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Views from the Choir Loft

Six (6) Pernicious Hymn Pairings

Jeff Ostrowski · May 4, 2023

AM NO STRANGER to the typical musical situation in the Catholic Church. I certainly don’t want readers to label me as a nattering nabob of negativism (in the words of Spiro Agnew). Nevertheless, I think most readers would agree the current situation is heartbreaking. Goofy, undignified, secular songs are played during the Holy Mass, and frequently the texts are barely even Christian (much less Catholic). When I began working for the Catholic Church, my Pastor—who referred to himself as “the most conservative priest in the city”—urged me to play You Are The Wind Beneath My Wings after Communion. He told me it was his favorite COMMUNION MEDITATION SONG. (I refused to play it.) Through no fault of their own, some clerics have no idea what constitutes liturgical music. I hardly need to belabor the point; most readers are all too familiar with the situation.

Simple Music Done Well • I personally can’t stand hearing music done poorly. I suspect I got this trait from my mother. That’s why I regularly promote sacred music within reach of the ‘average’ Catholic cantor, organist, or choir. Something I’ve praised over and over is the “shared melody technique” pioneered by the Brébeuf Hymnal.

Not So Fast! • I have emphasized that “marrying” hymn texts with hymn tunes must be approached with sensitivity. At the same time: You can please some of the people some of the time, but you can’t please all of the people all the time. Different cultures have different traditions and expectations. For example, in Germany, the melody for O SANCTISSIMA is reserved for Christmas Eve. Needless to say, in the United States, we sing O SANCTISSIMA (with a text to the blessed mother) throughout the liturgical year.

Pernicious Pairings:

Example A • Some pairings, in my humble opinion, are indefensible. Consider this example from the “Hymnal of Christian Unity” published in 1964 by Clifford A. Bennett and Paul C. Hume. The IMPRIMATUR (24 April 1964) came from the bishop of Toledo:

*  PDF Download • PERNICIOUS PAIRING OF TEXT W/ MELODY (A)

Example B • The following pairs a text by SAINT ROBERT SOUTHWELL—a brave Jesuit priest, brutally martyred by the Anglicans in 1595AD—with a melody that’s … well, you’ll see:

*  PDF Download • PERNICIOUS PAIRING OF TEXT W/ MELODY (B)

Example C • The third example comes from the SAINT PIUS XII HYMNAL, published in 1959 with accompaniments by Joseph Roff. I think you’ll understand why I consider this a “pernicious” pairing:

*  PDF Download • PERNICIOUS PAIRING OF TEXT W/ MELODY (C)

Example D • The fourth example comes from the “Saint Rose Hymnal,” with an IMPRIMATUR from 1 October 1938. It pairs a cheerful, sparkling, bright melody (“Cor dulce, Cor amábile”) with the hymn sung on Good Friday:

*  PDF Download • PERNICIOUS PAIRING OF TEXT W/ MELODY (D)

Example E • The following comes from the “Laudate Hymnal” published in 1942 by Father Green and Father Koch. They pair a traditional Marian tune with a Christmas text:

*  PDF Download • PERNICIOUS PAIRING OF TEXT W/ MELODY (E)

Example F • Finally, consider this example from “Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States” (1910) published in Peoria, Illinois:

*  PDF Download • PERNICIOUS PAIRING OF TEXT W/ MELODY (F)

Enough Is Enough • I could easily provide more examples, but hopefully you understand the point I’m trying to make. Some of the worst examples come from today’s legacy publishers, such as GIA PUBLICATIONS and OREGON CATHOLIC PRESS. Whoever edits those books seems to lack a basic understanding of linguistic register. For example, in this recent GIA hymn, the register is a total disaster. The GIA book mixes less formal language like “the Way we’re called” with more formal language like “the road you trod.” Perhaps they did that because they couldn’t come up with anything to rhyme with “GOD.” The rhymes are juvenile and predictable (e.g. “the Life, the Truth, the Way” rhymed with “for each new day”). The results are ghastly, and such hymns are almost never sung by anyone. Those familiar with the wonderful hymn Praise, My Soul, the King of Heaven—with a fabulous melody by John Goss (d. 1880)—will most likely be offended by that pairing.

Time Heals All Wounds • By the way, human beings can easily become accustomed to something—even if it’s incorrect. For example, many Protestants grew up singing a hymn called Abide with me with a text by Henry Francis Lyte (d. 1847). The melody is called “EVENTIDE.” The problem is, the very first word is wrong. The correct pronunciation is “a-BIDE” whereas the tune erroneously places the accent on the first syllable. Those who like this hymn will never admit the accentuation is flawed—they will go to their graves defending it. They’ve sung it so often that it no longer seems incorrect (to them). Another example of bad accentuation found in a popular hymn would be: “O comforter, to Thee we cry” in Father Caswall’s paraphrase of Véni Creátor Spíritus. The melody by Father Louis Lambillotte (d. 1855) places the accent as if it were “comfor-TER,” but the correct pronunciation is “COM-forter.” Yet another example comes from a gorgeous hymn called When I Survey the Wondrous Cross with text by Isaac Watts. Consider the accentuation of the word “sorrow” in its third verse. [However, that’s not as noticeable since it happens during an inner verse, rather than the first verse.]

One More Pernicious Pairing!
Jeff Ostrowski considers this to be a pernicious pairing:

*  PDF Download • “Christmas Carol”
—Published in 1925, it pairs “O Fílii Et Fíliæ” with a Christmas carol.

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

Filed Under: Articles, PDF Download Tagged With: Clifford A Bennett, Common Hymn Melodies, Father Robert Southwell, GIA Worship Hymnal, Paul C Hume, Pernicious Hymn Pairings Last Updated: November 23, 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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Corpus Christi Watershed

President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —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

“Many of those who have influenced the reform […] have no love, and no veneration of that which has been handed down to us. They begin by despising everything that is actually there.”

— Cardinal Antonelli (Peritus during the Second Vatican Council)

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