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Views from the Choir Loft

PDF Download • Organ Accompaniments for “Lauda Sion Salvatorem” (Sequence)

Jeff Ostrowski · June 2, 2021

HE SEQUENCE for the feast of Corpus Christi was written by Saint Thomas Aquinas, a Dominican priest. This prayer contains rich Eucharistic theology. Consider its twelfth verse: “Man cannot understand this, cannot perceive it; but a lively faith affirms that the change (which is outside the natural course of things) takes place.” Or what about verses 7 and 8? “At this table of the new King, the new law’s new pasch puts an end to the old pasch. The new displaces the old, reality the shadow, and light the darkness.”

I really hope you will read the entire poem; an English translation is provided alongside the musical notation:

*  PDF • “LAUDA SION SALVATOREM” (Organist)
—Organ Accompaniment by Marinus de Jong (d. 1984).

*  PDF • “LAUDA SION SALVATOREM” (Vocalist)
—With a literal English translation.

*  Mp3 Download • Rehearsal Recording (Mp3 File)
—Provided as an Mp3 in case you want to listen in your car.

Monsignor Franz Nekes: You can also try out a few more accompaniments, although none are as excellent as the one by Marinus de Jong (d. 1984) which was given above. Here’s how the Germans accompany the “Lauda Sion” Sequence:

*  PDF Download • Monsignor Franz Nekes
—Organ accompaniment by Monsignor Franz Nekes (d. 1914).

Dr. Peter Wagner: Staying with German school a bit longer, we have Dr. Peter Wagner (d. 1931), a student of Father Michael Hermesdorff at Trier. If memory servers, Wagner’s dissertation was on the secular music of Palestrina. He founded a special school for the study of Gregorian chant at the University of Fribourg (Switzerland), and when his publications appeared in Francophone countries he often signed his name as Docteur Pierre Wagner, Professeur à l’Université de Fribourg or at other times as Le Docteur Pierre Wagner, Professeur de science musicale et de musique sacrée à l’Université de Fribourg. His students included: Joseph Gogniat, Father Charles Dreisoerner, and Dr. Karl Gustav Fellerer. I usually hate his organ accompaniments, but his harmonization of the “Lauda Sion” is quote nice. I just wish somebody had not vandalized it with a pencil:

*  PDF Download • Dr. Peter Wagner
—Par le Dr. P. Wagner, Membre de la Commission Vaticane de Chant Grégorien.

Dom Murray: Dom Andrew Gregory Murray (d. 1992) was a marvelous organist and composer who lived in England. Based on his many published attacks against Solesmes Abbey, he seems to have had quite an unpleasant personality—although in those days, polemics routinely got contentious. His organ compositions, however, are beautiful. Dom Gregory studied with Sir Richard Runciman Terry as a child, and later served as organist for Downside Abbey.

*  PDF Download • Dom Gregory Murray
—Organ accompaniment by Dom Andrew Gregory Murray (d. 1992).

Unknown Composer: It is not known which composer created this version. Perhaps a reader can supply this information?

*  PDF Download • Unknown Musician
—The one who created this harmonization is not known.

Henri Potiron: Henri Potiron (d. 1972) was choirmaster of Sacred Heart Basilica (Paris) and taught at the Gregorian Institute. He was friends with Dom Desrocquettes. Here is something rather peculiar: Dom Desrocquettes died the same year as Henri Potiron died, and was born the same year as Achille P. Bragers was born (viz. 1887). Potiron adheres to the Dom Mocquereau method, so he tries to make the accents: “Novúm paschá novaé legís…” Etc. etc.

*  PDF Download • Henri Potiron
—Organ accompaniment by Mæstro Henri Potiron.

Achille P. Bragers: Bragers studied at the Lemmensinstituut (Belgium). He later taught at The Pius the Tenth School of Liturgical Music at Manhattanville College of the Sacred Heart in New York. When Bragers studied at the Lemmensinstituut, his teachers were people like Edgar Tinel, Alfons Desmet, Aloysius Desmet and Oscar Depuydt. (By the way, Edgar Tinel was so jealous of the musicians chosen by Pius X to be part of the Editio Vaticana committee, he wrote them a very spiteful message.) When Bragers writes accompaniments, they are usually unobjectionable but somewhat dull and tedious. This might be called “prima prattica” of Lemmensinstituut. The days of Flor Peeters, Marinus de Jong, Monsignor Jules Vyverman, Monsignor Jules Van Nuffel, Gustaaf Nees, Henri Durieux, and Edgard de Laet might be called “seconda prattica” of the Lemmensinstituut. But Bragers never allowed his style to grow—that was his Achilles’ heel…

*  PDF Download • Achille P. Bragers
—This file has the “Lauda Sion” harmonized by Achille P. Bragers.

Father Green: Father Andrew Green (d. 1950) assisted Father Herman Koch with a 1942 collection called “Laudate Hymnal.” Dr. Horst Buchholz—Director of Sacred Music at the Cathedral and the Archdiocese of St. Louis—has expressed admiration for this hymnal, which uses many German melodies. Father Andrew was famous as a poet, musician, composer, author and teacher. He was part of St. Benedict’s Abbey in Atchison, Kansas. Father Green marks the “ictus” with little dots, but often ignores it, unlike Henri Potiron.

*  PDF Download • Father Andrew Green
—Organ accompaniment by Father Green, OSB.

Mr. Julius Bas: Julius Bas was engaged by Solesmes Abbey to compose accompaniments for the entire Editio Vaticana (“Vatican Edition”). He served as editor of the famous Rassegna Gregoriana.

*  PDF Download • Julius Bas
—Accompaniment by Julius Bas, who follows the Dom Mocquereau rhythm.

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: Corpus Christi Sequence, Dom Gregory Murray, Lauda Sion Salvatorem, Monsignor Franz Nekes, Organ Accompaniments Last Updated: June 2, 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

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“The replies to this committee (of which Mgr Bugnini was the secretary) reveal a desire to reform the liturgy. In what sense? Out of 2,109 responses from bishops, just three expressed the desire to restore Communion under both kinds. There was a sizable demand for limited use of the vernacular, but only one French bishop wanted the entire Mass in French.”

— Fr. Dominic Allain (2019)

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