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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.”

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Views from the Choir Loft

“Unsolved Mysteries” • What Happened To This Institute?

Jeff Ostrowski · October 11, 2024

HE IMPRESSIVE collection of vernacular plainsong propers known as The O’Fallon Propers was published in the 1960s by SAINT MARY’S INSTITUTE in O’Fallon, Missouri. But what exactly was “SAINT MARY’S INSTITUTE”—and who was in charge of it? From what I can tell, the motherhouse for the Sisters of the Most Precious Blood was located in O’Fallon (just west of St. Louis, Missouri). The SAINT MARY’S INSTITUTE seems to have been intimately connected with Dom Ermin Vitry, OSB, who was born on 22 December 1884 in Lobbes, a village in Belgium. Vitry entered religious life at the magnificent Maredsous Abbey in 1902, one year before the sacred music legislation of Pope Saint Pius X was issued in 1903.1

Dom Ermin Vitry • Dom Ermin Vitry was ordained a Benedictine priest in 1907. At the LEMMENSINSTITUUT, he studied organ with the legendary Edgar Tinel (d. 1912). The Benedictines sent him from Belgium to the United States where he served as director of music for the SAINT MARY’S INSTITUTE—but sources disagree vis-à-vis the precise years this took place. For the record, Monsignor Martin B. Hellriegel served as chaplain for the O’Fallon sisters from 1918-1940. Vitry and Hellriegel knew each other.

The Institute • One source says: “As choir director, Dom Ermin taught the Sisters an appreciation of sacred liturgical music through Gregorian Chant.” In a (very brief) biography of Dom Vitry published in 1988, Monsignor Francis P. Schmitt insinuates that Vitry was the driving force behind what would become the O’Fallon Propers. Monsignor Schmitt wrote: “I am no enthusiast for English chant, never have been. But I recognize a legitimate place for it…” He then went on to say:

“The late Dom Ermin Vitry and the recently deceased Charles Dreisoerner (either of whom forgot more about Gregorian than most pundits I encounter these days will ever know) both felt that, in some measure, the preservation of Gregorian as the song of the faithful, the saving of it from a second and final death, depended upon a viable vernacular use.”

Mysterious • Some people believe that Monsignor Hellriegel was the actual composer of The O’Fallon Propers. One thing is certain: its 483 pages must have been in production for many years before its publication in 1964. I would welcome any information about what remains of SAINT MARY’S INSTITUTE or the Sisters of the Most Precious Blood in O’Fallon.

Here’s a photograph of Dom Ermin Vitry taken circa 1935:

1 This motu proprio was known as “Inter Pastoralis Officii Sollicitudines.” Some people also refer to it by the Italian name: “Tra Le Sollecitudini.”

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

Filed Under: Articles Tagged With: Dom Ermin Vitry, Inter pastoralis officii Pius X, Monsignor Francis P Schmitt, Monsignor Martin B. Hellriegel, O'Fallon Missouri Mass Propers, O’Fallon Propers in Plainsong, Sisters of the Most Precious Blood, The O’Fallon Propers, Tra le sollecitudini, Tra Le Sollecitudini Motu Proprio Last Updated: October 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 • “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

“The Night Office—Nocturns or Matins—except for Holy Week, Easter Octave, and Christmas, has never appeared in the Vatican edition. The larger part of the mediaeval repertory for the Office thus remains still unpublished in the Vatican edition, and is likely to remain so, for the obvious reason that almost no cathedral chapters or monastic choirs sing the Night Office regularly today.”

— John Merle Boe (1968)

Recent Posts

  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?

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