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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

PDF Download • Beautiful Requiem Mass Image

Jeff Ostrowski · October 28, 2020

EVERAL years ago, I posted an image (on a poster promoting the Brébeuf hymnal) which showed a beautiful Requiem Mass. It seems appropriate—as we approach the Feast of All Souls November 2nd—that I release the full resolution image (SEE BELOW). This illumination shows the “Office of the Dead” being sung. In a small, private chapel adorned with heraldic banners, the deceased rests in a richly covered catafalque. Around him, hooded monks kneel during their devotions, members of the choir sing, and one monk passes out candles. Standing before the Altar, the priest leads the Requiem Mass.

Click below to download the full resolution image:

*  PDF Download • Office of the Dead (FULL RESOLUTION)
—Standing before the Altar, the priest leads the Requiem Mass.

Vestment Colors • Fr. Fortescue

In that picture, notice the golden vestments worn by the priest (not black). At that time in history, the priest used whatever color was the most ornate for special Masses, irrespective of color. Here’s an excerpt from a paper—“The Vestments of the Roman Rite”—delivered by Father Adrian Fortescue in 1912:

The whole idea of a sequence colours is late, and purely Western. It arose gradually and almost insensibly. Even to the end of the Middle Ages colours were in a very loose state. Every diocese, almost every church, had its own customs. Our present rule dates from the revived missal of 1570. It is exceedingly clear and admirable, except that we have perhaps rather too much white. If white were kept for our Lord, our Lady, and virgins, and if we had one more colour (say the old saffron) for confessors and matrons, it would perhaps add dignity to the highest colour by making it rarer. But this is only a vague aspiration towards what, maybe, the Congregation of Rites might some day allow.

You can download the entire article (21 pages) by Father Fortescue:

*  PDF Download • “Vestments of the Roman Rite” (FORTESCUE)
—Father Adrian Fortescue (d. 1923) gave this paper on 8 Feb 1912.


NOTES FROM THIS ARTICLE:

*   IMAGE SOURCE: “Spinola Hours” created circa 1515AD in Ghent, Belgium.

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

Filed Under: Articles, PDF Download Tagged With: 16th Century Flemish Manuscript, Requiem Mass Last Updated: November 6, 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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President’s Corner

    Music List • (2nd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 2nd Sunday of Lent (1 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its somber INTROIT is particularly striking—using a haunting tonality—but the COMMUNION with its fauxbourdon verses is also quite remarkable. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    Which Mass?
    In 1905, when the Vatican Commission on Gregorian Chant began publishing the EDITIO VATICANA—still the Church’s official edition— they assigned different Masses to different types of feasts. However, they were careful to add a note (which began with the words “Qualislibet cantus hujus Ordinarii…”) making clear “chants from one Mass may be used together with those from others.” Sadly, I sometimes worked for TLM priests who weren’t fluent in Latin. As a result, they stubbornly insisted Mass settings were ‘assigned’ to different feasts and seasons (which is false). To understand the great variety, one should examine the 1904 KYRIALE of Dr. Peter Wagner. One should also look through Dom Mocquereau’s Liber Usualis (1904), in which the Masses are all mixed up. For instance, Gloria II in his book ended up being moved to the ‘ad libitum’ appendix in the EDITIO VATICANA.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“It introduces us to a still and serious world, deserted and rigid, without colour, without light, without motion; it does not gladden, does not distract; yet we cannot break away from it.”

— ‘Schweitzer on the THEME from Bach’s “Art of Fugue”’

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