• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Eucharistic Hymn by the Archbishop of Canterbury

Jeff Ostrowski · September 13, 2023

ONEST. Be honest when I ask you this question: “How many of your parishioners could recite from memory even a simple prayer like Tantum Ergo in English?” Can you? Here is my attempt (without looking at any book): “Bowing low, therefore, let us adore so great a Sacrament. The old law yields to the new rite. And if our human understanding is deficient, a lively faith will make up for what’s lacking.” How did I do? I hope I was basically correct. You can compare my attempt to this literal translation by Monsignor Charles E. Spence.1

Combating Heresy • Floating around even today is the false notion that we should not adore JESUS CHRIST at Mass. As a matter of fact, adoration is hugely important at Mass. From what I can tell, the heresy began in the post-conciliar years. For example, the AMERICAN CATHOLIC HYMNBOOK (1992) included injunctions such as (direct quotations):

(1) “Hymns directed to the Trinity as such or to each person successively should not be used”;
(2) “The Mass is not primarily a time for silence and adoration of Christ”;
(3) “Holy Father is a good Communion hymn precisely because it is not in adoration of Christ.”

The editors brag that their “translation” of ADÓRO TE DEVÓTE completely changes the meaning of the original. Indeed, on page 655, the editors say Tantum Ergo should never (!) be used at Mass! In the post-conciliar years, some also emphasized the “banquet” aspect of Mass while downplaying (or even denying) the reality that Mass is primarily a sacrifice.

Archbishop of Canterbury • Before England fell away in 1534AD, it had a vigorous and vibrant intellectual life which supported the Holy Catholic Faith. John Peckham (d. 1292) was a Franciscan friar and Archbishop of Canterbury starting in 1279AD. He was such a powerful philosopher and theologian that he actually beat Saint Thomas Aquinas in a Paris debate (at least according to one priest I spoke to). The Brébeuf Catholic Hymnal provided—for the first time in history—a literal English translation of Archbishop Peckham’s magnificent and lengthy hymn to the Holy Eucharist. The Brébeuf Hymnal also provides numerous musical settings for it, as well as various “singable” translations by Catholic priests and bishops. Here is a short excerpt of what is without question one of the Church’s mightiest treatises on the SANCTISSIMUM:

*  PDF Download • EXCERPT (Archbishop Peckham’s Eucharistic Hymn)
—The entire hymn is translated in The Saint Jean de Brébeuf Hymnal.

Last Sunday, our volunteer choir attempted the “singable” translation created by Monsignor Ronald Knox:

To access this hymn’s media in the Brébeuf Portal, click here.

Theodore Marier • The tune is wonderful, and was used at least three times by Dr. Theodore Marier in his hymnal: Pages 310, 401, and 217. Our choir will eventually sing that piece in Latin, but it’s still needs a little work. We use that same tune when we sing the “Ave Maris Stella” in English:

To access this hymn’s media in the Brébeuf Portal, click here.

Indeed, the Brébeuf Hymnal includes several other texts with that same melody, as you can discover by doing a search on the HYMN PORTAL for “Ave Virgo Virginum.”

Still Learning • Another hymn we’re learning is REGENT SQUARE. At present, we’re singing that melody in unison with organ accompaniment (see below) but we plan on learning the SATB harmonies found in the Brébeuf Hymnal, which are particularly resplendent.

To access this hymn’s media in the Brébeuf Portal, click here.

Music Is Crucial • To be completely honest, I don’t know whether I could have successfully completed the “challenge” presented at the beginning of this article were it not for music. Singing things over and over again helps me remember and understand them. The whole idea behind the Brébeuf Hymnal is to imitate Father John Brébeuf and his companions, who cleverly placed the various truths of the Faith into songs and rhymes (in the languages of the Native Americans). Anyone who has read about these holy Jesuit missionaries realizes how much they suffered in order to learn the native tongues. The Huron language was particularly difficult, because the sounds emanated from one’s stomach. For someone like Father Noël Chabanel, it was a particular cross not to be able to learn that language (without great difficulty) because he had been a college professor in France whose specialty was rhetoric and poetry.

1 A splendid literal translation into English can also be found on page 347 of the Brébeuf Catholic Hymnal. Indeed, the entire prayer (“Pange Lingua”) by Saint Thomas Aquinas can we found there, as well as numerous musical versions and excellent “singable” (metrical and rhymed) translations by Catholic priests and Bishops.

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

Filed Under: Articles, Featured, PDF Download Tagged With: Common Hymn Melodies, Monsignor Charles E Spence, Monsignor Ronald Knox Traditional Mass, Tantum Ergo Sacramentum Last Updated: September 13, 2023

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

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

Luys de Villafranca, master of the altar boys—who are to be distinguished from the choirboys (“seises”) because they study only plainchant whereas the choirboys live with the chapelmaster and study polyphony and counterpoint as well—is rewarded on October 17 with a salary increase of 6,000 maravedís and an extra 12 bushels of wheat.

— Sevilla Cathedral: Chapter Resolution (7 September 1565)

Recent Posts

  • New Bulletin Article • “21 September 2025”
  • How do you pronounce this word in Latin?
  • Cheap! Cheap! Cheap!
  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.