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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

“Yes or No?” • Should We Give People the Sacred Music They Ardently Crave?

Jeff Ostrowski · May 10, 2024

HOPE THE BENEVOLENT reader will allow me to say a word about “giving people the sacred music they want.” Should the conscientious choirmaster give people the sacred music they want? I would suggest a mixture. On the one hand, we want to “push” or “lead” or “escort” Catholics on their journey to explore (and ultimately fall in love with, crave, and draw strength from) sacred music with real depth or richness. On the other hand, each of us is in the midst of a journey of our own. It would be foolish to expect everyone to be at the same “point” or “level of understanding” we’re at. Some are behind us, while others are ahead of us. Therefore, I feel the conscientious choirmaster should employ a mixture. In other words, we should take into consideration compositions our singers crave. We should not feel ‘resentment’ toward them for (perhaps) not having yet reached the level of understanding we’ve attained.

A Perfect Example! • I can’t think of a better example—to illustrate my point—than the ISTE CONFESSOR hymn. First, listen to it:

Here’s the direct URL link.

Note: That version was recorded yesterday morning by my students. It was created for an exciting new Spanish Hymnal which is forthcoming.

The Story Behind It • Now I will explain the story behind the ISTE CONFESSOR hymn. Years ago, during Vespers at the SACRED MUSIC SYMPOSIUM, I wrote an SATB harmonization for ISTE CONFESSOR. (Because the entire ceremony of Vespers is sung is plainsong, we often use a metrical setting as the Vespers hymn for the sake of variety.) The participants went nuts over it. Many of them became “obsessed” with my SATB arrangement. They sang it in coffee shops—if you’re familiar with the concept of a “flash mob”—and sometimes got kicked out. They went home and sang it with their choirs. Indeed, a group of young participants even formed a virtual choir to produce this fabulous recording.

Each year, I’d spend (literally) weeks editing about 300 pages of music for each SACRED MUSIC SYMPOSIUM. We always had a different theme. For example, one year was completely dedicated to a Gregorian hymn—and the conference culminated with a stupendous Mass by Palestrina based upon that melody. I thought the participants would appreciate always having a bunch of new music—but (believe it or not) some participants came to the conference each year just to sing the ISTE CONFESSOR hymn. And that’s just fine!

Summary • When it comes to the “sacred music journey,” we must remember that everyone is at a different point. For this reason, I believe the conscientious choirmaster will use a mixture of nova et vetera. It’s quite unprofessional for a choir director to walk around “jaded,” constantly downplaying—or even ridiculing!—new members who are thrilled when they experience a simple 2-voice harmony for the first time.

P.S.

For the record, below is one instance of the ISTE CONFESSOR hymn as it appears in the Brébeuf Keyboard Edition:

The melody ISTE CONFESSOR is used in the Brébeuf Hymnal as #724 and also #54. The melody was included on page 416 in the London Oratory’s Catholic Hymn Book (1998). It can also be found on page 221 of the Worship II Hymnal (GIA, 1975). The melody seems to have originated in a VESPERALE (Poitiers, 1746). Organists who desire harmonies for the “final verses” should consult #106 of Richard Lloyd’s collection (1993) #106 or #168 of Noel Rawsthorne’s collection (2011).

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

Filed Under: Articles Tagged With: Iste Confessor, Spanish Hymnal for Catholics Last Updated: May 11, 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 • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

When Christ gave the bread, he did not say, “This is the symbol of my body,” but, “This is my body.” In the same way, when he gave the cup of his blood he did not say, “This is the symbol of my blood,” but, “This is my blood.”

— Theodore, Bishop of Mopsuestia, writing in the 5th Century

Recent Posts

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