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Corpus Christi Watershed

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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

But the revisers did not leave them altogether untouched. Saint Ambrose had to be “corrected.” The ‘Iste Confessor’ was greatly altered and the hymn for the Dedication of a Church (which no one ought to have touched) was completely recast in a new meter.

— Father Joseph Connelly

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