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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 • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)

Julie Huebner · June 9, 2025

AM NEARING THE END of my first year as a full-time Director of Music and Liturgy. Saying ‘I learned a lot’ would be my understatement of the year. Thankfully, I was surrounded by a pastor, colleagues, cantors, and choristers who were on board, wanted me to succeed, and made a lot happen so that I can share things with our readership. Something I had to learn quickly in this role conducting four choirs—and still need to improve on—is planning out choral repertoire. I want the beautiful music to come together (and come together credibly), without overwhelming my volunteer choristers. The piece below is one of more simple-but-lovely pieces my advanced women’s choir, SCHOLA IMMACULATA, sang following the Easter Vigil OFFERTORY ANTIPHON. This Schola does not meet weekly. The women meet in anticipation of their select solemnities.1

Schola Immaculata • The deal is, that they have to attend fewer (but longer) rehearsals. They also must come to rehearsal already knowing their part, so we can jump right to the music-making. This SCHOLA had just come off of singing demanding Holy Thursday repertoire, fully a cappella following the GLORIA. When I was choosing the Vigil music, I knew I wanted more organ involved, after its multi-day silence and I knew they were singing a difficult Communion piece. I wanted the piece during Offertory to feel like a deep breath. While hunting, I stumbled on Carlotta Ferrari’s Altissimo Glorioso Dio and it ticked all the boxes. I believe anyone reading this would find this a fitting text during the Vigil. Here’s a live recording from the culmination of the Triduum:

*  PDF Download • “Text by St Francis of Assisi” (Carlotta Ferrari)
—Italian: ‘Altissimo glorioso Dio, illumina le tenebre de lo core mio.’
—English: ‘O most high, glorious God, enlighten the darkness of my heart.’

Here’s the direct URL link.

iPhone Cannot Capture • I know it’s easy to say this, but this recording does not do the music justice. Apologies to my wonderful colleague and organist, Michel Shestak, on that front! My iPhone did not quite capture her low organ pedal tones at the end of the piece and how they felt like the tomb of our Lord opening up, while her right hand sounded like the music was being lifted to heaven during the incensing. Many of us strive for the music during Mass to feel separate from the outside world as we lift our eyes and minds to God and I humbly believe this music on that most holy night accomplished that goal.

Addendum • I didn’t feel the need to provide background on Carlotta Ferrari when Mr. Smith has already done this.

1 Namely: all the Marian holy days of obligation, Holy Thursday, and the Easter Vigil.

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

Filed Under: Articles, PDF Download Tagged With: Carlotta Ferrari Last Updated: June 9, 2025

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About Julie Huebner

Julie earned degrees at Luther College and Southern Illinois University. With her husband and three children, she resides in Wauwatosa, Wisconsin.—(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

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

Recent Posts

  • “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)
  • “American Catholic Hymnal” (1991)

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