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Views from the Choir Loft

“Do You Know This Hymn Composer?” • Orlando Gibbons (d. 1623)

Jeff Ostrowski · July 9, 2022

ODAY WE RELEASE “installment 2” in the new series called How Has Nobody Done This Before? This series features hundreds of rehearsal videos—for each individual singer’s voice part—of the world’s greatest hymns. The entire project can be accessed completely free of charge at this website (scroll towards the middle section). It’s so useful to be able to send your choir members to a website containing individual voice parts, while knowing the hymn texts (lyrics) and the hymn notes (harmonies) have not been tampered with.

Glenn Gould’s Favorite: Today we feature Glenn Gould’s favorite composer: ORLANDO GIBBONS. Let’s start with Brébeuf #715, which is a Roman Catholic text (Adesto Pater Domine) translated into English by a Catholic poet named Alan Gordon McDougall (whose work Father Adrian Fortescue admired):

M Rehearsal videos for each individual voice await you at #715.

Common Tunes: What makes the Brébeuf hymnal so powerful is its use of “common tunes.” That means you can teach your choir #715 (above) and they already know a bunch more hymns. For example, they already know this hymn to Saint Joseph, whose text was written by an FSSP priest:

M Rehearsal videos for each individual voice await you at #790.

…and they’ll automatically know this hymn for Lent:

M Rehearsal videos for each individual voice await you at #240.

…and here’s another Lenten hymn they will know automatically:

M Rehearsal videos for each individual voice await you at #220.

HE new publication by Sophia Institute Press (Saint Jean de Brébeuf Hymnal) is quite different than other Catholic hymnals currently available. Unlike other “Catholic” hymnals, it refused to mimic or “build upon” Protestant models. The hymnal is Catholic to its core. To find something similar, you’d have to go back seventy years to the New Westminster Hymnal, which was (generally speaking) the work of Monsignor Ronald Knox and Dom Gregory Murray.

Here are some examples demonstrating how this melody by Orlando Gibbons was adopted by serious Catholic hymnals, even though Gibbons was not a Catholic:

*  PDF Download • “How It Used To Look”
—Notice how the editors chose a hymn to the Holy Ghost, just like the Brébeuf hymnal.

*  PDF Download • “New Saint Basil Hymnal”
—Notice how the editors chose a hymn to the Holy Ghost, just like the Brébeuf hymnal.

*  PDF Download • Theodore Marier
—Dr. Marier used this Gibbons tune at least three times in his hymnal.

*  PDF Download • “New Westminster Hymnal”
—Dom Gregory Murray and Msgr. Ronald Knox were its main creators.

*  PDF Download • “The Catholic Hymn Book”
—Produced by the London Oratory circa 1998.

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

Filed Under: Articles, Featured Tagged With: Adesto Pater Domine, Angel's Song by Orlando Gibbons, Gibbons Song 34, How Has Nobody Done This, Orlando Gibbons Last Updated: July 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

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —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

“Orlando de Lassus died in Munich on 14 June 1594, the selfsame day his employer decided to dismiss him for economic reasons. He never saw the letter.”

— New Grove

Recent Posts

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  • PDF Download • Soprano Descant — “Hail, Holy Queen Enthroned Above”
  • “Dom Jausions had a skilled hand. His transcriptions are masterpieces of neatness & precision.”

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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