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Views from the Choir Loft

“Wild Accompaniment” • Flor Peeters (Kyrie VIII)

Jeff Ostrowski · August 15, 2022

ANY TIMES we have spoken about various items which must be considered before the organist decides on a particular plainsong accompaniment. The choir members matter; the acoustics matter; the director matters; the type of organ matters; and so forth. Flor Peeters—organist at Saint Rumbold’s Cathedral in Belgium—often served as faculty for the famous church music gatherings held at Boys Town (Nebraska) during the summers. When he wrote his Method of Accompanying Plainsong, Baron Peeters was careful to state clearly: “By no means do we claim that the method of accompaniment here set forth is the only true and correct one.” He then gives several examples of what he calls other good systems. Some omit the melody, some are based on quartal and quintal harmonies, and so on.

“Bold” Accompaniment • One example he provides is this accompaniment for Kyrie VIII … and it’s pretty wild. Readers will remember that the KYRIE ELEISON—when sung—has a total of nine invocations. I wasn’t brave enough to use the Peeters accompaniment for the entire thing, so I used it on number 3, number 6, and number 9. Our choir is on break during the summer, but some young ladies came to Mass and sang anyway. See what you think:

The Same Day • On that same occasion, the group sang Hymn #816 from the Brébeuf hymnal, which is called: “Lord Jesus Christ, of Joys and Treasures Rarest.” The text is by Father Dominic Popplewell, FSSP, and the tune is RAYMBAULT. This is an abridged version:

I recently wrote an article vis-à-vis the RAYMBAULT hymn melody.

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

Filed Under: Articles Tagged With: Flor Peeters, Kyrie VIII, Missa de angelis Last Updated: August 15, 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

    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

“The idea that the Roman basilica is the ideal design for a Christian church building because it made it possible for the priest and the people to face one another is complete nonsense. That would have been the last thing that the early Christians had in mind.”

— Father Louis Bouyer

Recent Posts

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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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