• 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 • Exceedingly Rare! — “The Torn Tunic” (122 pages) … published in 1967

Jeff Ostrowski · April 15, 2025

OR THE VERY first time in history, an exceedingly rare English translation of a pivotal document from 1967 can be downloaded as a PDF file (122 pages). An immense amount could be written about this document—and I predict that many articles will soon appear which analyze it, assess its impact, and borrow quotations from it. For the moment, I must let the document speak for itself. I would note in passing, however, that its appearance caused the head of the liturgical reforms—Giacomo Cardinal Lercaro—to go into a “hissy fit” (for lack of better words) and temporarily abandon his reforms.1

Not Perfect • Nobody can deny that Casini’s document brings together many valuable quotations about the sacred liturgy. That being said, his monograph is not flawless. Casini makes some technical errors when he speaks of Gregorian Chant. Specifically, he seems ignorant of the reëmployment of melodies (e.g. the canticles on Holy Saturday).

(1 of 2) Sin Against Nature • Today, I will explore Casini’s statement on page 92 that singing plainsong in the vernacular is a “sin against nature” (his words). Is this really true? For instance, did the holy missionaries of North America commit a sin against nature by meticulously printing hundreds of pages of plainsong in Iroquois, Algonquin, and Huron?

(2 of 2) Sin Against Nature • Those who have followed my work since the 1990s know of my fanatical devotion to Gregorian Chant in Latin.2 So what’s my personal opinion vis-à-vis Gregorian Chant sung in the vernacular? When he calls it “a sin against nature,” is Tito Casini correct? Well, one of my favorite saints is the Curé d’Ars. I believe Saint John Mary Vianney was an incredibly holy priest—but he didn’t offer Mass in the Roman Rite. (In those days, French priests adhered to the Neo-Gallican rites.) In other words, Vianney used the liturgy of his particular locality and became a great saint. I feel that sometimes we’re called to “adapt” to particular circumstances ordained by God’s Will.

Example #1 • Consider the following OFFERTORY from Palm Sunday. To me, it seems both beautiful and dignified. Furthermore, when I sing plainsong in English, I’ve been noticing something peculiar. Even though I’ve sung these same chants for 30 years in Latin, when I sing in English certain phrases “jump out” at me. (I’m just being honest.)

Here’s the direct URL link.

Example #2 • I have been in Michigan since the summer of 2024. When I first got here, I stood outside (after every Mass) and recruited members from the parish so we could form a choir. Each Sunday, our volunteer ladies have learned the Introit from the GRADUALE ROMANUM in English—and I’ve been won over by vernacular plainsong. These women sing so beautifully! I wish you could hear them, but no microphone is capable of ‘capturing’ their haunting and gorgeous choral sound accurately. These volunteers have worked so hard every week to learn a new INTROIT. What a relief it will be when we get through the entire liturgical year because each INTROIT will start to repeat. It’s a bit unfair to show you a live recording of our women, because we only have time to practice the INTROIT literally for about 10 minutes each week. (If you think I’m being dishonest, email my assistant and she’ll confirm what I’m saying.) But perhaps this ‘live’ excerpt from Laetare Sunday will give you a taste of how they sound:

Here’s the direct URL link.

Example #3 • We recently started a men’s schola cantorum, and I’m so impressed with the progress they are making:

*  Mp3 • COMMUNION: Men’s Schola—Live rec.

Example #4 • Speaking of vernacular plainsong, we use the Saint Noël Chabanel settings for the Responsorial Psalm. Our main cantor, Kaitrin Drost, is amazing—and we are blessed that she’ll be serving as a member of the faculty for Sacred Music Symposium 2025. Here’s a live excerpt of Kaitrin singing with her talented daughter:

*  Mp3 • Saint Noël Chabanel Psalmody—Live rec.

Example #5 • We sing plenty of beautiful hymns from the Brébeuf Catholic Hymnal. Below is a ‘live’ recording from last Sunday. The moment when the choir divides into SATB parts is glorious:

*  Mp3 • Hymn by Father Faber—Live rec.

Example #6 • It goes without saying that we sing tons of Renaissance sacred music. The following is a choral extension based on a piece by Father Francisco Guerrero (d. 1599). The congregation sings along with the famous Mass XVIII setting then the choir alone sings the “extension”—as you can hear:

*  Mp3 • SANCTUS (Choral Extension)—Live rec.

Finest Plainsong Adaptations?

HICH ARE THE BEST vernacular settings of Gregorian Chant? Monsignor Robert Skeris had a favorite saying: caveat emptor. That means: “Let the buyer beware.” In my experience, some English adaptations are atrocious. I find myself asking the question: “Did the person who composed this ever sing through it?” Dr. Lucas Tappan has the same opinion—although I’m not at liberty to reveal the settings he hates! The adaptations by the CHAUMONOT COMPOSERS GROUP are excellent, but not available digitally. (They are currently working with a publisher to go the “physical paper” route.) I’ve been trying to promote their settings by composing organ accompaniments—and gently “nudging” them to go to the digital download route.

(1 of 3) John Ainslie • In my opinion, a noteworthy attempt at vernacular plainsong was made by John Ainslie. His 2014 collection—which he rather unimaginatively titled as English Proper Chants—can be purchased on Amazon. His two settings of the INTROIT for Easter Sunday are outstanding. However, Ainslie’s collection suffers from two serious flaws. First of all, instead of setting the propers from the Graduale Romanum, Ainslie used the ADALBERT PROPERS (which are sometimes called the “Spoken Propers” or “Missal Propers”). The ADALBERT PROPERS were never intended to be sung. They were created circa 1969 for use at private Masses or “Masses without music.”

(2 of 3) John Ainslie • Another drawback with John Ainslie’s settings are their accompaniments, which are amateurish and contain all kinds of errors. For example, in the following: (a) The green shows a lack of common tones; (b) The yellow shows 6/4 chords, which are forbidden; (c) The pink lines show all the voices moving simultaneously in the same direction; (d) The blue lines show parallel fifths between outer voices!

(3 of 3) John Ainslie • Indeed, his accompaniments are riddled with all kinds of basic errors. The following shows Ainslie’s setting for the COMMUNION ANTIPHON for the Third Sunday of Advent. The dotted pink shows a 6/4 chord, the highlighted yellow shows an unprepared dissonance, and the green lines show parallel octaves.

I could easily show more errors, but you get the point. It really is a shame such a fine effort was marred by parallel octaves and unresolved sevenths. John Ainslie clearly would have profited if he took my seminar! 😊

Poor Settings • How can one tell if a setting is poor? Well, some English adaptations sound like they were written by a computer (“artificial intelligence”). They may use the correct words, but there’s so much more to music than that. A poor setting will be eminently forgettable. When your choir performs a poor setting, you will think to yourself: “Wowsers! This sounds so boring. I hope it ends soon.”

Conclusion • For decades, authors here at Corpus Christi Watershed have attempted to bring praiseworthy plainsong adaptations to the attention of our readers. And we have no plans to stop doing this! I have much more to say about Gregorian Chant in the vernacular—and I hope to cite some authorities next time. (Spoiler alert! They don’t all agree.)

As always, if I have missed the mark in today’s article please let me know. But when you write to me, please be specific in your criticisms.

1 It seems utterly incredible that this document would cause Cardinal Lercaro to return to his diocese of Bologna to pout and sulk. After all, the Consilium was, in the words of Professor Louis Bouyer (author of EUCHARISTIC PRAYER NUMBER 2): “recasting from top to bottom—and in a few months!—an entire liturgy which had required twenty centuries to develop.” In other words, they were severely modifying a liturgy which had been loved by Catholics for 1,500 years. And Cardinal Lercaro expected no blowback whatsoever? Really?
2 In 2002, I produced the first-ever COMPACT DISC to include Renaissance polyphony using “multi-track” techniques. That same disc included tons of Gregorian Chant, both accompanied and unaccompanied. In those days, I formed Gregorian scholae anywhere I could, both in the Catholic Church and at the secular universities. Since that time, the various teaching websites I’ve created for Gregorian Chant in Latin have received something like 22 million downloads. I hope no one will accuse me of disliking Gregorian Chant in Latin.

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

Filed Under: Articles, PDF Download Tagged With: Archbishop Hannibal Bugnini, Cardinal Giacomo Lercaro Consilium President, Chaumonot Composers Group, Chaumonot Entrance Chant Collection, Choral Extension Jeff Ostrowski, Choral Extensions, John Vianney Gallican Rite, La Tunica Stracciata by Tito Casini, Parallel 5ths, Parallel Fifths, Saint John Mary Vianney, SATB Polyphonic Extension, THE TORN TUNIC by Tito Casini Last Updated: April 15, 2025

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

    “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
    “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
    Kids’ Choir Sings Thomas Aquinas
    Last Sunday, a children’s choir I’m teaching sang with us for the very first time at Sunday Mass. Females from our main choir sang along with them. If you’re curious to hear how they sounded, you can listen to a ‘live’ recording. That’s an English version of TANTUM ERGO by Saint Thomas Aquinas. That haunting melody is called GAUFESTRE and was employed for this 2-Voice Arrangement of a special hymn for 9 November (“Feast of the Dedication of the Lateran Basilica in Rome”) which replaces a Sunday this year.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of September (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
    “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

“If a pope were only ever applauded, he would have to ask himself whether or not he was doing things right.”

— Pope Emeritus Benedict XVI (2016)

Recent Posts

  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?
  • “Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough
  • “Music List” • 27th in Ordinary Time (Year C)
  • Kids’ Choir Sings Thomas Aquinas

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.