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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

Available! • Free Rehearsal Videos for Agnus Dei “Mille Regretz” after Gombert (d. 1560)

Cynthia Ostrowski · June 11, 2025

HIS MELODY, “Mille Regretz,” was used as the basis for several compositions sung at my wedding in Texas 18 years ago. Specifically, Father Cristóbal de Morales (a famous Spanish composer) used it as CANTUS FIRMUS for a Mass he wrote. The choir for our wedding consisted of something like 85 singers, including my twin sister. The “Mille Regretz” melody is said to have been the favorite song of of Charles V (d. 1558) the Holy Roman Emperor. Father Morales was not the only one to set this tune. Josquin des Prez (d. 1521) created a famous setting, which is included in the score below. Nicolas Gombert (d. 1560) also created an SAATTB version. I suppose that makes sense, because Nicolas Gombert in 1526AD travelled to Spain—although he was born in Lille around 1495AD—to become a singer in the court chapel of Emperor Charles V. A few days ago, the haunting version by Gombert was recorded by two friends of mine (Veronica and Sicily Moreno), and below is the result of their efforts.

*  PDF Download • “Mille Regretz” AGNUS DEI
—SATB (after Josquin) + SAATTBB (after Gombert).

Free rehearsal videos for each individual voice await you at #24286.

Cultivating God’s Gifts • It would seem that the 16th century was a ‘high point’ when it comes to great composers: Palestrina, Victoria, Lassus, Josquin, Marenzio, Morales, Byrd, Guerrero, Gombert, and so many others. These days, its seem most people are more interested in memes, TikTok, iPhones, algorithms, and artificial intelligence. I wonder whether the pendulum will ever swing back toward more authentic things, such as the music of Gombert. In the meantime, we try to cultivate a love for genuine things in our children. We have tried to teach them to love music, being outside in nature, and doing artistic crafts. In particular, I worry about the affect too much screen time may have on our childrens’ development.

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

Filed Under: Articles, PDF Download Tagged With: Cantus Firmus Polyphony, Jeffrey Tucker CMAA, Jeffrey Tucker Sacred Music, Missa Mille Regretz Last Updated: June 21, 2025

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About Cynthia Ostrowski

Cynthia Ostrowski holds a bachelor's degree (2005) in Geographic Information Science and a minor in Computer Science from Texas A&M University Corpus Christi.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Which Mass?
    In 1905, when the Vatican Commission on Gregorian Chant began publishing the EDITIO VATICANA—still the Church’s official edition— they assigned different Masses to different types of feasts. However, they were careful to add a note (which began with the words “Qualislibet cantus hujus Ordinarii…”) making clear “chants from one Mass may be used together with those from others.” Sadly, I sometimes worked for TLM priests who weren’t fluent in Latin. As a result, they stubbornly insisted Mass settings were ‘assigned’ to different feasts and seasons (which is false). To understand the great variety, one should examine the 1904 KYRIALE of Dr. Peter Wagner. One should also look through Dom Mocquereau’s Liber Usualis (1904), in which the Masses are all mixed up. For instance, Gloria II in his book ended up being moved to the ‘ad libitum’ appendix in the EDITIO VATICANA.
    —Jeff Ostrowski
    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

The effectiveness of liturgy does not lie in experimenting with rites and altering them over and over, nor in a continuous reductionism, but solely in entering more deeply into the word of God and the mystery being celebrated. It is the presence of these two that authenticates the Church’s rites, not what some priest decides, indulging his own preferences.

— Liturgicae Instaurationes (1970)

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  • PDF Download • “Pange Lingua” in Simple (Contemporary) Polyphony for Three Voices

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