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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.”

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Views from the Choir Loft

Archives for September 2020

Fr. David Friel · September 16, 2020

Solesmes Publishes “Antiphonale Romanum I” for Lauds

This 2020 chant edition makes possible the chanting of Lauds according to the Liturgy of the Hours.

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Jeff Ostrowski · September 15, 2020

More on the Mystery Book

Examples: Non Abluunt Lymphae Deum, Rebus Creatis Nil Egens, Salve Caput Cruentatum, Sancti Venite, Victis Sibi Cognomina, Hoste Dum Victo Triumphans, and Jam Desinant Suspiria.

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Cynthia Ostrowski · September 15, 2020

(Installment #8) “Catholic Hymnals” • Cynthia Ostrowski

According to Bishop Sheen: “Christianity, unlike any other religion in the world, begins with catastrophe and defeat.”

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Jeff Ostrowski · September 15, 2020

Homily — “Seven Sorrows of the Blessed Mother” • Father Valentine Young, OFM

During World War II, Catholic churches were filled on Friday evenings for the Sorrowful Mother Novena and Benediction.

Keven Smith · September 14, 2020

Graduale Renovatum: New Resource Brings Chant Rhythm to Life

These intuitive manuscripts give singers the information they need to bring out the oft-ignored nuances of chant rhythm.

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Jeff Ostrowski · September 14, 2020

13th Anniversary of “Summorum Pontificum”

“The cemeteries are filled……”

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Andrea Leal · September 12, 2020

PDF Download • “Order of the Mass without a Congregation” (1970)

I find it interesting that the “Order of the Mass without a congregation” also tells the priest when he should face the Altar and when he not should face the Altar.

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Jeff Ostrowski · September 10, 2020

“A blast from the past”

Consilium document (“Instantibus Pluribus”) to presidents of the national liturgical commissions, on norms for translation of the Graduale Simplex, dated 23 January 1968: “The types of chant in the Graduale Simplex may be adapted to the style of music and song typical of individual peoples. But any sort of secular or profane melody is excluded.”

Jeff Ostrowski · September 10, 2020

PDF Download • 1928 “Invitatory” (86 pages)

The “invitatory” occurs at the beginning of Matins and therefore introduces the daily divine Office.

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Richard J. Clark · September 8, 2020

(Installment #7) “Catholic Hymnals” • Richard J. Clark

“Hymns, Psalms, and Spiritual Canticles”—the most influential post-conciliar hymnal—was never distributed by any large publisher!

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Jeff Ostrowski · September 8, 2020

“Homily — 24th Sunday in Ordinary Time, Year A” • Father Valentine Young, OFM

“Often, the person who did us harm won’t even know that we’re still stewing over what they did to us; and if they knew, they might even be glad.”

Jeff Ostrowski · September 7, 2020

Jeff Ostrowski • “Three Rules For Good Music”

But we have not spoken very much about Baroque music…

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Keven Smith · September 7, 2020

Introvert, Except at Rehearsal? You May Be an Ambivert

(Keven Smith) • Here are some suggestions on how to get the most out of your unusual combination of skills and traits+

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Wilfrid Jones · September 6, 2020

Music as a Technology of the Soul

When you ask how a computer works, what you’re really asking is how people use it. That’s a good starting point for understanding how liturgical music works, but just as a computer trains its user to work in a particular way, liturgical music trains us to pray in particular ways.

Jeff Ostrowski · September 6, 2020

Important Message To Fathers

“Kids don’t remember this…”

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Corpus Christi Watershed

President’s Corner

    “Music List” • 22nd in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 31 August 2025, which is the 22nd Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski

Quick Thoughts

    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
    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

Random Quote

“Every experienced choirmaster’s work is founded on the following three axioms: (1) Few boys have a really good natural voice; (2) No boy is able to control his voice and produce good tone without training; (3) Most boys have a good ear, and considerable imitative capacity. It is on the last of these axioms that the choirmaster must begin his work.”

— Sir Richard Runciman Terry (1912)

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