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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

Our Most Popular Download Ever? • (Advent Hymn)

Jeff Ostrowski · December 16, 2023

T CAN BE SURPRISING to see which PDF files garner downloads. Certain ‘popular’ items—such as the Missa de Angelis organ accompaniments—have been downloaded 80,000 times. The harmonization of “Tantum Ergo” by Flor Peeters has been downloaded more than 40,000 times. The LALEMANT PROPERS (elementary settings for Propria Missæ in the Ordinary Form) have been downloaded more than 47,000 times. On the other hand, some files don’t receive fitting attention; e.g. the rare Münster Hymnal (123 pages), released a few days ago. That book is fascinating—but the download link was placed toward the article’s end. Perhaps readers were reluctant to scroll down.

Helmsley Hymn • I was astonished to observe the high number of downloads on my recent article, which provided an ADVENT TEXT by Father Seraphim set to the “Helmsley” tune. (To hear what HELMSLEY sounds like, click here. You’ll probably recognize it immediately.) Since Father Seraphim’s version caused such a sensation, today I release a Latin text married to the “Helmsley” tune. According to a Catholic tradition—which has been largely forgotten—melodies sung at BENEDICTION OF THE BLESSED SACRAMENT changed depending upon the season. For example, consider the Chant Service Book (Achille P. Bragers, 1941), which has “seasonal melodies” for the O SALUTARIS HOSTIA. During ADVENT, Bragers uses an Advent melody (Creator Alme Siderum); during CHRISTMASTIDE, Bragers uses a Christmas melody (Jesu Redemptor Omnium); during LENT, Bragers uses a Passiontide melody (Vexilla Regis Prodeunt); and so forth. That allows congregations singing at BENEDICTION to match the liturgical season. The “Arundel Catholic Hymnal” (1899) contained as many as fifteen different tunes (!) for a single text. Here is Tantum Ergo Sacramentum set to an Advent melody:

*  PDF Download • TANTUM ERGO (Advent Melody)
—Re: “Seasonal Melodies” cf. Achille P. Bragers Chant Service Book (1941).

My volunteer choir recently sang this splendid piece:

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

*  Mp3 Download • “Genitori Genitoque” w/ AMEN

Kenneth’s Broken Promise • In 2004, I attended a conference called “Nadia Boulanger and American Music” held at the University of Colorado at Boulder. I met a participant from England who served as music director for an Anglican church. In this article, I will refer to him as “Kenneth.” When he told me his favorite hymn was HELMSLEY, I immediately exclaimed: “But that’s such a difficult piece for the congregation to sing because of its range!” Kenneth insisted that his entire congregation sang HELMSLEY each year in SATB parts. I found this difficult to believe for a number of reasons. First of all, most people don’t read music. Furthermore, many are incapable of singing: some are tone-deaf; others have throat issues; some are hearing-impaired, and so forth. Finally, even if such a thing were possible, it seemed to me (back in 2004) that having the entire congregation sing HELMSLEY in SATB parts would cause the tempo to drag terribly. But the more I argued, the more Kenneth insisted that none of my objections were valid. Therefore, I begged him to send me a recording of his congregation singing HELMSLEY in parts. He promised he would do so. But each year—when I’d send him a reminder email—Kenneth would give some excuse why he “couldn’t send the recording this year.” He kept promising to complete the task “next year.” I eventually stopped emailing him. It’s my belief he was embarrassed to send the recording because it would have proven my point. The fact is, HELMSLEY is quite difficult for congregations to sing well.1

Hysterical Email • After I released Father Seraphim’s text for HELMSLEY, I received a hysterical email from someone who claimed it constituted a “monstrosity” (his word) and the priest was “guilty of appalling vandalism towards the original hymn text.” My correspondent, however, was unable to explain what was so disturbing to him. That is to say, he never explained what specifically was so awful about Father Seraphim’s version. I suspect this person was familiar with the well-known revision by Charles Wesley, based on John Cennick’s 1752 text. He should learn how to present his opinions more clearly. I think he actually meant to say: “I know a different version than the one by Father Seraphim.” That is, I suspect what he actually meant to type was: “Things I’m unfamiliar with I dislike, regardless of their merits.” Here’s the version that caused my correspondent to go into conniptions:

Here’s the direct URL link.

For The Record • As a matter of fact, there are many other texts written to be sung with HELMSLEY. Consider the following two by Matthew Brydges—the poet who wrote “Crown Him With Many Crowns”—published circa 1850:

1 Some will say: “Oh, just sing it no matter how terrible it sounds.” But I can’t accept such an idea. Someday, I will elaborate on this topic, which I believe to be important.

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

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Filed Under: Articles, Featured, PDF Download Tagged With: Achille P Bragers, Advent, Benediction of the Blessed Sacrament, Brebeuf Extension Series, Helmsley Hymn Tune, Propers, Propria Missae for the Ordinary Form, Seasonal Melodies for Benediction Last Updated: January 5, 2024

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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

    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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

If then Dom Pothier has sometimes adapted authentic melodies found elsewhere in the manuscripts to texts of the Mass it is not, as Mr. X. maintains, because he has “composed them from scratch and declared them as traditional.”

— Most Rev’d Henri Laurent Janssens (25 November 1905)

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