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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

Jeff Ostrowski’s Discovery • (Does Anyone Care?)

Jeff Ostrowski · September 11, 2023

HAVE NO IDEA whether anyone out there will care about my discovery, but I’ve decided to share it anyway. When it comes to the art of typesetting Gregorian chant, the most difficult part involves determining each line break. One can save tons and tons of time by copying (plagiarizing?) another book that’s already been finished. I consider the beautiful Gregorian books published in the 19th century to be true works of art, and would love to learn more about how they were produced. It would take me months to create a “plate” for even one page—can you imagine producing thousands of pages each week?

A Brief Digression • It would be hard enough to produce Gregorian chant books in Latin. Did you know the Native American Catholics were allowed to sing at the Catholic High Mass using (their) vernacular languages such as Huron, Iroquois, and Algonquin? In the color-page section, the Brébeuf Catholic Hymnal provides beautiful examples of such scores. As far as we can tell, this permission was first given in the 17th century. In the 19th century, thousands of pages of “Native American Plainsong” were printed. It surely required an astounding amount of work. For example, consider the following page (with an 8 August 1860 IMPRIMATUR from the bishop of Montreal):

*  PDF Download • Native American Plain-Chant (Sample Page)

Jeff’s Discovery! • I have discovered books which replicate the line breaks from other books. It’s kind of sneaky in a way, because they are “piggybacking” on the grueling work done by others. Consider the 1909 edition of the GRADUALE ROMANUM by Father Franz Xaver Mathias, who in 1913 founded The Saint Leo Institute for Sacred Music. Corpus Christi Watershed has scanned and uploaded that entire book, so feel free to examine every single page if you doubt what I’m saying. Below is the Communion antiphon for the 19th Sunday after Pentecost:

Springer Copied • Max Springer (1877-1954) was an organist, composer, and professor who became organist at the Royal Abbey of Emaus (PRAGUE), a branch of Beuron Abbey. At the university, he studied with Antonín Dvořák. In 1926, he became director of the University of Music and Performing Arts (VIENNA). On 29 June 1906, Dom Lorenzo Janssens—a member of the Vatican Commission on Gregorian Chant—sent Max Springer a congratulatory letter on behalf of Pope Pius X with regards to Springer’s book: “The Art of Accompanying Plain Chant.” Corpus Christi Watershed has scanned and uploaded Springer’s edition of the GRADUALE ROMANUM as a PDF document (so feel free to examine every page if you doubt what I’m saying). Max Springer copied—or “used as a basis”—the typesetting of Father Mathias:

Another Example • Those who read my articles remember the momentous edition of the GRADUALE ROMANUM published in 1883 by Abbat Pothier called the Liber Gradualis. Believe it or not, the book was originally intended for use only by the Benedictine communities. Indeed, the Liber Gradualis, with IMPRIMATUR of the Bishop of Tournai (23 May 1883), was called:

The Liber Gradualis originally compiled by Saint Gregory the Great, subsequently revised and greatly expanded by authority of the Supreme Pontiffs—restored and provided with musical notation in the manner of our forefathers in a manner faithful to the manuscripts, published for the use of the Benedictine Congregation of France by order of its Presiding Abbat.

In 1920, Dom Mocquereau described Pothier’s Liber Gradualis in these words: “published by order of the Abbat of Solesmes, for the exclusive use of his congregation.” As we know, that’s not how things turned out. For twenty years, it was used all over the place with great success. Since we have already examined the Communion antiphon for the 19th Sunday after Pentecost, let’s see how that appears in the 1883 Liber Gradualis of Dom Pothier:

Copied By Schwann • The typesetting of the 1883 Liber Gradualis was copied (see correction below) by the Schwann editors when they printed the Editio Vaticana version of the GRADUALE ROMANUM in 1908. Remember, when I say “typesetting,” I’m referring to the determination of the line breaks:

Another Copy-Cat! • Indeed, Dom Lucien David copied or “borrowed” or replicated the typesetting of the SCHWANN (1908) when he produced his magnificent edition in 1932 (written on five staves):

What is the significance of my discovery? I must admit, it has no great significance. I just find it interesting that certain editions were “based upon” other editions. Those who produced books in our times would do well to copy the line breaks of gorgeous books already published.

Correction (13 September 2023) • The keen eyesight of Dr. Charles Weaver has pointed out that SCHWANN 1908 did not replicate Pothier’s 1883 version. It’s close, but not identical. I apologize for this error. However, it still remains true that in 1932 Dom Lucien David did copy the type-setting of the 1908 SCHWANN.

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

Filed Under: Articles Tagged With: Abbat Joseph Pothier, Native American Gregorian Chant Books, Native American Plain-Chant, Native American Plainsong Last Updated: September 13, 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

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

Quick Thoughts

    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
    “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

Random Quote

“The chapter decides that henceforth neither singers nor instrumentalists may be loaned to any outside individual or organization, any more than can the chalices or copes owned by the cathedral. This prohibition applies to all those days of the church calendar for which polyphony is designated.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (13 June 1561)

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