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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

“No hymn deserves more to be reintroduced in our catholic tradition.” —Dom Ermin Vitry

Jeff Ostrowski · May 3, 2021

HICH VERNACULAR HYMN is the most ancient? Like so many liturgical items, the answer is complicated. Father Robert Skeris said Christ ist erstanden—a Leise from the 12th century—is “the oldest preserved Easter hymn in the vernacular.” A 14th century version (in campo aperto) can be found on folio 83v in the KLOSTERNEUBURG MS #1213. Yes, that means ancient Latin manuscripts suddenly break into German (“Christ ist erstanden”) for this little tune—and I realize some will find that remarkable. In 1943, Dom Hügle attempted to match a Latin text with the famous tune, but it has several awkward moments. The Brébeuf hymnal (Sophia Institute Press, 2018) uses the text of the Church’s oldest Latin Eucharistic hymn, which fits like a glove. The Brébeuf hymnal also provides an English version, translated by Fr. Adrian Fortescue. Unlike other translations—such as the one by Dr. John M. Neale—Fortescue’s translation matches the original meter.

We had a new group of singers yesterday and needed a nice little hymn. Here’s our live recording:

*  YouTube • VERSION IN LATIN
—Number 465 from the Saint Jean de Brébeuf Hymnal.

*  YouTube • VERSION IN ENGLISH
—Number 464 from the Saint Jean de Brébeuf Hymnal.

*  PDF Download • Original Text (7th Century)
—Hat tip to Steven Van Roode and the Library of Milan.

Of course Father Fortescue was not the only person to translate this hymn into English. For example, a Roman Catholic poet named Denis Florence MacCarthy also produced a very fine English translation, but unlike the version in the Brébeuf hymnal, MacCarthy’s doesn’t match the original meter:

Many composers set Christ ist erstanden. For example, the Flemish composer Jacob Regnart (d. 1599) created an entire Mass based upon it. Each movement (KYRIE, GLORIA, CREDO, SANCTUS, BENEDICTUS, AGNUS) quotes the famous melody:

*  PDF Download • KYRIE
—Jakob Regnardt (d. 1599) Missa super “Christ ist erstanden”

The complete Mass is quite beautiful, and we are considering singing it at our FSSP parish. I often tell my choir members how the best composers tended to die around 1599AD—it’s quite remarkable! Giovanni Pierluigi da Palestrina (d. 1594); Orlande de Lassus (d. 1594); Annibale Zoilo (d. 1592); Jacob Regnart (d. 1599); Luca Marenzio (d. 1599); Father Francisco Guerrero (d. 1599); and so forth.

At the height of the Second World War, Dom Ermin Vitry wrote about Christ ist erstanden as follows: “There is no motet or hymn which deserves more to be reintroduced in our catholic tradition. The proof of its musical superiority is proven by the fact that J. Sebastian Bach composed on its design more than seven figured chorals.” He is correct—for example, search YouTube for the Bach Cantata with “Christ lag in Todesbanden.”

How Old Is This?

The melody in the Brébeuf hymnal is from approximate 1150AD.

The text in the Brébeuf hymnal is from approximately 625AD.

The harmonies in the Brébeuf hymnal are from 2018.

Remember that texts are always going to be “older” than melodies, because humanity didn’t figure out how to write down melodies until about 950AD, thanks especially to a Benedictine monk named Guido d’Arezzo. For more information about the Church’s oldest Latin Eucharistic hymn, please see:

*  Collected Articles • “The Oldest Latin Eucharistic Hymn”

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

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Filed Under: Articles Tagged With: Oldest Latin Eucharistic Hymn, Sancti Venite Eucharistic Last Updated: May 28, 2024

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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

“You have thereby removed from the celebration of the Mass all superstitions, all greed for lucre, and all irreverence … removed its celebrations from private homes and profane places to holy and consecrated sanctuaries. You have banished from the temple of the Lord the more effeminate singing and musical compositions.”

— ‘Bishop Racozonus, speaking at the last session of the Council of Trent (1563)’

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  • New Bulletin Article • “12 October 2025”

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