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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

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

“We decided to entrust this work to learned men of our selection. They very carefully collated all their work with the ancient codices in Our Vatican Library and with reliable, preserved or emended codices from elsewhere. Besides this, these men consulted the works of ancient and approved authors concerning the same sacred rites; and thus they have restored the Missal itself to the original form and rite of the holy Fathers.”

— ‘Pope St. Pius V (Quo Primum, 1570)’

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