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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

PDF Download • “Tantum Ergo” Two-Part Interlude (Manuals Only) by Flor Peeters

Jeff Ostrowski · August 30, 2022

ARDLY A WEEK GOES BY when I don’t receive an email seeking repertoire ideas for volunteer choirs. Without question, the sine qua non is the Brébeuf Catholic Hymnal, especially if your choir members struggle with reading music. So many of today’s ‘traditional’ hymnals—which shall remain nameless—are basically “leftover” versions of Protestant books. In other words, the editors choose a Protestant book, eliminate anything heretical, and whatever is leftover becomes the hymnal. To make matters worse, they often revive 19th-century hymns which (although not heretical) are musically ‘schmaltzy’ with saccharine lyrics. I do not believe such attempts will ever be accepted by today’s congregations.1

Hymn By Flor Peeters • Did you know Baron Flor Peeters, the famous Belgian organist, composed hymns? They can be found in the Brébeuf Hymnal. Many hymns written in 3/4 rhythm sound ‘sing-songy’ after a few verses, but this melody by Flor Peeters is a fabulous exception. Here’s an example from last Sunday, recorded by a volunteer choir:

Organ Interlude • You can also download a 2-part “Tantum Ergo” Organ Interlude (Manuals Only) by Flor Peeters, which is extremely fun to play:

*  PDF Download • 2-Part Setting (“Tantum Ergo Sacramentum”)
—Organ Interlude by Flor Peeters based on “St Thomas (Webbe)” • For Manuals Only.

Article By Peeters (1965) • If you can’t get enough of Flor Peeters, you can read this article, which is four pages in length. Arthur Cardinal Roche, the highest-ranking English-born priest to serve in the Roman Curia since Cardinal Rafael Merry del Val, recently said (28 August 2022) that Vatican II is “the highest legislation that exists in the Church.” Cardinal Roche would be pleased, because this article by Flor Peeters explores what Vatican II mandated vis-à-vis liturgical music:

*  PDF Download • “For Choirmasters & Organists” (1965)
—By Flor Peeters • English translation by Emmanuel Leemans.

Variety Is Important • Because the hymn by Flor Peeters was somewhat in a ‘minor’ mode, we ended the Mass with a thrilling (and very happy) descant, taken from #868 in the Brébeuf Catholic Hymnal:

‘Live’ Rec. By Symposium • Sacred Music Symposium 2022 was granted permission to reproduce (and sing) this hymn a few weeks ago. The text by Father Dominic Popplewell, FSSP, is nothing short of brilliant. It incorporates splendidly ‘paradoxical’ verses addressed to our Savior, JESUS CHRIST. Father Popplewell’s use of beautiful language (e.g. “let unfaltering acclaim” etc.) comes across as fresh and resplendent. He deftly avoids ‘horse-and-buggy’ (and stale) clichés. Here’s how it sounded—including the descant—when sung by the participants:

1 Now that the Saint Jean de Brébeuf Hymnal (Sophia Institute Press, 2018) is available, there’s no reason to resort to such “leftover” books. The Brébeuf Hymnal does not mimic or ‘build upon’ Protestant hymnals. From first to last, it’s a Catholic publication. Its core is the ancient tome of Roman Catholic hymns, stretching back more than 1,700 years.

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

Filed Under: Articles, Featured Tagged With: Flor Peeters, Hymn Descant, The Catholic Hymnal Last Updated: August 31, 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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

At papal Masses, the regulations against tardiness were more stringent than at Masses celebrated by cardinals or bishops. Giovanni Maria Nanino records that any singer who is not in his place—and in his vestments—by the end of the repetition of the “Introit” will be fined eight vinti. At papal Vespers, the singer who is not present at the “Gloria Patri” of the first psalm pays a fine of fifty balocchi.

— Giovanni M. Nanino (d. 1607), Papal “Maestro di Cappella”

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