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Views from the Choir Loft

(Quiz) • “How Well Do You Know Your Hymns?”

Jeff Ostrowski · September 19, 2023

ERHAPS SOMEDAY our Savior will send us a liturgical reformer. He has sent reformers in the past. Examples would be Saint Charles Borromeo (d. 1584), Saint Francis of Assisi (d. 1226), Pope Saint Pius X (d. 1914), Saint John Mary Vianney (d. 1859), and Saint Gregory the Great (d. 604). For the record, authentic reform is the result of personal sanctity—prayer and serious penance—not dwelling on scandal. Of course, I’m keenly aware that certain “internet Catholics” spend hours each day gleefully documenting church leaders’ scandals.1 But we must resist the urge to dwell on scandals. Instead, God expects us to spend our energy providing solutions to our current situation. Without question, the vocation of Catholic choirmaster is very challenging. For this reason, I have suggested that we must utilize every tool at our disposal if we hope to succeed. First-rate hymnody certainly constitutes part of the equation. I recently posted a magnificent Eucharistic hymn by the Archbishop of Canterbury. The translation is by MONSIGNOR RONALD KNOX, considered by some to be the 20th century’s greatest theologian. The verses are superb. Omitting even one would be a travesty. On the other hand, people these days tend to have a very short (TikTok length) attention span. To solve this dilemma, I find it useful to improvise on the pipe organ between stanzas. This is also a wonderful way to prevent the pitch from sinking!

Can You Name That Tune? • Each Sunday, I play the pipe organ at numerous Masses. Sometimes, I play so much my brain enters a “stupor.” As a result, I never know what might happen during my improvisations. Last Sunday, I randomly started playing a particular hymn melody in between the stanzas. (Purists would frown on mixing hymns together!) How well do you know your hymns? If you recognize the tune, please email me using the address provided at the bottom of this page. If you get it right, I’ll declare that you really know your stuff! The first improvisation happens after verse two:

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

Theological Echoes • The brave martyr, Father Robert Southwell (d. 1595), wrote a spectacular hymn to the SANCTISSIMUM, included as #342 in the Brébeuf Catholic Hymnal. One of the stanzas says:

What God as author made, He alter may,
No change so hard as making all of nought:
If Adam fashion’d were of earthly clay,
Bread may to Christ’s most sacred fiesh be wrought.
This may He do Who made, by strength divine,
A snake of Moses’ wand, of water wine.

In my humble opinion, Father Southwell’s words seem to ‘echo’ the fifth verse of the hymn by John Pecham (d. 1292), Archbishop of Canterbury. Certainly Southwell would have been familiar with his oeuvre. And when you get to the sixth verse (“Plead, true Victim, in our stead”), don’t you agree that it’s reminiscent of the following passage by Monsignor Knox?

“The sacrifice of the Mass is a mystery, and perhaps its relation to the sacrifice on the cross is the most mysterious thing about it. Only this is certain, that the victim who is there presented to the eternal Father for our sakes is the dying Christ; it is in that posture that he pleaded, and pleads, for our salvation, atoned, and atones, for the sins of the world. We herald that death in the holy Mass, not as something which happened long ago, but as something which is mystically renewed whenever the words of consecration are uttered. From the moment of his death on Calvary until the time when he comes again in glory, the dying Christ is continually at work, is continually available. It is in this posture of death that he pleads for us, when the Mass is offered.”

Limited Rehearsal Time • The conscientious choirmaster knows how precious each minute of rehearsal is. For that reason, I often take advantage of the shared melodies (“common tunes”) in the Brébeuf Hymnal. For example, consider one of the other hymns we sang last Sunday:

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

Variety, Variety, Variety! • I have suggested that having musical diversity is crucial to our success as Catholic choir directors. For instance, you will notice we had a somber communion hymn last Sunday:

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

Because we had that somber melody at communion, I made sure to have a bright and happy recessional hymn. We haven’t learned all the parts yet, so I put the men on TENOR and the women on SOPRANO:

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

A Note On “Participation” • The Second Vatican Council solemnly declared: “The treasury of sacred music [thesaurus musicae sacrae] is to be preserved and fostered with great care.” It doesn’t take a rocket scientist to understand that much of the THESAURUS MUSICAE SACRAE cannot be sung by the “assembly.” To be blunt, only a very stupid person would pretend otherwise. And yet, some have the audacity to claim that “according to Vatican II” choirs have no place at the Holy Mass. What a bizarre assertion! Indeed, Catholics in future decades will look upon many post-conciliar reforms with bewilderment. Consider lay Catholics proclaiming Sacred Scripture during Mass. The basic idea was that having members of the congregation (including women beginning in the late 1960s) proclaim the readings would increase “participation.” But does that make any sense? When the priest proclaimed the readings, 500 members of the congregation sat and listened. When a member of the congregation reads instead of the priest, you’ve done virtually nothing to increase “lay participation” because one layman reads while 499 sit and listen. Indeed, this post-conciliar experiment taught us something surprising! Having an ordained minister proclaim the readings during Mass was preferable, because it reinforced the sacrality of the Word of God—whereas having “Joe Six-Pack” stroll into the SANCTUARY to proclaim the readings can have the opposite effect.

Article Summary • When he was just eight years old, Abraham Lincoln’s mother died from drinking spoiled milk. His father remarried, meaning seven (7) people were living in a log cabin with a dirt floor. During his entire life, Lincoln only had about one year’s worth of school. Whenever he heard somebody had obtained a book, he would walk miles (!) in order to be able to read that book. A single book! Nowadays, I can fit every book ever published (since the world began) on a tiny thumb drive. We have different challenges today; specifically how to present authentic sacred music without getting fired. In the article above, I have attempted to provide some tips and shortcuts to help Catholic music directors in their vocation.

1 I personally know Catholics who began with good intentions but became addicted to “clicks.” They noticed something. They noticed that whenever they spread the word about evil statements and scandalous actions by high-ranking clergy, they got massive clicks. [Notice I chose my words carefully. They’re not “reporting,” they’re “spreading the word”—and there’s a huge difference.] After a few years, these people became unrecognizable. Their entire existence became dedicated to gaining as many clicks as possible. They were no longer recognizable as human beings. They had become monsters who would (without thinking twice) sell their own children into slavery as long as it got them a few more clicks.

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, John Pecham Archbishop Canterbury, Latin Mass Musical Diversity, Thesaurus musicae sacrae Last Updated: September 19, 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

    “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
    “Music List” • Pentecost Sunday
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for Pentecost Sunday (8 June 2025). If such a thing interests you, feel free to download it as a PDF file. Because our choir is on break this week, the music is relatively simple.
    —Jeff Ostrowski
    “Truly Great Processional” • (Pipe Organ)
    I stumbled upon this live recording of a PROCESSIONAL I played on the pipe organ in 2002. It’s an excerpt from a much longer composition by Sebastian Bach. In those days, there weren’t sophisticated recording devices allowing one “fix” wrong notes. (Perhaps they existed, but we didn’t have machines like that.) So it was necessary to play the entire piece from beginning to end. If you’re a church organist, feel free to download the PDF score. I suppose it’s only a matter of time until some joker uses “artificial intelligence” to play music at church … but there’s something so satisfying about playing an organ in real life.
    —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

No concession should ever be made for the singing of the Exsultet, in whole or in part, in the vernacular.

— ‘Fr. Augustin Bea, S.J. in the years immediately before the Second Vatican Council’

Recent Posts

  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday
  • “Participation” • Recovering its Receptive Dimension
  • “Breathtaking Photographs” • First Mass of Father Michael Caughey, FSSP (Muskegon, MI)

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