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

Corpus Christi Watershed

We’re a 501(c)3 public charity established in 2006. We have no endowment, no major donors, no savings, and run no advertisements. We exist solely by the generosity of small donors.

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • 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
  • 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

PDF Download • 1928 “Invitatory” (86 pages)

Jeff Ostrowski · September 10, 2020

WO YEARS after Dom Joseph Pothier left Solesmes to become Prior of Ligugé, the LIBER RESPONSORIALIS (1895) was published, which was entirely the result of Pothier’s research. In addition to those parts of Matins which don’t change, it contains first class feasts and the Common of the Saints: martyrs, confessor bishops, virgins, and so forth. This book is only for Matins, but the hymns are often repeated at Vespers. We were recently sent a rare book which seems to consist of excerpts from the LIBER RESPONSORIALIS. (Perhaps an expert on the Divine Office can let me know whether it contains anything the Liber Responsorialis does not.)

We thank the donor who sent us this book from 1928:

*  PDF Download • SOLESMES INVITATORY (86 pages)

The “invitatory” occurs at the beginning of Matins and therefore introduces the daily divine Office. The invitatory proper is the anthem or response, which is interspersed with the verses of Psalm 94 (Venite exsultemus Domino), the invitatory psalm. Note that the whole invitatory anthem is sung before some of the verses of the psalm, and the second part only before other verses.

I must admit I’m puzzled that Solesmes Abbey (via the Belgian Desclée brothers printing house) felt the need to produce such a book. My understanding is that the office of Matins is very rarely sung, even in the strictest of monasteries. When it is sung, it is usually done “recto tono.” I am told there was a tradition of secular clergy singing Matins for the feast of Christmas—and perhaps for some other great feasts—but as far as I know, seculars would usually recite Matins (and Lauds) privately.

In any event, it’s an interesting book. Composers of “English Plainsong” should make themselves aware of these tones, which are quite beautiful.

Here are some photos of the INVITATORY (1928):

74723-INVITATORY-C
74723-INVITATORY-B
74723-INVITATORY-A

And here are some photos from the LIBER RESPONSORIALIS (1895):

74723-RESPONSORIALIS-C
74723-RESPONSORIALIS-B
74723-RESPONSORIALIS-A

Full title of book: Invitatoria cum psalmo Venite exsultemus per varios tonos pro officiis de tempore et de sanctis. Typis Societatis S. Joannis Evangelistae • Desclée & Socii • S. Sedis Apostolicae et S. Rituum Congregationis Typographi • PARISIIS, TORNACI, ROMAE +

MENTIONED that the INVITATORY consists of excerpts from the LIBER RESPONSORIALIS (1895), which contains the pre-Urbanite hymn texts (i.e. “non-corrupted”), just as Dom Pothier had used the pre-Urbanite hymn versions in his 1891 Liber Antiphonarius. For instance, in the 1895 Liber Responsorialis we find “Praelium certaminis” instead of “Lauream certaminis” in Fortunatus’ Pange Lingua. About a decade later, in September of 1904, the Pontifical Commission for the Vatican Edition would adopt the following motion:

22. The Congregation of Sacred Rites shall be requested to return to the medieval text of the Hymns (a.) because the text corrected by Urban VIII is ill-suited to the needs of the chant; (b.) in consideration of the artistic unity of the whole of the liturgical work; and (c.) out of respect for the ancient and holy authors of a great portion of these chants.

They were not granted permission at that point, but some publishers included the ancient texts as an option. Indeed, any priests or monks or nuns who sang the Divine Office had never adopted the Urbanite revisions. For instance, the major Roman basilicas never adopted the revisions of Urban VIII; nor did the Benedictines.

To learn more about “pre-Urbanite” hymn texts, please obtain the Brébeuf hymnal, which has a color-page section explaining the subject in detail, with much original research:

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

Follow the Discussion on Facebook

Filed Under: Articles, PDF Download Last Updated: September 17, 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

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —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

“Who dreamed on that day that within a few years, far less than a decade, the Latin past of the Church would be all but expunged, that it would be reduced to a memory fading into the middle distance? The thought of it would have horrified us, but it seemed so far beyond the realm of the possible as to be ridiculous. So we laughed it off.”

— Archbishop Dwyer of Portland (26-Oct-1973)

Recent Posts

  • Bugnini’s Statement (6 November 1966)
  • (Rehearsal Clips) • Sacred Music Symposium 2025
  • Hidden Gem: Ascendit Deus (Dalitz)
  • PDF Download • Soprano Descant — “Hail, Holy Queen Enthroned Above”
  • “Dom Jausions had a skilled hand. His transcriptions are masterpieces of neatness & precision.”

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.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up