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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

    “What Martin Luther Said…”
    My pastor asked me to write little columns for the bulletin each week. The article for 20 July 2025 has been posted, and it’s called: “What Luther Said…” Martin Luther (an ex-priest and apostate) was an infamous heretic whose ignorance of JESUS CHRIST was only exceeded by his filthy and disgusting vulgarity.
    —Jeff Ostrowski
    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 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 propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —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

Random Quote

“There are no hymns, in this sense, till the fourth century; they were not admitted to the Roman office till the twelfth. No Eastern rite to this day knows this kind of hymn. Indeed, in our Roman rite we still have the archaic offices of the last days of Holy Week and of the Easter octave, which—just because they are archaic—have no hymns.”

— Adrian Fortescue (25 March 1916)

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