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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

Does Your Musical Program Have Balance?

Jeff Ostrowski · March 2, 2022

AST ARTICLES on this website have spoken about the importance of musical diversity during Mass. What I call musical diversity could also be referred to as “musical balance.” In an article called “Should Hymn Lyrics Be Inordinately Archaic?” I warned against excessively archaic lyrics, such as a translation of O SALUTARIS HOSTIA popular in many 19th-century hymnals: “intestine wars invade our breast.” But that doesn’t mean that one should never ever sing a hymn with archaic lyrics—and we saw that with Saint Robert Southwell’s Eucharistic Hymn.

Personal Preferences: Everyone has personal preferences. For myself, I’m not particularly drawn to many 19th-century hymn tunes. And yet, many Catholics love them. I try not to let my “personal taste” prevent me from having a balanced choral program. Below are two examples of 19th-century hymns which my singers love.

First Example: Page 727 in the Brébeuf hymnal is “Jesus, My Lord, My God, My All,” written by Father Frederick William Faber, published as #16 (“Corpus Christi”) in Oratory Hymns (1954); the complete poem has nine verses. The melody comes from 1826, and appears in Catholic books such as Mediator Dei Hymnal (1955) p. 55; Adoremus Hymnal (1997) #516; Eucharistic Hymnal, edited by Archbishop Joseph Schrembs (1935) p. 7. The text can be found in Catholic books such as Saint Andrew Hymnal, authorized by the Archbishops and Bishops of Scotland for use in the Scottish Dioceses (1964) p. 185 and the Pope Pius XII Hymnal (Ohio: Gregorian Institute of America, 1959) p. 9.

Second Example: Page 726 in the Brébeuf hymnal is “O Jesus, We Adore Thee,” a text by Father Irvin M. Udulutsch—and what a last name that is! Father Udulutsch was professor of music at the Seminary of St. Lawrence of Brindisi (Mount Calvary, Wisconsin) and a founding member of the Church Music Association of America.

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

Filed Under: Articles, Featured Tagged With: Frederick William Faber, Latin Mass Musical Diversity Last Updated: March 2, 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

    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

“The pope regrets that this trade in African slaves, that he believed having ceased, is still exercised in some regions and even more cruel way. He begs and begs the King of Portugal that it implement all its authority and wisdom to extirpate this unholy and abominable shame.”

— ‘Pope Pius VII, writing to the King of Portugal’

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  • New Bulletin Article • “12 October 2025”

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