• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
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.

Follow the Discussion on Facebook

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

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

“All those who take part in sacred music, as composers, organists, choir directors, singers, or musicians should above all give good example of Christian life to the rest of the faithful because they directly or indirectly participate in the sacred liturgy.”

— Directive issued under Pope Pius XII on 3 Sept. 1958

Recent Posts

  • New Bulletin Article • “21 September 2025”
  • How do you pronounce this word in Latin?
  • Cheap! Cheap! Cheap!
  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.