• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

PDF Download • “O’Fallon Mass Propers” (483 Pages)

Jeff Ostrowski · July 29, 2024

ODAY, FOR THE FIRST time in history, we release the complete set of Englished Gregorian Propers—all 483 pages!—created by the Sisters of the Most Precious Blood in O’Fallon, Missouri. Monsignor Martin B. Hellriegel spent two decades as chaplain to these sisters at their motherhouse in O’Fallon before being transferred to Saint Louis.* Before I provide the download links, let me suggest four reasons composers should set the Sung Propers and not the Spoken Propers, which were included in the SACRAMENTARY for priests offering Mass privately or without music. In 2007, the chairman of the USCCB Committee on Divine Worship correctly pointed out that the Spoken Propers “differ substantially” (his words) from the Sung Propers and “were never intended to be sung” (again, his words). Archbishop Bugnini wrote, very succinctly: “The entrance and communion antiphons of the Missal were intended to be recited, not sung.”

(1 of 4) Disrespect for Scripture • The “spoken” propers often modify the traditional text in subtle ways. For example, the ENTRANCE CHANT for the 16th Sunday in Ordinary Time at first glance seems identical to the “sung” version, but closer examination shows how the “spoken” version omits the references to God “conquering” or “destroying” enemies. (The 1970s reformers considered such Scripture passages insufficiently “nice.”) But Sacred Scripture should not be bowdlerized. Something similar was done on the 18th Sunday in Ordinary Time.

(2 of 4) Theological Distortions • The “spoken” propers sometimes downplay traditional theology. For example, the 16th Sunday in Ordinary Time assigns Acceptábis Sacrifícium as the COMMUNION CHANT. But that chant “emphasizes” or “reinforces” or “calls to mind” how the Mass is primarily a sacrifice. Because of this, the “spoken” version eradicated the traditional passage, inexplicably replacing it with a completely different one.

(3 of 4) No More Sin? • Broadly speaking, the “spoken” propers de-emphasize, minimize, or eliminate texts which dwell on sin (and especially sorrow for sin). For example, the “spoken” version of the ENTRANCE CHANT for the 5th Sunday in Ordinary Time at first glance seems identical to the “sung” version. However, a close examination reveals that plorémus ante eum (“let us shed tears before the Lord”) was inexplicably excised.

(4 of 4) Connections Severed • The most important reason to avoid the “spoken” propers is obvious: they have no history. The GRADUALE ROMANUM is astronomically ancient, far more ancient than the ORDINARIUM MISSAE. Why on earth would we wish to sever the connection to these ancient prayers, and (by so doing) gain absolutely nothing?

Needless to say, the Sisters of the Most Precious Blood in O’Fallon, Missouri, used the Sung Propers. (The Spoken Propers wouldn’t be invented for another five years.)

*  PDF Download • “O’FALLON PROPERS” (1 of 7) —39 pages
—“Advent to Septuagesima” • Sisters of the Most Precious Blood (O’Fallon, Missouri).

*  PDF Download • “O’FALLON PROPERS” (2 of 7) —51 pages
—“Septuagesima to Easter Vigil” • Sisters of the Most Precious Blood (O’Fallon, Missouri).

*  PDF Download • “O’FALLON PROPERS” (3 of 7) —58 pages
—“Easter Vigil to the 3rd Sunday after Pentecost” • Sisters of the Most Precious Blood (O’Fallon, Missouri).

*  PDF Download • “O’FALLON PROPERS” (4 of 7) —64 pages
—“4th Sunday after Pentecost to Advent” • Sisters of the Most Precious Blood (O’Fallon, Missouri).

*  PDF Download • “O’FALLON PROPERS” (5 of 7) —84 pages
—“Common of the Saints” • Sisters of the Most Precious Blood (O’Fallon, Missouri).

*  PDF Download • “O’FALLON PROPERS” (6 of 7) —163 pages
—“Feasts of the Saints” • Sisters of the Most Precious Blood (O’Fallon, Missouri).

*  PDF Download • “O’FALLON PROPERS” (7 of 7) —24 pages
—“Plainsong Burial Rite” • Sisters of the Most Precious Blood (O’Fallon, Missouri).

Final Thoughts • Sadly, they didn’t include the feast of Saint Isaac Jogues and Companions, who are the Patron Saints of North America. Jim Randazzo informs me that the eye-catching artwork on the book covers was designed by one of their own: Sister Hiltrudis Powers. I would very much like to know why they included the word “alleluia” on the Requiem cover. (In the west, the word “alleluia” was not said as part of the Requiem Mass until after Vatican II.) From a musical perspective, some of the settings are very well done, very clever, and very tuneful.

31571-Plainsong-Propers-Sisters-of-the-Most-Precious-Blood-O-Fallon-Missouri-1216
31571-Plainsong-Propers-Sisters-of-the-Most-Precious-Blood-O-Fallon-Missouri-1215
31571-Plainsong-Propers-Sisters-of-the-Most-Precious-Blood-O-Fallon-Missouri-1217
31571-Plainsong-Propers-Sisters-of-the-Most-Precious-Blood-O-Fallon-Missouri-1213
31571-Plainsong-Propers-Sisters-of-the-Most-Precious-Blood-O-Fallon-Missouri-1209
31571-Plainsong-Propers-Sisters-of-the-Most-Precious-Blood-O-Fallon-Missouri-1211
31571-Plainsong-Propers-Sisters-of-the-Most-Precious-Blood-O-Fallon-Missouri-1208

Photographs courtesy of Cynthia Ostrowski.

Addendum (27 November 2024):

The PREFACE to the first book says: “A very special word of acknowledgment is due to the late Dom Ermin Vitry, O.S.B., who bequeathed to the Sisters of the Most Precious Blood the fruits of his many years of research and study in Gregorian chant. His careful and authoritative analyses of hundreds of Gregorian antiphons have been the chief reference in the work of adapting these melodies to the vernacular texts.”

* Some believe that Monsignor Martin Hellriegel was quite involved with the creation of the O’FALLON PROPERS.

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

Filed Under: Articles, PDF Download Tagged With: Dom Ermin Vitry, Graduale Romanum Roman Gradual Propers, Mass Propers Proprium Missae, Monsignor Martin B. Hellriegel, O'Fallon Missouri Mass Propers, Propers, Sisters of the Most Precious Blood, Sung Vs Spoken Propers Novus Ordo Last Updated: November 27, 2024

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    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) 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
    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

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

It is frightful even to think there are children, victims of abortion, who will never see the light of day.

— Pope Francis (13 January 2014)

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.