• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

PDF Download • 1915 “Gregorian Vesperale” … Printed On Five Lines! (651 Pages)

Jeff Ostrowski · October 11, 2022

ISTORY. Some consider it boring. For myself, I find it riveting. For example, consider the history of ULYSSES S. GRANT. He would win the Civil War and serve two terms as president. Yet when the Civil War began, having failed at everything he ever attempted, Grant was working for his younger brothers, selling hats to farmers’ wives! He and his wife were slave owners. Indeed, Grant used slave-labor to construct a house he dubbed “Hardscrabble.” John Wilkes Booth would have murdered Ulysses S. Grant alongside Abe Lincoln, but Grant’s wife hated Lincoln’s wife. Therefore, Grant made up an excuse not to attend that famous performance of Our American Cousin (where Lincoln was assassinated). At the Battle of Cold Harbor, both Ulysses S. Grant and Robert E. Lee exhibited unspeakable cruelty, allowing their wounded soldiers to die horribly—wailing in the June hot sun—rather than admit defeat. (Once the white flag was raised, medics were allowed to collect the wounded.) In spite of all that, Grant wrote this letter to his young daughter.

More History! • Regarding the following book by Father Weinmann, one could easily write multiple doctoral dissertations on the history surrounding it. One could discuss the marvelous abilities of printers in those days. One could discuss the tensions of the Pontifical Committee for Gregorian Chant (1904-1913)—tensions which resulted in rival publications (French Vs. German). One could discuss what it was like to be a musician in those days: No electricity; Bad plumbing; No email; No airplanes; No cars; No air-conditioning; No modern medicine; and so forth. One could discuss the effect of WW1 on church music. One could discuss monastic life in France, at a time when French anti-clerical laws were banishing citizens from their own country—although the very same banished clerics came back to fight for their country! I could go on…

*  PDF Download • FR. WEINMANN’S VESPERALE (651 Pages)
—Published in 1915, with chord symbols, on five lines (but with Gregorian notation).

Karl Weinmann (1873-1929) • Father Weinmann (d. 1929) was a Catholic priest who obtained his doctorate—his dissertation (1905) was “Das Hymnarium Parisiense”—under Dr. Peter Wagner (d. 1931), director of the Gregorian Academy in Freiburg (Switzerland). Dr. Peter Wagner was a member of the Pontifical Commission on Gregorian Chant established by Pope Pius X for the creation of the Editio Vaticana. In the German PREFACE to the book (see above), Father Weinmann explains the little chord symbols.

A Good Use • This book by Father Weinmann is extremely helpful for those who (like myself) accompany plainsong on the pipe organ directly from the Gregorian notation. Try one of the more challenging Magnificat antiphons and see if you agree.

Explanation Video • How to read the “pure” Editio Vaticana (a.k.a. the “untouched” Vatican Edition), which is still the official rhythm of the Catholic Church:

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

Filed Under: Articles, Featured, PDF Download Tagged With: Antiphonale on modern staves, Antiphonale Romanum Weinmann, Dr Peter Wagner Gregorian, Gregorian Chant, Gregorian Chant 5 Lines, Karl Weinmann 1873-1929, Karl Weinmann 5 line Antiphonale, Modern Notation Gregorian Chant, Vesperale By Weinmann, Vesperbuch Carolus Weinmann, Vesperbuch Karl Weinmann, Weinmann Vesperale on Modern Staves Last Updated: May 16, 2023

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

Yet, with all its advantages, the new Missal was published as if it were a work put together by professors, not a phase in a continual growth process. Such a thing never happened before. It is absolutely contrary to the laws of liturgical growth, and it has resulted in the nonsensical notion that Trent and Pius V had “produced” a Missal four hundred years ago.

— Josef Cardinal Ratzinger (1986)

Recent Posts

  • New Bulletin Article • “21 September 2025”
  • How do you pronounce this word in Latin?
  • Cheap! Cheap! Cheap!
  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

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.