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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

“Bravery!” • Schola Director Posts ‘Live’ Recording

Jeff Ostrowski · October 6, 2022

HENEVER Sergei Rachmaninov (d. 1943) would hear Josef Hofmann (d. 1957) play a piece, he would immediately throw up his hands and never perform that piece again. What was the point? As Abram Chasins explained in the 1980s, even the greatest pianists sounded like “innocent, naïve pupils” compared to Hofmann’s overwhelming, pristine interpretations. I’m reminded of this whenever I read the mind-boggling book by Robert Murrell Stevenson (d. 2012), which I’ve praised so frequently on this blog. Truly, Dr. Stevenson was on ‘another level’ as far as musicology was concerned. I recently uploaded a fascinating footnote from Stevenson’s book, which I’ll speak of below.

Live Recording • Here’s a live recording of our volunteer choir, singing on 3 October 2022:

M Rehearsal videos for each individual voice await you at #48088 .

Free Download! • You can download that wonderful Eucharistic Hymn, with counterpoint by Flor Peeters (d. 1986) at the following link. You can also purchase hard copies on AMAZON PRIME.

*  PDF Download • EUCHARSTIC HYMN (Flor Peeters)
—2-Voice Eucharistic Hymn (45 pages) • Includes a Descant!.

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47206-Hoste-Dum-Victo-Triumphans-HYMN-Flor-Peeters-1600
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Choristers’ Questions • When members of my choir ask questions, I attempt to provide answers. One member asked whether it was common in the olden days to alternate pipe organ with a cappella singing, such as we did in that recording. A 1604AD document (memorial) provides clues vis-à-vis musical activities at the Cathedral Toledo:

“At first vespers (In Nativitate Domini) the organ shall accompany the singing of the stanzas beginning Veni, redemptor gentium which come at the end of the book of Ave maris stella settings and other hymns by Morales.” […] “On Wednesday in Holy Week, the first Lamentation is to be Morales’s polyphonic setting. The MISERERE shall be sung antiphonally, one choir at the High Altar, another in the tribunes of the coro del arzobispo. One choir shall consist of the boys and a tenor.” […] “On Maundy Thursday at High Mass, the INTROIT shall be sung in a contrapuntal setting, the Kyrie, Gloria, Credo, and Sanctus polyphonically, the Agnus Dei in plainchant.” […] “On Good Friday, the Passion shall be sung as a solo [on Palm Sunday, the turba parts were sung polyphonically by a complete choir, and on Tuesday and Wednesday by a trio]. The first LAMENTATION shall be sung polyphonically.” […] “On Holy Saturday the Gloria shall be sung in plainchant with counterpoint above. The same for the Alleluia. At Vespers, the same for Psalm 150. The MAGNIFICAT must be in Tone VIII, odd verses plainchanted, even verses sung polyphonically. At Solemn Compline in the evening, two choirs shall sit on the benches of the cope-bearers and two bands of instrumentalists shall play. The portable organ shall be lowered into the coro to accompany the singers, who shall sing solos in their order of seniority, with organ and—if desired—instrumental support. Psalm 133 shall be sung in fabordón, Tone VIII.” On Easter, the prosa “must be the one composed by Morales.”

Peculiarities of Spain • Notice how the Veni Redemptor Gentium was part of the Divine Office at Toledo. I believe the Ordinary Form added it, but the 1962 Breviary does not have it. On the other hand, it will be remembered that Spain had peculiar liturgical “uses” in those days, which was why some of the reforms of the Council of Trent did not apply to Spain.

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

Filed Under: Articles, PDF Download Tagged With: Hoste Dum Victo Triumphans, Josef Hofmann Pianist Extraordinaire, Sergei Rachmaninoff Last Updated: December 26, 2023

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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

    “Music List” • 19th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 19th Sunday in Ordinary Time (10 August 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the feasts website.
    —Jeff Ostrowski
    This Sunday’s Communion Antiphon
    This coming Sunday—10 August 2025—is the 19th Sunday in Ordinary Time (Year C). The COMMUNION ANTIPHON is really gorgeous, and two of its features are worth mentioning. First of all, the Gospel reading assigned is from Saint Luke, whereas the the antiphon—although it matches the account—comes from Saint Matthew. (If anyone can point to a similar example, please notify me.) Furthermore, if you look at the authentic Gregorian Chant version posted on the feasts website, you’ll notice that it’s MODE III but ends on the ‘wrong’ note. A comparable instance of such a ‘transposed’ chant would be KYRIE IV.
    —Jeff Ostrowski
    Using “Ye” Vs. “You” Correctly
    Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.
    —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

“In all this mediaeval religious poetry there is much that we could not use now. Many of the hymns are quite bad, many are frigid compositions containing futile tricks, puns, misinterpreted quotations of Scripture, and twisted concepts, whose only point is their twist. But there is an amazing amount of beautiful poetry that we could still use. If we are to have vernacular hymns at all, why do we not have translations of the old ones?”

— Fr. Adrian Fortescue (d. 1923)

Recent Posts

  • Is this what the new “Youth Mass” looks like?
  • “Music List” • 19th in Ordinary Time (Year C)
  • This Sunday’s Communion Antiphon
  • Using “Ye” Vs. “You” Correctly
  • Installment #3 • “Serious Problems with the Lectionary Translation”

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