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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

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

    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

“The spark of conversion can be struck by a single perfect liturgical gesture.”

— Cristina Campo (1966)

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