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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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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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

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

“Gerard Manley Hopkins once argued that most people drank more liquids than they really needed and bet that he could go without drinking for a week. He persisted until his tongue was black and he collapsed at drill.”

— A biography of Fr. Gerard M. Hopkins (d. 1889)

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