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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

“Breviary Editors Did It First!” • Omitting Verses?

Corpus Christi Watershed · March 15, 2026

The following came from Guillaume T.
[We usually redact names for anonymity’s sake.]

FOUND YOUR recent article “Alphabetizing Hymn Titles Inside Hymnals” to be a riveting read. Still, I feel compelled to comment on what you said about omitting verses from a hymn at Mass. Omitting a hymn verse is sometimes necessary but care should be taken. For example, if a verse ends on a question mark, it might make sense to sing the verse that follows. Some hymnals (like the EPISCOPAL HYMNAL of 1982) insert asterisks next to verses that one could omit if needed. I do think clergy should look at the hymn texts as possible sources of inspiration for themselves and for the congregation, and make a judgment call about which verses, if any, to omit. Alphabetical order of hymnals does not make sense as this young lady says in the video. Hymns are better arranged by season or theme. It makes it easier for the music director to browse and consider hymns that may not have been sung before but relate to the same theme.

Jeff Ostrowski provided the following response.
[He currently serves as president of Corpus Christi Watershed.]

Thank you for letting me know where you stand on this issue. May I be permitted to add just one more thought? When it comes to the sacred Catholic liturgy, I feel there are certain traditions which will seem peculiar to those ‘looking in’ from the outside. For example, all throughout the sacred liturgy, bits and pieces from the PSALTER are inserted. Prior to the breviary reforms of the 1950s—except for a ‘high’ or ‘double’ feast—only the first word of the antiphon was sung the first time around (which I find quite a beautiful tradition). As you probably know, a brief excerpt from the PSALTER is always included as part of the Introit, although sometimes it’s difficult to understand why unless one takes time to examine the entire psalm. Psalm 44 (Eructávit cor meum verbum bonum) is often used during the sacred liturgy, yet—in spite of what some claim—it can be difficult to understand who is addressing whom, or what that should mean for a Christian in the year 2026. Speaking of Psalm 44, some versions say “for he is thy Lord and God” in verse 12 while other versions say something quite different.

The early Christians had every verse of the PSALTER committed to memory. They knew and prayed every last bit by heart. We see this with many of the offertories (especially the ancient verses) which ‘intertwine’ or ‘interlace’ beginnings of certain verses with others’ endings in a magnificent way. At the end of the day, it is not for us to criticize. If we hear a random verse from the PSALTER at Mass (e.g. Sehon, Amoria’s king, and Og, the king of Basan, and all the kings of Chanaan), we ought to try to learn more. Therefore, the treatment of ‘incomplete’ psalms might be applied mutatis mutandis to the idea of omitting hymn verses. In other words, it is up to listeners to “do some homework” if they’re puzzled by a statement which occurs during the sacred liturgy. (This is not to imply that we should go out of our way to make things more confusing.)

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

Filed Under: Articles Tagged With: CCWatershed Feedback, Reader Feedback Corpus Christi Watershed Last Updated: March 15, 2026

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Corpus Christi Watershed

President’s Corner

    PDF Download • “Sprinkling Rite”
    Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.
    —Jeff Ostrowski
    ‘Sarum’ Good Friday?
    Plainsong of the Roman Rite has many variants—i.e. slight ‘variations’ or ‘alterations’ made to the ancient melodies. Variants often thrive in particular religious orders. Likewise, before Henry VIII broke away from the Catholic Church, Gregorian Chant variants were frequently associated with individual cathedrals in England: Hereford, Lincoln, Salisbury, and so forth. In the early 20th century, the (Anglican) organist at Westminster Abbey married “Let All Mortal Flesh Keep Silence” to this beautiful variant melody from England. Those who sing Gregorian Chant on Good Friday will recognize the melody. What do you think of this pairing?
    —Jeff Ostrowski
    PDF Download • “Eb Organ Postlude”
    Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“It would be difficult to find a failure of imagination greater than that of Carl Czerny.”

— Robert Schumann

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