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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

“Is This an Error?” • The Answer Is Complicated

Jeff Ostrowski · October 13, 2023

N A RECENT article, I said that pedantry can only take the conscientious choirmaster so far. Specifically, I provided three brief audio clips of Glenn Gould breaking the “commitment rule” in three different fugues. For the record, Gould’s teacher was a man named Alberto Guerrero (d. 1959); and you’ll see why I mention this random tidbit if you keep reading. When it comes to the subject of text underlay in Renaissance polyphony, pedantry can sometimes lead us down a false path.

Consider This Example • One of my professors at the conservatory used to say: “An example is worth 1,000 words.” Therefore, consider the following example, which comes from the GLORIA of “Missa Iste Sanctus” by Father Francisco Guerrero (considered one of the greatest composers of all time):

Is This An Error? • Surely you noticed a discrepancy involving Déus Páter omnípotens. Many would assume it’s an error in text underlay … but beware! The reality is—and this is not easy for certain people to accept—such discrepancies happen frequently in Renaissance polyphony. As I explained in the aforementioned article, music’s ultimate purpose is not pedantry.

Before you “correct” the score, consider the following:

(1) Sometimes composers didn’t write out the text underlay for each voice. This seems to have been a “convention”—that is to say, it doesn’t automatically mean instruments (instead of voices) would play that line.

(2) Sometimes the composer’s text underlay was thwarted by his publisher. In graduate school they taught us that not all publishers respected the wishes of composers when it comes to text underlay.

(3) There are instances where Father Guerrero, in a subsequent edition, would make changes to the text underlay—and sometimes these changes were quite interesting! That would suggest even the greatest of composers felt there was some “freedom” involved.

(4) It’s entirely possible that “discrepancies” such as the one shown above are not errors at all. Indeed, the composer may have had a reason for placing particular words at particular spots. As a composer, my text underlay is often determined by vowel sounds I desire at particular moments.

(5) It is absolutely possible that false text underlay crept in because of human error. We know the publishers sometimes paid a “proofreader” who looked over the part books before publication. It is eminently reasonable to assume some proofreaders were more skilled than others.

(6) There was an early composer who stuffed all his compositions into a box shortly before he died. Many years later, the box was opened up. In that case, we can be sure of the composer’s text underlay! But this is seldom the case. If memory serves, Palestrina married a rich woman. Because of this wealth, he was able to publish his own music (which probably means his text underlay is more accurate).

Try this one on for size!

*  PDF Download • GLORIA (Cristóbal de Morales)
—From Missa Mille Regretz.

Article Summary • What I’ve written constitutes the final, irrevocable, unassailable, and indisputable approach to text underlay. 😁 I’m kidding, of course! This subject is fraught with difficulty.

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

Filed Under: Articles Tagged With: Missa Mille Regretz, polyphonic text underlay, Renaissance Text Underlay, Text Underlay Renaissance Sacred Music Last Updated: November 14, 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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President’s Corner

    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
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

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 ratio of voices in modern choirs is usually wrong. Basses should be numerically greatest, then altos, then tenors, then sopranos. One good soprano can carry a high “A” against 30 lower voices.

— Roger Wagner

Recent Posts

  • Liturgical Round (“Canon”) in C-Major
  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir
  • Latin Liturgy Association
  • Important Quote by a Church Musician
  • Fulton J. Sheen Played The Pipe Organ!

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