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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

Start the New Year Right with a Spectacular Alleluia

Keven Smith · December 28, 2020

ITURGY IS, FIRST AND FOREMOST, an act of public worship. It also happens to be a skilled teacher. That’s the great thing about being Catholic. Our liturgy doesn’t patronize us by conforming to what we like; it challenges us by giving us what we need.

Of course, liturgy sometimes exalts the spirit beyond what we think possible. A perfect example is the Alleluia chant for the upcoming Octave of the Nativity (Extraordinary Form).

Now, if you asked me to list my favorite Alleluias of the liturgical year, I’ll admit I would have to put Pascha Nostrum (Easter Sunday) in the top position. Even if Holy Mother Church had given us a pedestrian melody for this chant, the fact that we get to sing it on Easter morning—after 40 days of suffering—would increase its poignancy. But the Church has provided for us musically. Pascha Nostrum is nothing short of dramatic. Something about the incipit has always made me want to start it off pianissimo as if our ears can hardly believe we’re hearing the “A” word again. The verse is stunning. The melisma on “immolatus” is one of the most florid of the entire liturgical year. The fireworks are justified; our Pasch has been sacrificed. Our Lord has paid the debt of our sins. Satan loses—then, now, and forever.

But Multifarie Olim (Octave of the Nativity) would be a not-too-distant second. Based on sheer musical merits, it’s easily the equal of Pascha Nostrum. The jubilus is brimming with energy. The verse begins with the same melody but then….soars. The text ties up the Christmas Octave perfectly:

God, who in divers manners spoke in times past to the fathers by the prophets, last of all in these days hath spoken to us by His Son. (Heb 1: 1-2)

At this point you might ask, “Why do we sing such straightforward Alleluias for each of the three Masses of Christmas and put off this gem until the Octave?” This is where the Church teaches us. Even as our neighbors began tossing their Christmas trees onto the curb on December 26, we Catholics knew that the Christmas celebration had just begun. Big feasts have octaves, during which we’re encouraged to maintain the festivities for a full eight days.

The Octave of the Nativity underscores this point by prescribing propers identical to those of the Christmas Mass of the Day—except for this spectacular Alleluia, which it has kept hidden away like a final surprise gift.

The Gradual and Alleluia are supposed to prepare us to hear the Gospel. If the Alleluia encourages us to listen attentively, then it has done its job. That’s exactly what Multifarie Olim does. In fact, I remember singing it in Fresno years ago while I had guests in town. Both were non-practicing Catholics, but they came to the sung Mass with me. As the Alleluia verse soared higher and higher, the melody moved them to tears.

If you’re attending an Extraordinary Form Mass for New Year’s Day 2021 and live in an area where you’re allowed to sing, savor this Alleluia. May we all sing it with gusto on New Year’s Day 2022.

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

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Filed Under: Articles Tagged With: Beauty in the Catholic Liturgy, Gregorian Chant Last Updated: December 29, 2020

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

Tournemire could be charming or he could bite your head off. One day I could not replace him at St. Clotilde because I had a wedding to play at another church. Tournemire played on Sunday, period—that was all. He did not play weddings and so forth. (He put all that on my back.) So I went to Tournemire’s house to tell him, “Master, I am sorry but, for once, I cannot replace you. I have another obligation to fulfill.” He said, “Get out of here!” I left for good.

— Testimony of Maurice Duruflé

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  • “American Catholic Hymnal” (1991)

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