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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

Do You Know This Easter Hymn?

Jeff Ostrowski · April 20, 2021

E UNDERSTAND liturgical concepts best when we’ve personally witnessed them or grown up with them. Reading about them in a book isn’t the same. That is why it’s difficult for Catholics in 2021 to comprehend how brief the Communion Rite used to be. Enemies of the Extraordinary Form often refer to the “25-minute Low Mass” in the “bad old days” of Catholicism. They fail to realize that Holy Mass is much shorter when the people don’t receive Holy Communion. 1 We spoke about vernacular hymns at the Extraordinary Form High Mass already. (Be sure not to skip the comment by Father Fortescue in 1917, where he said that—technically speaking—nothing prevents the distribution of Holy Communion at any Mass.)

When Surprises Occur :

We have six Masses each Sunday, and one of our priests had to be out of town last Sunday. That left only one priest to distribute Holy Communion (since one of our Masses is in Ventura). Holy Communion took about 30 minutes! We were scrambling to find hymns. For at least two of the Masses, we must have sung about 50 verses from seven different hymns—at least it felt that way! I can’t wait until we can have rehearsals again, so we can learn more Latin motets.

In the past, we have used this very common version of an Easter hymn. You probably know that one. That one takes the text of “Regina Caeli” (which was originally a Christmas song, believe it or not) and matches it to “Regina Caeli Jubila.” But yesterday, we did the other version found in the Brébeuf hymnal—which is a direct translation of the original Latin. Do you know it?

We also sang #39 from the Brébeuf hymnal, a superb translation of “Ad Cœnam Agni Providi” by Robert Campbell of Skerrington. Mr. Campbell was an Anglican who later converted to the True Faith. I think he’d be pleased with this setting:

*  Mp3 Download • HARMONIZED PLAINSONG
—Ad Cenam Agni Providi sung to ORIENTIS PARTIBUS.

You will notice that setting is basically harmonized plainsong, which I hope to discuss more in a future post. In the past, we have touched upon that subject a little bit.

The choir was sight-reading in that recording, and (needless to say) there are things that could be improved—but that’s okay! When we are allowed to have rehearsals again, we’ll have items we can work on! The important thing is that we are teaching and training singers who will eventually “take the reins” and continue the tradition. All for the glory of God!


NOTES FROM THIS ARTICLE:

1   I experienced such Masses—where the priest alone receives Holy Communion—when the Archbishop of Los Angeles prohibited lay people from receiving Holy Communion last year, due to Covid-19. If you doubt what I am saying about Catholics receiving Holy Communion outside of Mass, click here and scroll down.

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

Filed Under: Articles Tagged With: Ad Coenam Agni Providi, Harmonized Gregorian Chant, High Mass with Vernacular, Regina Caeli Jubila, Regina Caeli Laetare Last Updated: April 22, 2021

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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 • “21 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —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

“We know that originally the offertories of the repertoire included a series of verses, just like the introit and the communion, but generally more ornate. Many of these are musical compositions of great beauty. They quickly fell into disuse, and we find them only in the most ancient manuscripts. The only remaining trace of this older arrangement in our present-day liturgy is that of the offertory of the Requiem Mass.”

— Dom Joseph Gajard (1956)

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