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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 • “Latin Christmas Carol” for SATB + Organ • By Gustaaf Nees (d. 1965)

Jeff Ostrowski · December 2, 2022

HE MASS is such a holy thing—far beyond the comprehension of any mortal human being. Therefore, we must exercise the greatest circumspection with regard to music and texts chosen for it. That’s one reason we have discussed the issue of non-Catholic hymn texts. We also highlight the importance of having a parish pew book like the Brébeuf Catholic Hymnal, which does not mimic or “build upon” Protestant models. A good illustration would be IN DULCI JUBILO (a Christmas carol from the 14th century). Many Protestant hymn books stealthily delete or bowdlerize the fourth verse since they adhere to heretical beliefs.1 The setting discussed below is by GUSTAAF NEES (d. 1965), a Catholic composer who—for obvious reasons—does not omit that verse.

The Melody • Anyone who knows “Good Christian Men, Rejoice” will recognize the tune. That is to say, the carol known as “Good Christian Men, Rejoice” borrowed the melody from IN DULCI JUBILO and added different lyrics. Perhaps the most famous version of IN DULCI JUBILO is the magnificent canon (Orgelbüchlein, BWV 608) written by Johann Sebastian Bach. For the record, Bach wrote several versions of IN DULCI JUBILO—and each one is absolutely splendid. If anyone hasn’t heard this famous melody, a good starting point would be the arrangement by Robert Lucas de Pearsall (d. 1856).

Latin Only? • The original 14th-century setting for IN DULCI JUBILO was a mixture of Latin and German. Indeed, many of the Church’s earliest vernacular hymns—such as Christ ist erstanden—were macaronic. (I realize that statement may startle anyone who has not yet had an opportunity to read about the history of vernacular Eucharistic hymns). The setting below by GUSTAAF NEES uses a version that’s entirely in Latin. The volunteer choir I direct will be singing the arrangment by Nees for Christmas:

*  PDF Download • “IN DULCI JUBILO” (Christmas Carol)
—For SATB + Organ • Setting by Gustaaf Frans Nees (d. 1965).

In order to help my choir learn this piece, I recorded the different voice parts. Please remember as you listen: I’m a baritone—so the “girl” parts sound terrible sung by me. But I’m not embarrassed, because these practice videos save us time during rehearsals. Furthermore, Cardinal Merry del Val’s litany explicitly says: “From the fear of being ridiculed: Deliver me, Jesus.”

M Rehearsal videos for each individual voice await you at #45484.

Gustaaf Nees (Part 1) • In 1916, the performance of Father Jules Van Nuffel’s “Super Flumina Babylonis” led to the foundation of the Saint Rumbold’s choir of Malines (a.k.a. “Mechelen”), which then quickly became the most important cathedral choir in Belgium. The cathedral organists were Oscar Depuydt and Flor Peeters. On the outskirts of the city was the Inter-Diocesan School of Religious Music, better known as the LEMMENSINSTITUUT. When Van Nuffel took over from Aloys Desmet in 1918, he managed to give this school a new impetus by appointing a number of young teachers such as Henri Durieux, Marinus de Jong, Flor Peeters, and also Gustaaf Nees (known to his friends as “Staf Nees”). We owe much biographical information about Nees to Mr. Koen Cosaert.

Gustaaf Nees (Part 2) • Because of his role as a teacher at the “Higher Institute for Church Music” (LEMMENSINSTITUUT), Gustaaf Nees shared responsibility for the further development of liturgical music for the Catholic Church in Belgium. This helps to explain why his compositional output consisted mainly of vocal music. Together with Monsignor Jules Van Nuffel—and his colleagues Flor Peeters, Marinus de Jong, and Monsignor Jules Vyverman—Gustaaf Nees helped to establish the so-called “Mechlinian school,” which was strongly influenced by Gregorian chant.

Gustaaf Nees (Part 3) • Gustaaf Nees composed about sixty (60) motets for different settings: solo voice, choir, mixed or equal voices, a cappella, or with organ. He set texts such as “Tantum ergo” and “O salutaris hostia” as many as four times. I would love to obtain more of his music—can any readers assist in this area? Nees also composed six (!) settings of the Mass Ordinary. His son, Vic Nees (d. 2013), became a composer of choral music, musicologist, choral conductor, and music educator.

This Particular Piece • This setting by Nees is fabulous. I can’t wait to make a recording of it with my choir. They’re sounding great already! Mæstro Nees—who was friends with my teacher—really understood how to write for the human voice. I love how the pitch of the melody rises to a higher key each time it occurs. The organ part is relatively simple and a joy to play. The different voices are each given something “interesting” to sing; e.g. the Soprano gets an atheletic counter-melody in addition to the hymn tune. Gustaaf Nees was a carillonneur, and it’s interesting to see him setting a text that speaks of campána quóque clángat.

1 Protestants who denigrate Christ’s mother offend God. Contrariwise, Jesus Christ is pleased when we honor His mother. Indeed, the Jesuit martyrs of North America had exceptionally strong devotion to Mary. Father Charles Garnier took a special vow to uphold until death the belief in her Immaculate Conception—which was not, at that time, formally declared as a dogma of the Catholic Church—and it was on the vigil of this feast that he died, at the age of forty-four (7 December 1649). Moreover, the center of the entire missionary enterprise was named “Fort Sainte Marie” by the Jesuits, in honor of the Blessed Virgin.

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

Filed Under: Articles, Featured, PDF Download Tagged With: Christmas Carol, Gustaaf Frans Nees, Gustaaf Nees Composer, In Dulci Jubilo, Latin Christmas Carols, Lemmensinstituut, Mechlinian school, Saint Charles Garnier, Staf Nees Last Updated: December 6, 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

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR shamefully 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 Holy Communion (even afterwards) when the self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand while it’s sung … even though everything about the SEQUENCE—including its name—means it should follow the Alleluia. Furthermore, 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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski
    Kids’ Choir Sings Thomas Aquinas
    Last Sunday, a children’s choir I’m teaching sang with us for the very first time at Sunday Mass. Females from our main choir sang along with them. If you’re curious to hear how they sounded, you can listen to a ‘live’ recording. That’s an English version of TANTUM ERGO by Saint Thomas Aquinas. That haunting melody is called GAUFESTRE and was employed for this 2-Voice Arrangement of a special hymn for 9 November (“Feast of the Dedication of the Lateran Basilica in Rome”) which replaces a Sunday this year.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of September (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Who dreamed on that day that within a few years, far less than a decade, the Latin past of the Church would be all but expunged, that it would be reduced to a memory fading into the middle distance? The thought of it would have horrified us, but it seemed so far beyond the realm of the possible as to be ridiculous. So we laughed it off.”

— Archbishop Dwyer of Portland (26-Oct-1973)

Recent Posts

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  • “Music List” • 27th in Ordinary Time (Year C)
  • Kids’ Choir Sings Thomas Aquinas

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