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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

“Alma Redemptoris Mater” • Thirteen (13) Organ Accompaniments

Jeff Ostrowski · November 17, 2020

HEN IT COMES TO Gregorian accompaniment, the simple version of the Alma Redemptoris Mater is surely the “pons asinorum.” I have been thinking about this piece for more than 15 years, yet I still can’t fully decide upon the rhythm. I very much appreciate what Professor Patrick Russill of the London Oratory wrote in 1998: “In style, [our accompaniments] observe the disciplines of the Solesmes tradition, though now that Solesmes has abandoned its notion of the ictus, the opportunity has been taken—in syllabic word-setting—to bring chord changes into closer line with verbal accents.” Those familiar with the with official chant edition (Editio Vaticana) remember that the Germans lengthen every spondee—which makes “sense,” but also makes the plainsong very heavy and monotonous. The French prefer to elongate only the final syllable of a spondee.

*  PDF Download • “Alma Redemptoris Mater”
—English translation by Father Adrian Fortescue (d. 1923).

To make matters worse, even the Solesmes monks hedge their bets—notice in this recording how they elongate spondees such as “máter” and “mánes.” So I guess I will continue thinking about these issues, and maybe on my deathbed I’ll arrive at the answer…

“Alma Redemptoris Mater” • 13 Accompaniments

You will notice that my harmonization—written on 17 November 2020—reflects more of a “German” approach. You will also notice the literal English translation comes from Father Adrian Fortescue:

*  Version 1 • (Jeff Ostrowski)
—The literal English translation is by Father Adrian Fortescue (d. 1923).

*  Version 2 • (Father Green)
—Father Andrew Green, OSB, assisted Father Herman Koch with a 1942 hymnal.

*  Version 3 • (Dom Desrocquettes)
—Dom Jean-Hébert Desroquettes was organist at Solesmes Abbey.

*  Version 3B • (Dom Desrocquettes)
—At a lower key; taken from a Scottish Hymnal.

*  Version 4 • (Dom Murray)
—Dom Andrew Gregory Murray was organist at Downside Abbey.

*  Version 5 • (Bragers)
—Achille P. Bragers studied at the Lemmens Institute (Belgium).

*  Version 6 • (Marier)
—Dr. Theodore Marier founded St. Paul’s Choir School in Cambridge, Massachusetts.

*  Version 6B • (Marier)
—At a lower key; otherwise it’s identical.

*  Version 7 • (Bas)
—Julius Bas was engaged by Solesmes Abbey to compose accompaniments for the entire Editio Vaticana.

*  Version 8 • (Potiron)
—Henri Potiron was choirmaster of Sacred Heart Basilica (Paris) and taught at the Gregorian Institute.

*  Version 9 • (Montani)
—Nicola A. Montani (d. 1948) was a student of Monsignor Antonio Rella.

*  Version 10 • (Fr. Jones, 1952)
—Father Percy Jones was Music Director for the Archdiocese of Melbourne (1940-1975).

*  Version 11 • (Lapierre, 1953)
—Dr. Eugène Lapierre studied with Vincent d’Indy, Marcel Dupré, Henri Potiron, and Dom Desrocquettes.

What am I missing?

I’ve never really enjoyed singing the “Alma Redemptoris Mater”—neither the simple nor the solemn version. Yet Father Tomás Luis de Victoria (d. 1611) wrote a huge number of pieces based on it. Kevin Allen’s setting is an absolute masterpiece. Palestrina, Guerrero, Dom Gregory Murray, and many other great composers used this melody for inspiration. So maybe someday I will mature enough to love this melody. The text is certainly beautiful, and has been loved by Roman Catholics. Here is a remarkable translation—courtesy of the Brébeuf hymnal—for the “Alma Redemptoris Mater” which was created by Roman Catholics in 1687AD:

And notice the beautiful use of enjambment in this version of “Alma Redemptoris Mater”—again, created by Roman Catholics—dating from 1669AD:

Thou, the Redeemer’s Mother bright,
gate whereby souls ascend
to heav’n, thou star that rul’st the sea:
thy helping hand extend

To people fall’n, who strive to rise;
thou who hast brought to light
thy Father, while wise nature stood
astonished at the sight,

Virgin before and after birth,
taking from Gabriel’s speech
this happy Hail: on sinful souls
have mercy, we beseech.

Marvelous stuff, folks!

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

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Filed Under: Articles Tagged With: Alma Redemptoris Mater, Dom Joseph Gajard OSB, Gregorian Chant Accompaniments, Marian Antiphons Gregorian Last Updated: November 17, 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

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 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 Mass Propers for this Sunday are conveniently stored at the the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —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

“If we continue to tolerate sad examples of liturgical abnormalities, experimentation, abuse, and simply poor-quality liturgies, why should we single out those connected to the ancient rites of the Church for special vigilance? It just doesn’t seem right.”

— An Example of a response (sent to Pope Francis) Re: the TLM

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