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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

PDF Download • Simplified Accompaniment for the famous Hymn: “Praise To The Lord”

Jeff Ostrowski · April 29, 2024

AM TOYING with the idea of creating a whole bunch more “simplified” organ accompaniments for the hymns in the Brébeuf Catholic Hymnal, to help amateur organists. You can see what I’ve created so far by clicking on the “Simplified Hymn Accompaniment” tag. On average, each one is being downloaded about 2,500 times. The last one I uploaded was downloaded more than 1,900 times in a matter of hours. Therefore, musicians out there seem intrigued by such a project. Earlier this morning, I created a “simplified” version of LOBE DEN HERREN, often sung in English with the lyrics “Praise to the Lord, the Almighty, the King of creation!”

*  PDF Download • ORGAN ACCOMPANIMENT (“Simplified”)
—“Praise To The Lord” a.k.a. Lobe den Herren, den mächtigen König der Ehren.

Inspiration For This Project • I’m a person who can’t stand hearing wrong notes. I also hate it when an organist dramatically slows down the tempo in an effort to play all the correct notes (or add pedal notes). I’d much rather hear a simplified accompaniment at the correct tempo. For the record: I’m having way too much fun creating these!

Melody Provenance • According to Monsignor Franz Stemmer, the famous hymn we know as Praise to the Lord, the Almighty (a.k.a. “Lobe Den Herren”) originally came from the Stralsund Gesangbuch (1665), which you can see if you download the Freiburg Cathedral Hymnal (308 Pages).

More To Come • That rare hymnal is only one example of what we’ve located, obtained, scanned, and uploaded for all to enjoy. Currently, we’ve added about 56,000 pages to the public domain—all of them extremely rare and valuable sacred music. We’re a tiny 501(c)3 public charity. We exist solely by the generosity of small donors. We have no endowment; we have no major donors; we run no advertisements; we have no savings. Please alert others to what we’re trying to accomplish. Also, we beg you to consider donating $3.00 per month. Thank you!

A Note On Transcription (1 of 2) • According to Vladimir Horowitz, Ferruccio Busoni (d. 1924) was once introduced as “Mr. Bach Busoni” at a party. That’s because his Bach transcriptions were so famous in those days.1 There’s an art to transcribing, just as there’s an art to making simplified versions. Sometimes people intend to simplify a piece but end up making it harder. That’s because proper voice-leading is idiomatic for the keyboard player.

A Note On Transcription (2 of 2) • Those of us on scholarship at the conservatory were forced to accompany a number of singers and instrumentalists each semester during their juries. If we failed to do so, our scholarship was taken away. I wasn’t very good at it, but acting as accompanist did introduce me to composers I wouldn’t have otherwise experienced, such a Paul Hindemith (d. 1963). The faculty knew we had to serve as accompanists without payment. Some were abusive. I remember Larry Maxey (a clarinet professor) bullying the “free” accompanists in a way that made my blood boil. Indeed, I’ll never forget the time I accompanied the jury for an absolutely terrible singer. [She was a “party girl” who only attended college because her father had been a faculty member—and she dropped out after two semesters.] During her jury, I shortened the ending of the piece. In other words, after the singer had finished singing, the accompanist was supposed to play a brief interlude … but it was a poorly-transcribed orchestral reduction. It just wasn’t idiomatic, and I figured the jury didn’t want to hear me butcher it. So I improvised an ending—to cover up my inadequacy—which caused one judge to go into a rage. Instead of focusing on the singer (which is what he was supposed to be doing during her jury) he started viciously interrogating me: “How dare you change the ending to that piece! I’ve never heard it that way before; did you change the score? Etc.” Looking back, I suppose I could have responded: “I was just being authentic because all the pianists in those days improvised everything.” […which is true; e.g. they never took a “repeat” without adding all kinds of ornamentation and other things.] But I was just a young college kid who knew very little—so I just sat there speechless, with an embarrassed look on my face.

The head of the voice faculty at that time was DR. JOHN STEPHENS, a renowned singer who’d performed in famous halls like the METROPOLITAN OPERA HOUSE. Dr. Stephens came to my rescue. Glaring at his junior colleague—in his deep basso profondo voice—he said one word: “Enough!”

1 For the record, circa 1950 some pedantic dogmatist came along and decided “real” pianists were no longer allowed to play transcriptions. But all the masters had done so: Hofmann, Rachmaninoff, Godowsky, Lhevinne, and so forth.

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

Filed Under: Articles, PDF Download Tagged With: Lobe den Herren, Simplified Hymn Accompaniment, Stralsund Gesangbuch 1665 Last Updated: April 30, 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

    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

“To treat harmony and rhythm in this matter was a difficult matter. Facing numerous problems both large and small—that arose constantly—we understood that a flawless harmonization of Gregorian chant cannot be created by improvisation, no matter the competence and ability of the organist or harmonist.”

— ‘Mons. Jules Van Nuffel, NOH Preface’

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