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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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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

“Although the Mass contains much instruction for the faithful, it has nevertheless not seemed expedient to the fathers that it be celebrated everywhere in the vernacular. The holy synod commands pastors and everyone who has the care of souls to explain frequently during the celebration of the Masses, either themselves or through others, some of the things that are read in the Mass, and among other things to expound some mystery of this most Holy Sacrifice, especially on Sundays and feastdays.”

— ‘Council of Trent, XII:8 (1562)’

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