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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

PDF Download • Palestrina “Alleluia” (SATB) for the Ordinary or Extraordinary Form

Veronica Moreno · March 23, 2025

SOMETIMES FEEL THAT housewives are especially close to the Heart of God. I say this because our vocation has an immediacy that keeps us focused. We don’t have the luxury of obsessing over each new ‘crisis’ invented by cable news because our duties are urgent: a child who’s hurt or ill; a child who must be fed; a child who must be put to sleep; a child who needs lunch prepared; and so on. If something truly important happens, we’ll eventually hear about it. And there’s an important analogy here related to the sacred liturgy. If you read to the end of my article, it will become clear why I bring this up.

First, I want to share something really exciting. My daughter and I had the chance to record a beautiful ALLELUIA by Palestrina. I recorded the Alto Voice for the rehearsal video. My daughter sang the Soprano Voice. In the Extraordinary Form, it can be used with the ‘Alleluia Verse’ assigned to each Sunday, a technique we learned at the Sacred Music Symposium. In the Ordinary Form, it can be used as a ‘choral extension’ for the GOSPEL ACCLAMATION.

*  PDF Download • “Alleluia” for the Ordinary Form
—Giovanni Pierluigi da Palestrina directed the Capella Julia.

Free rehearsal videos for each individual voice await you at #26561.

Origins of Liturgical Modifications • When the liturgical changes were introduced in the 1970s, many Catholics—like a housewife focused on her duties—basically said: “I’m going to trust that all these changes were carefully considered by knowledgeable experts with good intentions.” In a certain sense their attitude was praiseworthy. But over the years (especially thanks to the internet) we’ve come to understand that many liturgical changes were undertaken in a haphazard way. Many are indefensible. Even Dr. Scott Hahn has come around to this position. I don’t feel it’s polemical to describe post-conciliar changes this way, since I’m unaware of any scholars willing to defend them. The revelations by key players in the reform (Prof. Louis Bouyer, Cardinal Giacomo Lercaro, Dom Adalbert Franquesa Garrós, Cardinal Ferdinando Antonelli, etc.) seem incontrovertible. My husband has done a lot of reading in this arena, and I have noticed these topics being covered by my colleagues on this blog.

Another Bombshell • Last week, a major bombshell dropped having to do with the two largest publishers of Catholic liturgical music in the United States.1 It came by means of an article by Michael Hichborn (a member of the John Paul II Academy for Human Life and the Family) published on 18 March 2025:

*  LEPANTO INSTITUTE • “The Hymnal Industrial Complex”

In spite of what’s shared in that article, I’ve been astounded to see some Catholic musicians try to defend OCP and GIA. Some even say—publicly!—they don’t care if the ones in charge of creating the hymnals are Jehovah’s Witness, Jewish, Protestant, Buddhist, or Mormon. But any Catholic who takes the Faith seriously knows it matters whether those in charge of creating hymnals are practicing Catholics. The reason should be obvious: hymns contain lyrics in addition to musical notes. And lyrics express either truths or falsehoods about our Lord and Redeemer. False statements about Jesus Christ, who is TRUTH itself, are blasphemous.

The article by Michael Hichborn contains details which are quite sordid. This isn’t something decent people want to discuss. But if we refuse to discuss such matters, how will the situation be fixed?

A Better Way • On this blog, I have shared stories about our recent pilgrimage to Rome. We had the privilege of spending time with several musicians in charge of special choirs at the Vatican. Giovanni Pierluigi da Palestrina was known to be a very religious man, and he died in the arms of Saint Philip Neri. Even though the video above is imperfect—since it’s just a rehearsal video—one can still hear how beautiful and pure Palestrina’s music is. In the face of such masterpieces, why would anyone want to sing music with texts created by non-Christian companies?

The image below was taken a few months ago, when we met Pope Francis in Rome. I’m in a black dress, holding the camera:

1 The influence of these two notorious publishing companies (GIA PUBLICATIONS and OCP) extends to a much larger area than the United States. Their influence reaches most English-speaking countries, especially developing countries. I have in mind nations such as: India, Nigeria, the Philippines, Singapore, Canada, Australia, South Africa, and so forth.

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

Filed Under: Articles, PDF Download Tagged With: Alec Harris GIA Publications, Archbishop Hannibal Bugnini, Cardinal Ferdinando Giuseppe Antonelli OFM, Dr Scott Hahn, Father Adalbert Franquesa Garrós, Louis Bouyer Oratorian Priest, Michael Hichborn Lepanto Last Updated: March 25, 2025

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About Veronica Moreno

Veronica Moreno is married to a teacher and homeschools five children. She has been cantor at her local Catholic parish for over a decade.—(Read full biography).

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President’s Corner

    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski
    Simplified Accompaniment (Epiphany Hymn)
    About a month ago, I created a simplified keyboard accompaniment for “Come, Thou Long-Expected Jesus”—the famous ADVENT hymn—using a melody called CROSS OF JESUS. It was soon downloaded more than 1,000 times. As of this morning, you can download a simplified keyboard accompaniment for the belovèd Epiphany hymn “Bethlehem! Of noblest cities” (O Sola Magnarum Urbium) by clicking on this link (PDF file). Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult, which explains why choirmasters appreciate these simplified keyboard accompaniments.
    —Jeff Ostrowski
    Psalm Tone Challenge!
    Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

To end an impropriety, noticed particularly at orchestral Vespers, when two or three Psalms are sung with full orchestra, and then the other Psalms and the Hymn are rapidly hurried through with organ accompaniment only […] we order that at Mass all portions of the text, including “Agnus Dei,” be sung with orchestral accompaniment. […] Moreover, the musicians are not allowed to put the instruments away and leave their places before the conclusion of the sacred function.

— Cardinal Patrizi (18 November 1856)

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  • “Adeste Fideles” • Too Many Translations!

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