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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

Brave Schola Director Posts Live Recording

Jeff Ostrowski · October 1, 2021

NOW THIS: I could not survive as a choirmaster without the phenomenal hymnal we use at our parish. We spend so much time working on Renaissance Mass settings, contemporary polyphony, and plainsong that we don’t have rehearsal time remaining for hymnody. But here’s the awesome part: the Brébeuf hymnal makes it possible—because of the unprecedented method used in its choral supplement—for singers to add parts, even though many have never sung in a choir before.

Below is a live recording from a few days ago. Notice how the voices keep splitting off into harmony (with each subsequent verse), something only possible thanks to the revolutionary way the score is printed in the Brébeuf choral supplement:

Not A Perfect Recording: I don’t claim that recording is perfect … but for a volunteer choir which is sight-reading, I’m quite pleased. We’re on the right track; and choirs need delightful, bright, fun pieces like this one. This beautiful tune—known as “ROCKINGHAM”—is worth singing, worth learning, and worthy of the temple. For the record, this melody appears in reputable Catholic hymnals. For instance, it’s Number 72 in the London Oratory Hymnal (as a hymn for Lent). In the New Westminster Hymnal it’s Number 73, paired with a hymn by Saint Thomas Aquinas (as a hymn for the Holy Eucharist).

Restoration: The other day I spoke about the Second Vatican Council’s missed opportunity vis-à-vis revision of the hymns. The Council declared—Sacrosanctum Concilium §93—that “the hymns are to be restored to their original form.” Sadly, what happened too often was elimination of verses. The ancient hymn for All Saints (1 November) is a good example. When Vatican II “restored” this hymn, a verse was deleted. However, the Brébeuf hymnal always gives you the entire hymn, with no verses deleted. It is without question the hymnal with the most textual authenticity; yet few these days seem to care about textual integrity.

Here’s a live recording of “Placáre Christe Sérvulis” (a.k.a. “Christe Redemptor”) from a few days ago:

Common Hymn Melodies: That hymn is number 161 in the Brébeuf hymnal. Notice how it utilizes what I have spoken about frequently—something absolutely necessary for choirmasters wishing to make headway in today’s environment—namely Common Hymn Melodies.

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

Filed Under: Articles Tagged With: Christe Redemptor All Saints, Common Hymn Melodies, Feast of All Saints, Placare Christe Servulis, Rockingham Hymn, Saint Thomas Aquinas, Urbanite Hymn Reform Last Updated: October 1, 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

    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

“If the right is given to African tribes to include their pagan traditions in the liturgy, I think the same should also be given to the rite of a thousand year-old Christian Church, based on a much older Roman tradition.”

— Professor László Dobszay

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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