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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

PDF Download • “What Makes A Good Hymn?”

Jeff Ostrowski · February 6, 2020

EOPLE are making a big deal about a scandalous song by GIA Publications, written for the LA Religious Education Congress later this month. Having listened to an excerpt of the song, I agree with those who insist such “beat music” should never be sung during the Holy Mass. Why an organization called The Gregorian Institute of America would promote that song is a mystery to me. But rather than “attack,” we should provide positive alternatives—beautiful and dignified melodies—such as those found in the Brébeuf hymnal, which the New Liturgical Movement (6/10/2019) called “hands down, the best Catholic hymnal ever published.”

What Makes A Good Hymn Tune?

An excellent article was published in 1912 by the choirmaster of Westminster Cathedral (which is Roman Catholic, whereas Westminster Abbey is currently Protestant):

*  PDF Download • “What Makes A Good Hymn?”
—A fascinating article by Sir Richard Runciman Terry (d. 1938).

In 1885, a Jesuit priest named Father Dreves published a melody which I consider to be excellent:


This famous melody is paired with numerous texts in the Brébeuf hymnal.  For example:


The tune itself is called various names: Vom Himmel Hoch, Erfurt, Altona, and so on.  It was once associated with Christmas, but lost this association a century ago (except in German-speaking countries). Below are examples with non-Christmas texts:

*  PDF Download • “Vom Himmel Hoch” for Eastertide
—An example of “ALTONA” not being used for Christmas.

*  PDF Download • “Vom Himmel Hoch” for General Use
—An example of “ALTONA” not being used for Christmas.

*  PDF Download • “Vom Himmel Hoch” for St. Peter’s Day
—An example of “ALTONA” not being used for Christmas.

*  PDF Download • “Vom Himmel Hoch” for Psalm 114
—An example of “ALTONA” not being used for Christmas.

*  PDF Download • “Vom Himmel Hoch” for Pentecost
—An example of “ALTONA” not being used for Christmas.

An example (same tune) from the Brébeuf hymnal for the Holy Name:


An example (same tune) for Epiphany:


An ancient Catholic text suitable for Holy Communion (same tune):


An example for Christmas (same tune):


The beautiful harmonization (from the Brébeuf Choral Supplement) sounds interesting with the bass line removed—don’t you agree?

*  Mp3 Download • “Altona” without the Bass
—This file has the Bass Line removed.

P.S.

Regarding the Los Angeles Religious Education Congress, I see the keynote speaker this year is Bishop Danny Flores. He was on the faculty of a high school where I taught for three years, and (once upon a time) served as the personal driver for Bishop René Gracida, who flew 39 bombing runs in Germany during World War II. Bishop Gracida told me that wherever they drove together—including very long road trips—he forced Bishop Flores (at that time, he was “Father”) to listen to Glenn Gould playing the Goldberg Variations. Awesome choice! Too bad the absolute best recording was not available in those days. [The best recording is a 1959 “live” version of Glenn Gould recorded in Salzburg.]

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

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Filed Under: Articles Tagged With: Common Hymn Melodies, Jean de Brebeuf Hymnal, Roman Catholic Hymnals, Sir Richard Runciman Terry Last Updated: February 26, 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

    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski
    “Entrance Chant” • 4th Sunday of Easter
    You can download the ENTRANCE ANTIPHON in English for the 4th Sunday of Easter (11 May 2025). Corresponding to the vocalist score is this free organ accompaniment. The English adaptation matches the authentic version (Misericórdia Dómini), which is in a somber yet gorgeous mode. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski
    Music List • “Repertoire for Weddings”
    Not everyone thinks about sacred music 24/7 like we do. When couples are getting married, they often request “suggestions” or “guidance” or a “template” for their musical selections. I created this music list with repertoire suggestions for Catholic weddings. Please feel free to download it if you believe it might give you some ideas or inspiration.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Those who are trying to improve the quality of congregational singing cannot refuse to Gregorian chant the place which is due to it.”

— Sacred Congregation of Divine Worship (14 April 1974)

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