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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

“Extra” Offertory & Communion Verses in the Saint Edmund Campion Missal (3rd Edition)

Jeff Ostrowski · March 11, 2021

E HAVE OBTAINED permission from Sophia Institute Press to release some details about the (forthcoming) third edition of the Saint Edmund Campion Missal. I’m part of a team that’s been working on this for about four years. Every page has been completely overhauled, using suggestions received since the book was first released nine years ago. This is not an “adjustment”—it’s a complete renovation.

*  PDF Download • Campion Missal, Third Edition
—The third edition of the Campion Missal will include, as an option, the Pre-1955 Holy Week (with a fabulous & rare translation into English), the “new” Prefaces and Feasts (cf. Vatican decree dated 22 February 2020), and spectacular new features.

The third edition is much thinner (50% less heavy), and the typesetting is breathtaking. The 2nd edition was also a gorgeous book:

I’ve seen drafts of the forthcoming edition: the improvements are spectacular!

Want to help proofread? Write to dom.mocquereau@gmail.com.

What Are The Improvements?

Some improvements have already been revealed: The Pre-1955 Holy Week (in addition to the 1962), the seven optional Prefaces added 22 February 2020, and so forth. But something which has not been revealed has to do with the communion antiphons, and today I’ll be explaining that. It’s hard to know where to begin, so let me say that in 1953, Pope Pius XII changed the fasting rules—with a document called “CHRISTUS DOMINUS”—making it a lot easier to receive Holy Communion. Previously, Holy Communion for the Faithful had mainly been distributed outside of Mass, or even during Mass (!) at a side altar. In 1958, five years later, Pope Pius XII quoted the Council of Trent in De Musica Sacra Et Sacra Liturgia. Specifically, he quoted S. Conc. Trent Session 22, chapter 6: “It is very fitting and is in fact established by the liturgy, that the people should present themselves at the communion rail after the priest has consumed the sacred species on the altar.”

Versus Ad Communionem: In that same 1958 document, Pope Pius XII declared (§27c): “If the faithful are to communicate, the singing of the Communion antiphon is to begin when the priest distributes Holy Communion. If this Communion antiphon has been taken from some psalm, the other verses of the same psalm may be sung, in which case the antiphon may be repeated after every one or two verses and, the Communion over, the psalm should be concluded with the Gloria Patri and the repeated antiphon. But if the antiphon is not taken from a psalm, one may choose a psalm fitting to the solemnity of the liturgical action.”

Where Did Pius XII Get That? Many people already knew the Offertory had “extra verses”—mysteriously eliminated about 700 years ago—but what about the communion antiphons? Did Pius XII just make that up? It turns out, all the communion antiphons had “extra verses” about a millennium ago. (There are various theories as to why these fell by the wayside.) You can download a very interesting publication by Solesmes Abbey which appeared before the 1958 document of Pope Pius XII:

*  PDF Download • “Communion Verses” (22 August 1957)
—Published by the Abbey of Solesmes before the 1958 document of Pius XII.

Other Publications: More publications would follow, containing these “extra verses” for Communion. On 17 January 1962, Solesmes Abbey published Versus Psalmorum Et Canticorum, which Jeffrey Tucker scanned and placed online. In 2010, Mr. Richard Rice—who assisted Dr. Ruth Steiner with the CANTUS database at CUA—compiled a collection of these extra verses for Communion, and this was also placed online. JUSTITIAS BOOKS (under the guidance of Mr. Kyle Lartigue) published a collection called “Ad Communionem” in 2017, and you can view a sample page. Mr. Anton Stingl of Freiburg created a book called “Versus Ad Communionem” which follows in the footsteps of Father Michael Hermesdorff of Trier, placing adiastematic notation (written inexactly) above the box notation. You can view a sample page of Stingl’s oeuvre. The 1974 edition of the Graduale Romanum also indicates extra communion verses by means of tiny numbers which were copied from the 1970 Ordo Cantus Missæ.

Are These Publications Identical? Unlike the “extra verses” for the Offertories, the additional verses for Communion show occasional diversity. That’s where we come to the third edition of the Campion Missal, which chose a noteworthy path. The Campion editorial team has included the ancient communion verses—in italics, because they are not obligatory—and has taken them from the full repertoire, demonstrating how universal this practice was. A major problem with certain Gregorian publications has been a failure to take into consideration the entire repertoire. Too many authors decide which manuscript is “the best” or “most authentic specimen” based upon which MS is the cleanest or most accessible. But clever people realize that one should never determine the value of a particular MS based on “how clean it is.” For example, Chartres 47 is not as beautiful as other MSS, but it’s still incredibly valuable.

Manuscripts: the More the Merrier!

Each MS is a little different, so it’s necessary to calibrate for each one. For instance, Einsiedeln 121 (from approximately 961AD) uses vowels to notate the psalms, so one must possess a good working knowledge of the Psalter to decipher it:

San Gall #381—created sometime around 928AD—was described by Dr. Peter Wagner as follows: “This manuscript contains, among other things, the complete Introit and Communion verses of the liturgical year, expressed with neumes.” This MS, which Dr. Wagner correctly calls “a precious memorial,” also appeared in the Jogues Illuminated Missal, Gradual, and Lectionary on page 270—and you will definitely want to check this out:

*  PDF Download • Jogues Missal (Pages 270-271)
—Nicene Creed in Latin and Greek in San Gall 381.

When most people want communion verses, they go straight to San Gall #381 because it’s incredibly clean. Here’s the Communion Antiphon Cantábo Dómino paired with Psalm 12 (“Úsquequo Dómine Oblivísceris Me”):

But the Campion editors believe it’s a mistake to grab only the easiest, cleanest, most accessible MSS.

To Give An Example

I could easily provide 1,000 examples where all the various MSS match—even “Old Roman” manuscripts! Generally speaking, they match whenever the Communion Antiphon is taken from a Psalm. But you know I’m not the type of person who would take the easy route! Let’s examine a Communion Antiphon that doesn’t come from a Psalm: Qui Manducat from the 9th Sunday after Pentecost. The text is John 6:57. Before I go any further, I must mention something funky: In many ancient MSS, this Communion Antiphon was assigned to the 15th Sunday after Pentecost. (That’s important to remember if you’re trying to search for it.) “Qui Manducat” is identical to the Communion Antiphon for Thursday in the 2nd Week of Lent. 1

A manuscript from Toulouse, created about 1128AD, matches “Qui Manducat” with John 6:52 (Panis quem ego dabo, caro mea est pro mundi vita), which is from the New Testament:

Other ancient MSS follow the (ancient and very common) practice of taking the verses from the Introit—and we observe that they all take from Thursday in the 2nd Week of Lent, not the Sunday after Pentecost…which is remarkable. The following MS, created circa 905AD just north of Nuremberg (Germany), takes from the Introit itself:

San Gall #376, created in Switzerland approximately 1052AD, takes from the Introit itself:

This French manuscript, created circa 1079AD about eight miles from Paris, takes from the Introit verses, not the antiphon:

Chartres 47, created around 957AD, indicates the Introit verses, not the antiphon:

A manuscript created in North Rhine-Westphalia (North Germany) around the year 1026AD takes the verses from both the Introit’s antiphon and the Introit’s verses:

Other ancient MSS follow a different practice (which was also common) where Psalm 33 is used when the Communion Antiphon is not derived from a psalm. An example would be the Saint Denis Missal, created around 988AD, which has verse 12 from Psalm 33:

A manuscript from Noyon (France) created circa 965AD also has verse 12 from Psalm 33:

Einsiedeln 121—created around 961AD in Einsiedeln (Switzerland)—also has verse 12 from psalm 33:

But there are still more options. For example, San Gall #381 provides a variety of different psalms from which to choose.

Conclusion

The third edition of the Campion Missal contains powerful and ancient “extra verses” for Communion. It carefully prints—in a very small font—the name of the manuscript chosen, allowing the Faithful to know that this is not a hypothetical exercise. I have shown (above) an example where there are different options. Nevertheless, as Father Adrian Fortescue wrote: “It remains, of course, true that any part of Scripture may be read with profit on any day.”


NOTES FROM THIS ARTICLE:

1   Some scholars believe the Thursday Mass stole its Proprum Missæ from the Sunday after Pentecost, but there’s evidence the reverse is true. We’re not going to spend time arguing about that, because much of the ancient liturgy is shrouded in mystery. But there is evidence which challenges the conventional wisdom.

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

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Filed Under: Articles, PDF Download Tagged With: Campion Third Edition, Extra Verses Communion, St Edmund Campion Missal Hymnal, Versus ad Communionem Last Updated: February 1, 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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President’s Corner

    Music List • “Ascension of the Lord”
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for the The Ascension of the Lord—“Festum Ascensionis Domini”—which is transferred to 17 May 2026 in our diocese. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (“Ascéndit Deus in jubilatióne”) is particularly beautiful and the ENTRANCE CHANT is simply splendid. As always, readers may go directly to the flourishing feasts website, where the complete Propria Missae may be downloaded free of charge.
    —Jeff Ostrowski
    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“In chronological order, [Dom Pierre Combe] traces the Gregorian reform from its beginnings under Dom Guéranger in 1833, to the problems of the Vatican Commission on Sacred Music in the first decade of the 20th century. As one reads the topic headings and development of their content, one wonders how such an innocent and un-warlike subject such as Gregorian chant could have been the focal point of such an intense and continuing battle among scholars and churchmen for so many decades.”

— Dr. Theodore Marier (1968)

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