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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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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

    “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

“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

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