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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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President’s Corner

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “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
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —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

The 1960s reformers had no chance of success since their goal was “recasting from top to bottom—and in a few months!—an entire liturgy which had required twenty centuries to develop.”

— Professor Louis Bouyer, close friend of Pope Saint Paul VI

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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