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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

These kids are on fire! • “Victimæ Paschali Laudes” by Philippe Verdelot

Jeff Ostrowski · August 12, 2020

EWARE OF BLOGS which constantly repeat phrases like: “You heard it here first” or “I was the first one to know this” or “I predicted this would happen.” Such authors betray a deep immaturity. The reality is, Yogi Berra was correct: “It’s tough to make predictions, especially about the future.” Today, however, I make this prediction: Philippe Verdelot’s “Victimae Paschali” will soon be taught in every music history textbook. It’s an incredibly enlightened, pioneering, and beautiful example of imitative polyphony. Josquin des Prez is usually considered the “trailblazer” when it comes to imitative counterpoint—especially with pieces like Ave Maria (which Dr. Calabrese wrote about brilliantly). But when folks discover this piece by Verdelot, I believe common assumptions will undergo reassessment.

*  PDF Download • VICTIMAE PASCHALI LAUDES
—Score by Philippe Verdelot (d. 1535?) provided by Mr. Christian Ryan.

The Brébeuf Virtual Choir created a delightful recording of this hitherto “lost” masterpiece:

You can also make your own transcription directly from the opera omnia version. All of us owe so much to Armen Carapetyan.

Seeing the wonderful creations of the Brébeuf Virtual Choir fills me with tremendous hope for the future of sacred music. Every few days, they come out with a new recording; these kids are on fire!

Compositional Techniques

HE entire piece is a fantastic early example of imitative counterpoint; but in a certain sense, it might be regarded as a “plainsong harmonization.” Philippe Verdelot (d. 1535?) literally takes each phrase of the EASTER SEQUENCE (“Victimae Paschali Laudes”) and marvelously sets it, always straightaway in order. Later composers would seek a “less obvious” (or perhaps we might say “less tedious”) way of treating the plainchant melody. Consider the following two phrases: Agnus Redémit Oves and Christus Ínnocens Patri.

Notice the “uncomplicated” way Verdelot sets them. (Don’t forget: This is the beginning of imitative polyphony, so composers were still experimenting.)

Verdelot used Agnus Redémit Oves six times. He then uses Christus Ínnocens Patri five times:

The end of the first movement ends with a “pedal tone” in the Alto, and this will later become the favorite ending technique of masters such as Palestrina, Victoria, Marenzio, Lassus, and Guerrero:

To add symmetry, just as Verdelot ended the first movement with that pedal tone, he begins the second movement with a pedal tone. “Mirrors” would be quite important to later composers:

Speaking of symmetry, examine the voices which begin the first and second movements. Do you see how Verdelot reverses them to add variety? If you scroll to the bottom of this article, you’ll see Father Morales does the same thing…and so does Father Guerrero, and Father Victoria, and Palestrina, and so forth. Click on the following to see the opening measures of part 1 and part 2:

77065-VERDELOT-VICTIMAE
77064-VERDELOT-VICTIMAE

 

 

I don’t know a more beautiful, gorgeous, memorable 15 seconds than the beginning of Part 2—stunning! On the video (see above) this is the 3:08 marker. Once this section gets in your head, it will be with you for life:

Finally, what could be better than jumping into 3/4 at the ending? Later composers (think of Father Victoria in O Magnum Mysterium) would also adopt this awesome technique:

About four months ago, when the Brébeuf Virtual Choir was considering recording this piece, they asked me to speak to them about it. I don’t know how much help I was—because most scholars have hitherto neglected Philippe Verdelot in a blameworthy way—but feel free to eavesdrop on our private conversation.

Comments by Dr. Fortescue

Regarding the Victimae Paschali Laudes, here’s what Father Adrian Fortescue said:

Certainly the clanging melody (like the blare of trumpets) is one of the very finest pieces of plainsong we have. It seems the perfect musical expression of Easter. And its immemorial connection with the words makes it almost incredible that anyone should ever want to replace it by a modern composition. The changing metre, occasional rhyme, and picturesque text of the “Victimae paschali” make it a most characteristic example of a sequence.

Father Fortescue would not object to Verdelot’s masterful setting, because we’ve seen that it’s basically a “harmonized” version of the authentic plainsong. By the way, here’s what Father Fortescue said about Sequences in general:

In nothing does the prudence of the Tridentine reformers so shine as in their treatment of the question of sequences. At that time there was a perfect plethora of these compositions. The great number had little or no value either as poetry or devotional works; the whole idea of the sequence was merely a late farcing, and it lengthened the Mass unduly, making a great interval between the Epistle and Gospel, where already the Gradual and Alleluia were long enough. Would it not be simplest to sweep the whole thing away? Yet there were a few sequences that it would have been really a pity to lose. So the commission abolished the vast crowd of inferior ones and kept the very best, just five. Its idea was not to keep the sequences of the chief feasts (Christmas and Epiphany lost theirs) but to keep those that were finest in themselves. Of course this is largely a matter of taste. One may still regret some that have gone. One would have liked to keep at least one of those of the original inventor, Notker Balbulus; or one may wish that Venantius Fortunatus’ magnificent processional hymn for Easter, “Salve festa dies” had survived as a sequence. [But the Victimae paschali laudes is, of course, still finer. However, it is really a pity that room for “Salve festa dies” was not found in some part of the office.] But on the whole there can be no doubt that the five we have are the finest. Without cumbering every Mass with long poems, we have the principle of the sequence and the very best of the old ones.

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

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Filed Under: Articles Tagged With: Brébeuf Virtual Choir, Philippe Verdelot Composer, victimae paschali Last Updated: August 12, 2020

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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

    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st Sunday in Ordinary Time (Year C). 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 spectacular feasts website. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski

Quick Thoughts

    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    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

Random Quote

“Chants closely related to the readings should, of course, be appropriately transferred for use with these readings. For pastoral reasons also there is an option regarding the chants for the Proper of Seasons: namely, as circumstances suggest, to replace the text proper to a day with another text belonging to the same season.”

— Ordo Cantus Missae (1971)

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