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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

Small Choir Repertoire: “Of The Father’s Love Begotten” (Two Voices)

Jeff Ostrowski · January 11, 2022

NE OF MY BROTHERS—in addition to being a great athlete—is a fabulous musician. About fifteen years ago, I showed him a Responsorial Psalm I’d composed, asking for his honest opinion. He immediately said: “I would never use this; it’s in a minor key, and sounds way too depressing.” He was correct; pieces for the congregation should sound bright, not mournful. The minor modes—which are far more interesting, in my opinion—must be used with great care. For instance, if I compose a verse in a minor tone, I will often use a major refrain … and there are other tricks, too.

A Happy Piece: A beautiful and “bright” piece comes to us from the 5th century: Corde Natus Ex Parentis. The complete version by Prudentius is very long, and—like many other ancient hymns—talks about our Redeemer’s entire life, including miracles he performed. But over the centuries, Corde Natus has become strongly associated with Christmastide and/or the Epiphany season (at least the verses which are commonly sung). The Brébeuf hymnal contains a gorgeous organ accompaniment:

Version for Two Voices: Needless to say, this song can be sung in Latin, not just English. Yesterday morning, I composed a version for two voices. I have no idea whether it’s any good, but feel free to download it—just remember it cannot be sung a cappella. It only works with the organ accompaniment found in the Brébeuf hymnal:

Melody Origin: The Brébeuf hymnal gives tons of “extra” information regarding the provenance of its texts and tunes. It even provides specific references to additional harmonizations by Richard Lloyd (1993 and Noel Rawsthorne (2011); and I know of no other hymnal which does likewise. The footnote on page 668 says: “The melody (DIVINUM MYSTERIUM) is an 11th century Sanctus trope, later adapted for Piae Cantiones (1582).” Do you think it sounds weird that this hymn used to be part of the SANCTUS?

Not Weird At All: It’s actually not very strange; and the reverse also happens. That is to say, many parts of the ORDINARIUM MISSAE came from other songs. Test your “musical knowledge” on the following examples. See if you can figure out which AGNUS DEI comes from the first example. And then see if you can figure out which SANCTUS comes from the second example:

Trivia: According to Dr. Joseph Dyer, the “Corde Natus” strophe is inserted into the hymn for the blessing of the oils on Holy Thursday (O redemptor, sume carmen).

This article is part of an ongoing (loosely connected)
series called: Repertoire for Small Choirs

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

Filed Under: Articles, Featured Tagged With: Corde Natus Ex Parentis, Divinum Mysterium, Mass of the Angels, Missa de angelis, Of The Father’s Love Begotten, Pieces For Small Choirs Last Updated: January 17, 2022

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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

    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —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

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

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