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Corpus Christi Watershed

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

{ Next Year! } • Somber Kyrie Settings For Lent

Jeff Ostrowski · April 18, 2022

HE FOLLOWING QUOTE has been attributed to St. Augustine: “The only thing you can take with you to Heaven is music.” Whether St. Augustine spoke these precise words or not, it is undeniable that Sacred music has an amazing ability to lift our hearts and minds to God. Sacred music reminds us in a powerful way of the purity of God and the unspeakable beauty of our Creator. Therefore, before I go further, let us listen to a short excerpt of the Kyrie from Messe de Nostre Dame by Guillaume de Machaut (†1377):

Those who enjoyed the excerpt above will be interested in the free PDF score, and are encouraged to listen to the complete recording by Matthew J. Curtis.

EXT YEAR—when the holy season of Lent once more approaches—many Catholic choirmasters will be searching for polyphonic versions of the Kyrie Eleison. As everyone knows, the Gloria is not said during Lent. That means musicians can “get away” with using a slightly longer Kyrie without risking a “heated discussion” with the Pastor after Mass. [I wish it were not this way … but in many parishes, this is the case.] An added bonus would be a Kyrie that also involves the congregation. Even better than that would be a relatively easy polyphonic setting, so that amateur church choirs could sing with confidence (since it’s better to sing a simpler piece very well than to sing a more difficult piece poorly). One good choice might be Kyrie cunctipotens genitor Deus (Trent Codex 90), which has polyphony for three voices as well as Gregorian sections for the congregation. I strongly recommend that anyone considering Trent Codex 90 read this fantastic article by Dr. William Mahrt of Stanford, which appeared in the Sacred Music Journal (Summer 2011, Volume 138, No. 2):

*  PDF Download • Dr. Mahrt’s Article

Regarding this Kyrie Eleyson from Trent Codex 90, Matthew J. Curtis has provided rehearsal videos to help your choir members master this piece:

*  Free PDF Score

*  Mp3 Download • Equal Voices

*  Mp3 Download • Soprano Louder

*  Mp3 Download • Alto Louder

*  Mp3 Download • Tenor Louder

Another beautiful choice (for SATB choirs) might be a Kyrie Eleison based on Joan Brudieu (†1591). Just as in the previous Kyrie, a possible format for all three invocations would be:

Cantor / Congregation / Choir (polyphony).

Here’s a vocal simulation:

Corpus Christi Watershed has provided rehearsal videos for this Brudieu Kyrie Eleison to assist choir members who do not read music well. Just visit this page, which also contains the free PDF score.

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

Filed Under: Articles, PDF Download Tagged With: Guillaume de Machaut Polyphony, Messe de Nostre Dame Last Updated: April 18, 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” • 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
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —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 following question is asked by the Most Reverend Lord Bishop of the Diocese of Chur: May this Diocese’s ancient custom be continued of having the Celebrant in Sung Masses (excepting more solemn Masses) intone the Credo and when he is finished reciting it going on immediately to the offertory and finishing it while the credo is being sung by the choir?” (Dubium of Dec 1909)

— 11 December 1909

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