Kyrie II (1928)

A 2011 publication from Germany seemingly copied this 1928 edition without any changes, although it inserted “tropeless” Editio Vaticana repetitions which puzzle me:

— PDF Download • Kyrie II (Germany, 2011)

A 2016 publication with variations from the Sarum Use also seemingly copied the 1928 version verbatim, with a few very minor changes (e.g. Pneumáte instead of Pnéumatis):

— PDF Download • Kyrie II (Sarum Use)

In the most wonderful way, Palestrina derives his polyphonic lines from the complicated chant melodies of Kyrie II.  For example:

HENEVER POSSIBLE, we must locate the version (“variant”) of the plainsong which Palestrina was looking at when he wrote his Mass. But which version was it? This question is sometimes impossible to answer because we know so little about the lives of the Renaissance composers. However, as I mentioned earlier, Kyrie II is relatively “stable” compared to other chants, so we can be fairly certain the version Palestrina had before him is similar to what we have in the Editio Vaticana.

Consider this version from the 14th century:

 

Here’s one from the late 15th century:

80360-Palestrina-Kyrie-Fons-Bonitatis-late-15th-century

 

Another version from the 15th century:

 

A version from 1525AD:

 

Here is a version from 1580AD:

 

A version from 1591AD:

 

Here is a version from the 16th century:

 

Another from the 16th century:

 

Here’s the version Dr. Peter Wagner chose in his 1903 Kyriale:

80359-Peter-Wagner-Gregorian-Kyrie-ii-edit

 

And here’s the version Mocquereau chose for his 1903 Liber Usualis. Notice the spots where it differs from Pothier’s Editio Vaticana:

80358-1904-Mocquereau-LIBER-USUALIS

Here is the 1863 edition by Father Hermesdorff, the teacher of Peter Wagner (considered a “corrupt” edition of plainsong):

 

 

Here is another “corrupt” version of Kyrie II printed in 1857:

 

The particular way Palestrina places the chant melodies from Kyrie II into his version is stunning. I was going to say Part 3 was my favorite, but Part 2 is also magnificent—and so is Part 1. So it’s all my favorite! The rehearsal videos we made simply don’t do justice to this masterpiece.

In grad school I remember thinking Palestrina wasn’t as interesting as certain other composers; but I was dead wrong.

By the way, here is a (pretty terrible) organ accompaniment for “Kyrie Fons Bonitatis” by Dr. Auguste Le Guennant (d. 1972)

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

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Filed Under: Articles Tagged With: Cantus Selecti, Cantus Varii, Giovanni Pierluigi da Palestrina, Medieval Manuscripts Last Updated: August 1, 2022

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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

    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) 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
    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
    “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

    “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
    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

On 26 July 1916—during the German occupation of Belgium—a student choir led by Van Nuffel performed his setting of the psalm “Super flumina Babylonis” in Saint Rumbold’s Cathedral. The text and the musical setting very aptly expressed the depressed and rebellious mood of the population. The acclaim was enormous, and it laid the foundation for Van Nuffel’s formation of the Saint Rumbold’s choir.

— Unknown

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  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

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