• 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

Four (4) Shimmery Hymns for Lent & Passiontide

Jeff Ostrowski · March 23, 2023

ARRATIVES. True or false, right or wrong, transparent or subtle—Americans love narratives. And once a narrative gets rolling, it’s difficult to reverse. A good example is the WATERGATE affair in the 1970s. The narrative goes something like this: “Watergate proved that even the president must obey the laws of the land.” And yet the true story is quite different. For instance, the “narrative” tells us that Bob Woodward and Carl Bernstein “proved that the American justice system must prevail against those who break the law.” And yet, their source (whom, incidentally, they betrayed) flagrantly broke numerous federal laws by leaking secret information. But Woodward and Bernstein are fine with those laws being broken! Indeed, Woodward recently published a book using thousands of secret documents removed illegally from the White House by Alexander Butterfield (assistant to President Nixon’s chief of staff). So it would seem “some laws are more equal than others.” But nobody wants to hear this, because it goes against the narrative.

Another False Narrative • A very common narrative deals with hymnody. It is said: “Protestants have all the good hymns, and Catholics have none.” My friends, this is false. The legendary Father Fortescue (d. 1923) explains the true state of things:

“There is not and there is never likely to be any religious poetry in the world worthy to be compared with the hymns of the Latin office. […] Our old Latin hymns are immeasurably more beautiful than any others ever composed. Other religious bodies take all their best hymns in translations from us. It would be a disgrace if we Catholics were the only people who did not appreciate what is our property.”

The Brébeuf Catholic Hymnal—which contains about 800 hymns—provides marvelous translations for the ancient Catholic hymns by priests and bishops such as Fitzpatrick, Knox, Popplewell, Caswall, Saint Thomas More, Saint Philip Howard, Saint Robert Southwell, Husenbeth, Bagshawe, and many others. Below, I provide several live recordings of Brébeuf hymns our volunteer choir has sung recently.

Brébeuf Hymn #532
Vexilla Regis Prodeunt
(“The King’s bright banner gleams above”)
For Lent + Passiontide:

M To access this hymn’s media in the Brébeuf Portal, click here.

Father Adrian Fortescue (d. 1923) calls Vexilla Regis Prodeunt “perhaps the greatest of all hymns.” It was written by the legendary Venantius Fortunatus, Bishop of Poitiers (who died circa 600AD). Bishop Fortunatus wrote many famous hymns: Pange Lingua Gloriosi, Salve Festa Dies, Quem Terra Pontus Sidera, and so forth. Traditionally, it was sung at Vespers in Passion-tide and at the procession with the SANCTISSIMUM on Good Friday morning. The translation comes from page 191 of Vespers Book for the Use of the Laity (1841), by Rev. Frederick C. Husenbeth, a Catholic priest, who also edited The Roman Missal for the Use of the Laity (1848). The melody is attributed to Frederick A. G. Ouseley (d. 1889), a professor of music at Oxford. The first few notes of the melody sound similar to “God Save the King.”

Brébeuf Hymn #688
“O Come And Mourn With Me Awhile”
(Father Frederick William Faber)
For Lent + Passiontide:

M To access this hymn’s media in the Brébeuf Portal, click here.

Father Frederick William Faber (d. 1863) was a Roman Catholic priest known for his preaching, publications, and hymn texts. A disciple of Cardinal Newman, he founded the London Oratory. The Brébeuf Hymnal took the melody from page 53 of the New Westminster Hymnal (1939), which was primarily the work of Monsignor Ronald Knox (d. 1957) and Dom Gregory Murray (d. 1992). The text was included in the Catholic Hymn Book (London Oratory, 1998) on page 105.

Brébeuf Hymn #54
Ad Preces Nostras Deitatis (“God, of thy pity, unto us thy children”)
For the holy season of Lent:

Alan Gordon McDougall (d. 1965) wrote: “This hymn has now been superseded by O Sol Salútis Íntimis. It’s loss is much to be regretted, as it is one of the most beautiful examples of mediaeval hymnody.” Some sources list it as “Aures ad nostras deitatis preces” while others call it “Ad preces nostras deitatis aures.” The source of the text is page 19 of Pange Lingua: Breviary Hymns of Old Uses (1916). It is also found on page 45 of the New Westminster Hymnal (1939). The melody was included on page 416 in the London Oratory’s Catholic Hymn Book (1998). It can also be found on page 221 of the Worship II Hymnal (GIA, 1975). The melody seems to have originated in a VESPERALE (Poitiers, 1746). Organists who desire harmonies for the “final verses” should consult #106 of Richard Lloyd’s collection (1993) #106 or #168 of Noel Rawsthorne’s collection (2011). The text can also be found on page 225 pf the LIBER HYMNARIUS (Solesmes, 1983). Many great composers have set this text, such as Father Guillaume Du Fay (d. 1474) and Father Tomás Luis de Victoria (d. 1611). Pages 50-51 in the Brébeuf Catholic Hymnal contain the only known literal translation to English.

Brébeuf Hymn #484
“Stabat Mater” from a 1687AD Catholic Hymnal:

M To access this hymn’s media in the Brébeuf Portal, click here.

This breathtaking translation of the STABAT MATER was allowed to be printed in London since it appeared during the reign of James II of England, a Catholic. He had converted from Anglicanism secretly in 1667, and refused to take a mandatory oath (1673 “Test Act”) denouncing the doctrine of Transubstantiation, instead choosing to relinquish the post of Lord High Admiral. A devout man, he once said: “If occasion were, I hope God would give me his grace to suffer death for the true Catholic religion as well as banishment.” His brother, who reigned as King of England until 1685, became a Catholic on his deathbed. Monsignor Hugh T. Henry has pointed out that some hymnals corrupted the hymn’s true title, which the Brébeuf Hymnal correctly prints as: “Under the world-redeeming Rood.” These other hymnals erroneously printed the words as: “Under the world’s redeeming wood.” In an attempt to guess who created this elegant translation of the Stabat Mater, Monsignor Henry wrote: “It is not improbable that Dryden was its author, for his conversion to Catholicity took place in 1686—one year before the translation appeared—and he is known to have translated some of the old Latin hymns of the Divine Office. Certainly the unction, the poetic diction, the powerful rhythms, the close antitheses, of this exquisite poem are worthy of his pen.” The melody in the Brébeuf Hymnal is based on “O Mensch, sieh wie hie auf Erdreich.” The source of the text is: “The Office of the B. V. Mary in English, to which is added the Vespers in Latin and English, as it is sung in the Catholic Church upon all Sundays and principal Holy-days throughout the whole Year” (London: Printed by Henry Hills, Printer to the King’s Most Excellent Majesty for his Household and Chappel; And are to be sold at his Printing-house on the Ditch-side in Black-Fryers, 1687) p. 393.

Why Only Hymns? • I often share various hymns that we have sung; but perhaps I should do a better job of sharing the other music we do each Sunday. In an effort to atone for my shortcomings, here are a few excerpts from last Sunday’s Mass:

*  Mp3 Excerpt • MEDIEVAL AGNUS DEI
—During Lent we have been singing a medieval version based on Agnus XV.

*  Mp3 Excerpt • “JUSTORUM ANIMAE”
—This comes from “Matri Divinæ Gratiæ,” a collection by composer Kevin Allen.

*  Mp3 Excerpt • KYRIE ELEYSON
—The piece is by Lassus, based on the Ave Maris Stella.

*  Descant Hymn • (since “Lætare Sunday” has organ)
—You can learn more about this hymn if you click here.

*  Introit • “Plainsong accompanied by organ”
—The girl who cantors has been with us less than a year!.

*  Mp3 Excerpt • Credo Mixture
—We sing the Creed with (unaccompanied) plainsong + polyphony.

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

Filed Under: Articles, Featured Tagged With: Hymns for Passiontide, Rare Hymns for Lent, STABAT MATER DOLOROSA, Vexilla Regis Prodeunt, Worship II Hymnal GIA Last Updated: March 23, 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

    “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
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th 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 top-notch feasts website alongside the official texts in Latin.
    —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

“These liturgists protest that the choir must be encouraged, but in the same breath we are told its purpose is to lead the congregation in the singing of hymns and other unison music. These directions from non-musicians who have never created a musical sound—let alone direct a choir—are the cause of consternation among practicing musicians, both instrumentalists and singers.”

— Monsignor Richard J. Schuler (30 November 1967)

Recent Posts

  • PDF Download • Christmas Piece (SATB) — “Angels We Have Heard on High” with Text in Latin
  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs
  • Typo in the “Missale Romanum” (1962)

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.