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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

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “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
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

Don Fernando de las Infantas wrote to the Pope, trying to get him to stop Palestrina from corrupting all the plainsong editions: “The errors which certain musicians, in all good faith, think they have found in plainchant are not errors at all, but on the contrary contain some of the most beautiful musical passages ever written.”

— Don Fernando de las Infantas (1578 A.D.)

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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