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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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “Reminder” — Month of October (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

Quick Thoughts

    “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
    “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

“We must say it plainly: the Roman rite as we knew it exists no more. It has gone. Some walls of the structure have fallen, others have been altered—we can look at it as a ruin or as the partial foundation of a new building. Think back, if you remember it, to the Latin sung High Mass with Gregorian chant. Compare it with the modern post-Vatican II Mass. It is not only the words, but also the tunes and even certain actions that are different. In fact it is a different liturgy of the Mass.”

— Fr. Joseph Gelineau (1978)

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