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Views from the Choir Loft

PDF Download • “Vexilla Regis” in 3 or 4 parts, alternating chant & polyphony

Veronica Brandt · October 4, 2024

CHRISTOPH DALITZ is a contemporary composer with an impressive arsenal of sacred music to his name. His website is so simple and satisfying to browse, with pieces listed by genre, voice number, theme and composer. That last list mostly holds his own compositions, but also includes a good smattering of editions of other Medieval and Renaissance composers. Curiously enough he also includes a variety of sacred music in Esperanto.

Having a small choir, I eagerly leafed through the pieces for three voices. Earlier this year we sang his Vexilla Regis in three parts for Palm Sunday. Dalitz’ edition used an ancient version of the words and the chant tune, which was confusing for our choristers, being accustomed to the Vexilla Regis in the Liber Usualis. Also, his was pitched a little too high for our available voices, which lead me to produce these versions:

  • SAB: Passiontide, post Urbanite (Liber Usualis) vexilla-dalitz-passiontide
  • SAB: Passiontide, pre Urbanite (Antiphonale Monasticum) vexilla-dalitz-passiontide-orig
  • SAB: Triumphal (outside passiontide), post Urbanite (Liber Usualis) vexilla-dalitz-triumph
  • SAB: Triumphal (outside passiontide), pre Urbanite (Antiphonale Monasticum) vexilla-dalitz-triumph-orig

Dalitz has composed a piece that sounds beautiful and is surprisingly practical to master. Although it was composed recently, it has a much earlier feel to it. Each polyphonic verse starts out in unison, making a more secure start for any less confident singers. The overlapping parts add interest without being taxing. This is a really manageable piece to add to your choir’s repertoire.

There is just one line difference for Passiontide – “Hoc Passionis tempore” which is replaced by “In hac triumphi gloria” at other times. With a bit more imagination I may have been able to include the alternative in a way that was easy to understand. Separate editions seemed the safest way at the time. The Lilypond file is here if anyone wants to have a shot at it.

Here is the recording we made for our Palm Sunday rehearsals:

The Palm Sunday Masses went beautifully. We had a look at another Dalitz piece, O Filii et Filiae for Easter, but time got away that time and didn’t quite pull it together in time.

Then looking forward to the feast of the Exaltation of the Holy Cross in September, another choirmaster noticed a SATB version of Vexilla Regis and requested a similar treatment. Here are the four further editions for your four part choir:

  • SATB: Passiontide, post Urbanite (Liber Usualis) vexilla-dalitz-a4-passiontide
  • SATB: Passiontide, pre Urbanite (Antiphonale Monasticum) vexilla-dalitz-a4-passiontide-orig
  • SATB: Triumphal (outside passiontide), post Urbanite (Liber Usualis) vexilla-dalitz-a4-triumph
  • SATB: Triumphal (outside passiontide), pre Urbanite (Antiphonale Monasticum) vexilla-dalitz-a4-triumph-orig

You can see the same structure but with a little more depth to the harmonies.

I haven’t heard this one yet, but the choir was happy with it. So much so that the choir master let me know all the typos I had made and encouraged me to iron them out thoroughly so he could make proper copies for their folders. Therefore these PDFs should be perfect now.

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

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Filed Under: Articles, PDF Download Last Updated: October 6, 2024

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About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. She lives near Sydney, Australia, with her husband and six children.—(Read full biography).

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President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

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— Pope Gregory the Great

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