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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

“Regína Caéli Laetáre” • 18 organ accompaniments

Jeff Ostrowski · April 12, 2023

APPROCHEMENT. Do you know what “rapprochement” means? It’s when two parties come to an understanding. Readers will probably agree that (many) Catholic priests and musicians need a rapprochement—but how can this be achieved? In my opinion, church musicians must follow the words of our Savior (Mt 10:16): “Be ye wise as serpents and innocent as doves.” Regrettably, most priests have never heard a decent choir singing in real life. I’m not talking about a QUARTET—because a soloist singing each part isn’t the same. I’m talking about a rich, sonorous, full, gorgeous choral sound, which I believe will move even a hardened soul when experienced in real life. Here’s a live recording of our volunteer choir singing the Recessional last Sunday:

Regína Cǽli Lætáre • Back in 2020, I posted seventeen (17) accompaniments for the simple Sálve Regína. I promised to do something similar for the other Marian antiphons, and today I offer eighteen (18) organ accompaniments—see below—for the simple Regína Coéli Laetáre. The vast majority follow the rhythmic markings of Dom André Mocquereau, which means they use a distinctive method of syncopating the chords. [Those interested in this should see pages 65-66 of The Politics of Plainchant in fin-de-siècle France by Katharine Ellis.] You can download the French singer’s score, but the Germans sing it differently.

Resplendent Not Repulsive • A word of caution, if I may. Earlier I said church musicians must be “wise as serpents.” For this reason, I suggest we must present music—at least initially—in a way that will attract people, rather than repulse them. Plainsong sung poorly (in a sluggish, lifeless manner) can leave a bad taste in people’s mouths. We who have been studying music for decades already fully understand the beauty of the Marian antiphons, and how important they are. Yet, I worry that if they are a presented in the wrong way, they can have the opposite effect of what we intend. In some (not all) parishes, it might be worth considering including “bright and accessible” pieces along with the Marian antiphons. Below is a live recording of our volunteer choir singing a hymn from the Brébeuf Catholic Hymnal last Sunday. When the women sing in unison, isn’t it gorgeous?

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

Eighteen Accompaniments • Below I’ve assembled eighteen (18) different organ accompaniments for the simple version of the “Regína Coéli Laetáre,” which is the Marian antiphon for Eastertide:

*  PDF Download • 1st Version (Jeff Ostrowski)
—Harmonized by Jeffrey Ostrowski in 2010.
*  PDF Download • 2nd Version (Achille P. Bragers)
—Achille P. Bragers studied at the Lemmensinstituut (Belgium).
*  PDF Download • 3rd Version (Sister Luanne Durst)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 4th Version (Henri Potiron)
—Henri Potiron was choirmaster of Sacred Heart Basilica (Paris) and taught at the Gregorian Institute.
*  PDF Download • 5th Version (Julius Bas)
—Giulio Bas was engaged Solesmes Abbey to harmonize the complete Editio Vaticana.
*  PDF Download • 6th Version (Trappist Monk)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 7th Version (Malton Boyce)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 8th Version (Auguste Le Guennant)
—Dr. Auguste Le Guennant (d. 1972) replaced Dom Gajard at the “Gregorian Institute of Paris”.
*  PDF Download • 9th Version (Dr. Joseph Renner)
—Joseph Renner (d. 1934) succeeded Joseph Hanisch (d. 1892) at Regensburg Cathedral.
*  PDF Download • 10th Version (Jan Kern)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 11th Version (Dom Ferdinand Portier)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 12th Version (Father Percy Jones)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 13th Version (Dom Gregory Murray)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 14th Version (Father Green)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 15th Version (Father Carlo Rossini)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 16th Version (Dom Desrocquettes)
—Dom Jean-Hébert Desrocquettes was organist at Solesmes Abbey.
*  PDF Download • 17th Version (Father Aloysius Knauff)
—REGINA CAELI ORGAN ACCOMPANIMENT.
*  PDF Download • 18th Version (Dr. Theodore Marier)
—REGINA CAELI ORGAN ACCOMPANIMENT.

True Story • I had never heard of “Jan Kern”—but this morning I saw he’s mentioned by Monsignor Francis P. Schmitt on page 78 of Church Music Transgressed: Reflections on “Reform” (1977). How crazy is that? I just happened to be reading that exact page, whereas I had unsuccessfully searched the internet for information about Jan Kern moments earlier. Never forget: When you learn a new word, you’ll see it within 24 hours!

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

Filed Under: Articles, Featured, PDF Download Tagged With: Gregorian Organ Accompaniments, Regina Caeli Organ Accompaniment, Regina Coeli Laetare Last Updated: April 12, 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

    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

“Of course, the Latin language presents some difficulties, and perhaps not inconsiderable ones, for the new recruits to your holy ranks. But such difficulties, as you know, should not be reckoned insuperable. This is especially true for you, who can more easily give yourselves to study, being more set apart from the business and bother of the world.”

— Pope Saint Paul VI (15 August 1966)

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