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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 • “Tantum Ergo” for 3 Voices (Kevin Allen) Paired with a Hymn for 2 Voices

Jeff Ostrowski · January 20, 2026

HOSE WHO CLICK on the following video will see that it starts with verses of the “Pange Lingua” by Saint Thomas Aquinas (d. 1274). The melody is difficult to speak about since it goes by so many different names: LIEBE DIE DU MICH ZUM BILDE; KOMM O KOMM DU GEIST DES LEBENS; BAMBERG; ICH BEGEHR NICHT MEHR; WURZEN; and so forth. In the Brébeuf Catholic Hymnal, it is called “ST LEONARD.” Once upon a time, this hymn tune was quite popular. (Some of the finest hymn tunes go by multiple names; for instance, “JESU KREUZ LEIDEN UND PEIN” from Bach’s Saint John Passion.) In any event, starting at marker 0:25, you will see that an excerpt from Kevin Allen’s sublime polyphonic setting of the “Tantum Ergo” is used as a refrain:

Free rehearsal videos for each individual voice await you at #20323.

Sadness • Most readers won’t take the time to click on that #20323 link provided above, which means they will miss an opportunity to download that PDF score free of charge. They will also fail to take advantage of the magnificent rehearsal videos for each individual voice (which are conveniently posted there). I know this for a fact because we have internet tools permitting us to see “who downloads what” on our website. Sometimes, I will post something a very little importance … only to see it get downloaded thousands of times. It makes me sad that many readers will fail to click on that link.

More On That Tune • According to a footnote in the Brébeuf Hymnal, the melody mentioned above (“ST LEONARD”) was written by Johann Christoph Bach (d. 1703). Some hymnals erroneously attribute this tune, as his name resembles that of J.S. Bach’s fifth son—Johann Christoph Friedrich Bach—as well as his youngest son, Johann Christian Bach (d. 1782), who became a Catholic and was admired by Mozart. The Latin text is #346 in the Brébeuf Hymnal.

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

Filed Under: Articles, PDF Download Tagged With: Bamberg Hymn, Ich Begehr Nicht Mehr Hymn, Komm O Komm Du Geist Des Lebens Hymn, Liebe Die Du Mich Zum Bilde Hymn, St Leonard Hymn Tune, Wurzen Hymn Last Updated: January 20, 2026

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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).

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President’s Corner

    Music List • (5th Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday, 8 February 2026, which is the 5th Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. You will probably notice it isn’t as ‘complete’ or ‘spiffy’ as usual, owing to some difficulties which took place this week.
    —Jeff Ostrowski
    PDF • “Communion” (5th Sunday in Ordin.)
    The COMMUNION ANTIPHON for this coming Sunday, 8 February 2026—which is the 5th Sunday in Ordinary Time (Year A)—is truly delightful. You can download the musical score completely free of charge. This text will be familiar to altar boys, because it’s PSALM 42. The Feder Missal makes the following claim about that psalm: “A hymn of a temple musician from Jerusalem: he is an exile in a heathen land, and he longs for the holy city and his ministry in the Temple there. The Church makes his words her own.”
    —Jeff Ostrowski
    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    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

“I have devoted myself too much, I think, to Bach, to Mozart and to Liszt. I wish now that I could emancipate myself from them. Schumann is no use to me any more, Beethoven only with an effort and strict selection. Chopin has attracted and repelled me all my life; and I have heard his music too often—prostituted, profaned, vulgarized … I do not know what to choose for a new repertory!”

— Ferruccio Busoni (to a colleague in 1922, when he was 56 years old)

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