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Views from the Choir Loft

Communication • Re: Modern Catholic Hymns

Jeff Ostrowski · September 26, 2020

HE BLOG of the Church Music Association of America said of the Brébeuf hymnal: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.” That same article also declared it to be “…hands down, the best Catholic hymnal ever published.” Of course there are many reasons why this is so, but something you might not realize is that the book contains many new melodies written specifically for this publication. A partial list would include: CAMCOLT, ROGERS PARK, MANKATO, HEUSTIS, RUNNELLS, SILLERY, FORTESCUE, RAYMBAULT, CLERMONT, ST RITA, and FIORILLO.

Almost without exception, these melodies are modal. In my humble opinion, they remind one of Gustav Theodore Holst’s “fresh and beutiful” hymn tune called THAXTED. Perhaps an expert like Charles Weaver could explain the modality of this tune. Due to its frequent plagal cadences, it strikes me as “semi-modal.”

The Brébeuf hymnal uses THAXTED for three different texts, and here’s one of them:

Rehearsal videos for each individual voice await you at #865.

The hymn melody THAXTED was originally set to a secular melody: I vow to thee, my country, all earthly things above. Believe it or not, “sharing” often occurs between secular and sacred melodies. For instance, the melody for “America the Beautiful” was originally a hymn tune. There is not a “correct” text for this hymn—and the Brébeuf choices are quite clever. However, other hymnals have attempted similar pairings. An example would be Number 539 in The Collegeville Hymnal, published by Father Edward J. McKenna in 1990. The Brébeuf example above is a paraphrase of Psalm 71. You can decide for yourself how closely the poet matched the text:

The hymn THAXTED is usually sung unison:

…but as you can see, the Brébeuf hymnal provided harmonies. I am not aware of any other hymnals—except for the Brébeuf—which provide a 4-part (SATB) setting for THAXTED.

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

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Filed Under: Articles Tagged With: Jean de Brebeuf Hymnal, THAXTED HYMN TUNE Last Updated: September 26, 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

    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
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —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

“Of course, the Latin language presents some difficulties, and perhaps not inconsiderable ones, for the new recruits to your holy ranks. But such difficulties, as you know, should not be reckoned insuperable. This is especially true for you, who can more easily give yourselves to study, being more set apart from the business and bother of the world.”

— Pope Saint Paul VI (15 August 1966)

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