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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

    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —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

“A striking detail: at Solesmes, we remember hearing Justine Ward criticize accompaniment sometimes or seeing her cover her ears, especially when the organ accompanied a soloist, which is something she could not accept.”

— Dom Pierre Combe

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