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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.”

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Views from the Choir Loft

PDF Download • “Glory To God” for Congregation & Choir (Mass of Saint Noël Chabanel)

Jeff Ostrowski · September 20, 2023

OT IN A MILLION years would I compare myself to Saint Isaac Jogues, aptly described by Francis Parkman (d. 1893) as “one of the purest examples of Roman Catholic virtue which this Western continent has seen.” In just 30 minutes, Father Jogues suffered more for JESUS CHRIST than I have during my entire life. Nevertheless, I’m reminded of a remarkable incident, wherein Jogues wondered whether God “still had work for him to do.” Readers know that I stopped composing back in 2016. Although I had transcribed (beginning in 2001) more than 2,000 pages of Renaissance polyphony, something “clicked” for me in 2016. Specifically, hearing Dr. Calabrese conduct a 4-voice KYRIE by Father Guerrero (d. 1599) made me realize men like Guerrero we’re composing on a completely different level. On the other hand, I’ve enjoyed looking through Mass settings I composed in 2011. I’m trying to decide whether I should revoke the vow I made never to compose again—whether (perhaps) God “still has work for me to do.” If you’re someone who’s found my liturgical compositions to be valuable, please consider saying a prayer for me that I will make the right decision.

“Glory To God” (Chabanel Mass) • Today, I release another movement of the Mass in Honor of Saint Noël Chabanel for the Ordinary Form. It involves your CONGREGATION, your CANTRIX, and your CHOIR. My setting was designed to be extremely brief and (since it’s vernacular) it works for choirmasters whose priests have forbidden the traditional lingua sacra of the church. Click here if you desire to see the movements released so far.

*  PDF Download • “GLORY TO GOD” for Choir + Congregation
—Mass in Honor of Saint Noël Chabanel (for the Ordinary Form).

The “Glory To God” begins with the entire congregation singing, but the middle section launches into SATB polyphony:

Free rehearsal videos for each individual voice await you at #38310.

Demonstration “A” • Traditionally, my settings have made use of stepwise bass motion, “pedal tones” (oblique motion) in various voices, and a careful—almost obsessive—sensitivity to dissonance and consonance:

Here’s the direct URL link.

Demonstration “B” • In my humble opinion, too many Mass settings composed for the Ordinary Form are dreadfully predictable and quickly become stale. My goal was to create a Mass setting which is simple and brief—yet complex enough to keep one’s attention no matter how many times it’s sung. Readers can decide for themselves whether I was successful.

Here’s the direct URL link.

What Remains To Be Done? • Before long, I will release the final movement to my Mass in Honor of Saint Noël Chabanel. Once I’ve done that, I’ll assemble all of the movements and place them on a single web-page (for ease of access). I will also release a “congregational insert” that can be placed in the pews for Catholic congregations.

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

Filed Under: Articles, Featured, PDF Download Tagged With: Father Isaac Jogues, Francisco Guerrero Composer, MASS IN HONOR OF NOEL CHABANEL Last Updated: September 20, 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” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —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

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

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