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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 • Several Useful Plainsong Books

Jeff Ostrowski · November 19, 2020

HEN WE SPOKE about Palestrina’s marvelous setting of Kyrie II (“fons bonitatis”), I mentioned a book published by Solesmes Abbey called “Cantus Varii.” In the past, I have also had occasion to mention another special book by Solesmes Abbey from 1928: Cantus Varii. These are books that essentially contain “random bits” of Gregorian chant. They’re marvelous books. The 1957 Cantus Selecti is particularly interesting because towards the end, information is provided vis-à-vis the provenance of these pieces.

I thought readers might appreciate these links:

*  PDF Download • “Variae Preces” (1892)
—Variæ preces ex liturgia tum hodierna tum antiqua collectae aut usu receptae.
—You can also download the 1889 edition.

*  PDF Download • “Cantus Varii” (1902)
—This book includes a supplement from 1895.

*  PDF Download • “Cantus Varii” (1928)
—Cantus Varii Ad Benedictionem SS. Sacramenti.

*  PDF Download • “Cantus Selecti” (1957)
—The final pages contain information about the provenance of these chants.

*  PDF Download • “Liber Cantualis” (1978)
—By the “Consociatio Internationalis Musicae Sacrae.”

These books contain hundreds of wonderful plainsong—much of it sublime. By the way, “Salve Turba”, number 181 from Cantus Selecti (1957), doesn’t have any ictus markings, and I am not really sure why that is.

What I find fascinating are the final pages of the “Variæ Preces” (1892) because they give an explanation in French, not Latin of the melismatic mora vocis:

We have been speaking of “random bits and pieces”—and now I offer you another somewhat random thought. Monsignor Schmitt wrote that Bach’s C Minor Passacaglia is based upon the Communion antiphon “Acceptabis sacrifícium.” His observation is quite clever:

…but surely this is a coincidence, no? As one of my professors used to say: “There are only seven notes.” (Do, Re, Mi, Fa, Sol, La, Ti) His point was that tons of melodies sound like other melodies because there are only seven notes. Moreover, Bach would probably have seen a corrupted edition of plainsong, such as that of Guillaume-Gabriel Nivers—and I doubt the pitches are the same as the Editio Vaticana.

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

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Filed Under: Articles, Featured, PDF Download Tagged With: Cantus Selecti, Cantus Varii, Gregorian Chant, melismatic morae vocis Last Updated: October 16, 2022

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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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“With all the powers of modern music open to him, from romanticism through French impressionism to the German and Russian modernists, he is yet able to confine all these contradictory forces on the groundwork of the Gregorian tradition.”

— Theodor Rehmann (on Msgr. Jules Van Nuffel)

Recent Posts

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  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

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