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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 • Christmas Piece (SATB) — “Angels We Have Heard on High” with Text in Latin

Veronica Moreno · October 29, 2025

HERE ARE SEVERAL reasons I think readers will cherish the following SATB Christmas piece, which is a breathtaking arrangement of Angels We Have Heard on High for unaccompanied SATB choir. Although it’s not a lengthy piece, it uses techniques singers relish. There’s a glorious pedal tone in the bass towards the end. There’s a ‘canonic’ section which is super fun. There are times when the voices come into unison—which helps volunteer singers stay on track. Finally, it uses familiar tunes, but the text is in Latin, so nobody in the congregation will try to sing along, which would spoil the effect of this particular arrangement by Moreau.*

*  PDF Download • “Angels We Have Heard on High” (Latin Text)
—Re-typeset with assistance from the Corpus Christi Watershed staff.

Free rehearsal videos for each individual voice await you at #22358.

Rehearsal Videos • The rehearsal videos for each individual voice (see link above) were recorded by my dear friend, CORRINNE MAY, and the results are phenomenal. I dearly miss singing with Corrinne, who has a home in Los Angeles, but frequently travels to different continents, as she’s in demand as a singer/songwriter. It was nice to hear her voice on those videos.

Origins Of This Composition • I’ve already spoken about our trip to Europe, and won’t repeat what I’ve said in the past (for instance, about meeting the pope). I’ve also written about the musical compositions I discovered, composed by Énemond Moreau (d. 1979), who studied with Oscar De Puydt at the LEMMENSINSTITUUT in Belgium. I found these precious unpublished manuscripts near Ars-sur-Formans in the summer of 2024. As you can see by the score above, the CCW staff provided assistance when it came to type-setting the manuscript. But I would like to say a word about France.

21791-Veronica-Moreno-In-France-A
21791-Veronica-Moreno-In-France-D
21791-Veronica-Moreno-In-France-C
21791-Veronica-Moreno-In-France-B

My Favorite Country • France is my favorite place, and I ardently hope to return someday. We didn’t limit ourselves to the ‘normal’ tourist places. Instead, we stayed in little towns and villages, then spent hours driving to different spots daily, returning to our ‘home base’ each night. By so doing, we experienced genuine French culture. France is my favorite place because her cities and towns—and even her streets!—are unique and sophisticated. It would take too long to describe fully what I find so wonderful about France, but allow me to point out that it’s the only country I know of which has crucifixes all throughout the countryside. It also has the most magnificent castles, roadside monument signs, red poppies, and the world’s best pastries!

* I’m all for ‘congregational singing’—and those familiar with my work at parishes here in West Covina (over the past two decades) know this beyond any doubt. But it’s not desirable for congregations to join with every song. Some pieces are designed for the congregation to hear, not sing: Fídes ex audítu.

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

Filed Under: Articles, PDF Download Tagged With: Énemond Moreau Composer, Lemmensinstituut, Oscar De Puydt, Oscar Depuydt Last Updated: October 29, 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

    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th 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 top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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
    “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

Random Quote

Palestrina wrote two Masses in honor of the Blessed Virgin—one “a 6” before the Council of Trent, consequently with the tropes, and first published in 1570. In 1599 it was republished in Palestrina “Missarum Liber III” with the tropes removed, and in their place the liturgical words of the “Gloria” reiterated.

— Henry Coates

Recent Posts

  • PDF Download • Christmas Piece (SATB) — “Angels We Have Heard on High” with Text in Latin
  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs
  • Typo in the “Missale Romanum” (1962)

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