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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Two Hymns Loved By Everyone … Except Purists!

Jeff Ostrowski · October 5, 2021

Introduction: The Pharisees brought to Jesus (Jn 8:4) a woman caught in the very act of adultery. Archbishop Fulton J. Sheen wrote: “Caught in the act! What sneaking, spying, and rottenness are hidden in their words! Some faces are never so happy as when regaling a scandal, which the generous heart would cover and the devout heart pray over.” In today’s world, we have many bloggers who claim to be the world’s greatest Catholics. These folks become giddy with delight when they discover scandalous behavior. But here at Watershed, we try to provide positive ways to serve, honor, and glorify our Redeemer—rather than spending hours creating memes and parodies about Church scandals; and the following article is in that spirit.

ODAY, I WILL SPEAK of two hymns which are loved by everyone—except for purists! The first is very famous hymn called “When I Survey The Wondrous Cross,” which first appeared in 1707AD. It was written by Isaac Watts, who—although he was not a Catholic—wrote many hymns adopted by Catholics, such as “Joy to the World” and “Our God, Our Help in Ages Past.” This hymn appears in reputable Catholic hymnals; for instance, it is hymn #72 in the London Oratory Hymn Book and hymn #687 in the Jean de Brébeuf Hymnal.

Notice how vocal parts are added with each successive verse:

A Congregational Tune: If the tune sounds familiar, that’s because it is a Brébeuf “common melody,” which we recently spoke of. Most of the hymns in the Brébeuf hymnal are ancient Latin hymns translated into English by Catholic priests and bishops. This hymn is an anomaly, since it is written by a Protestant and became so popular that it was actually translated from English into Latin in 1876. It seems odd to translate a hymn from English into Latin, since the collection by Clemens Blume (d. 1932) contains more than 10,000 authentic medieval Latin hymns.

Contradicting Meter: Purists don’t like “When I Survey The Wondrous Cross” because two sections contradict the meter: (1) all the vain things; and (2) sorrow and love flow. However, this is not unheard of in hymnody. A very popular hymn “Abide with Me, Fast Falls the Eventide” contradicts the meter in the very first line. So does “God Father, Praise And Glory” on the word mankind. And the popular confirmation hymn “Come Holy Ghost, Creator Blest” contradicts the meter on the word comforter.

Controversial Text: The second hymn which is “loved by everyone except purists” was written by Father Frederick William Faber (d. 1863), a disciple of Cardinal Newman. The committee that assembled the Brébeuf hymnal had discussions about this text, because some believe it to be somewhat horse-and-buggy or sappy. However, in the end it was included because everyone loves singing it:

Tradition Speaks: That hymn by Father Faber is included in many Catholic hymnals. It is #40 in the Roman Catholic “Crown Hymnal” (1912) by Father Kavanagh. It is #58 in the American Catholic Hymnal (1913) by the Marist Brothers. It is #120 in the Saint Jean-Baptiste de La Salle Hymnal (1913). It is #240 in the Catholic Hymnal (1920) by Father John Hacker. It is #183 in The Catholic Hymn Book (London Oratory, 1998).

Mercy Is God’s Greatest Work: If we get to Heaven, perhaps we will find out what our Redeemer was writing on the ground which caused everyone—except the adulteress—to leave “starting with the eldest” (John 8:9). Here at Corpus Christi Watershed, we try to support music directors, instead of constantly dwelling on Church scandals, creating memes, composing “parodies” which are supposed to demonstrate how much smarter we are than everyone else, and so forth. Please consider supporting us—we need your support! It can become discouraging to see “Catholic” bloggers write 150 articles per day about evil in the Church…yet never lift a finger in real life to make things better. Father Valentine pointed out that the Old Testament says: “Mercy is God’s greatest work.” My personal belief is that we will not be asked—when we die—how many memes we created which dwell on the sins of others, nor how many Facebook arguments we “won.”

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

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Filed Under: Articles, Featured Tagged With: Common Hymn Melodies, Father Clemens Blume, Father Guido Maria Dreves, Rockingham Hymn Last Updated: October 6, 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

    “Common” Responsorial Psalm?
    I try to avoid arguing about liturgical legislation (even with Catholic priests) because it seems like many folks hold certain views—and nothing will persuade them to believe differently. You can show them 100 church documents, but it matters not. They won’t budge. Sometimes I’m confronted by people who insist that “there’s no such thing” as a COMMON RESPONSORIAL PSALM. When that happens, I show them a copy of the official legislation in Latin. I have occasionally prevailed by means of this method.
    —Jeff Ostrowski
    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

When you consider that the greatest hymns ever written—the plainchant hymns—are pushing the age of eight hundred and that the noble chorale hymn tunes of Bach date from the early eighteenth century, then what is the significance of the word “old” applied to “Mother at Thy Feet Is Kneeling”? Most of the old St. Basil hymns date from the Victorian era, particularly the 1870s and 1880s.

— Paul Hume (1956)

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