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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

“Innsbruck Hymn” • Bach Saint Matthew Passion

Jeff Ostrowski · March 16, 2026

AST SUNDAY, our volunteer choir sang a truly magnificent hymn known as INNSBRUCK. The Germans marry this melody to many different texts: Wer hat dich so geschlagen; Ich bin’s, ich sollte büßen; Nun ruhen alle Wälder; and so forth. In English, it’s frequently married to texts such as: O Lord, Who Dares to Smite Thee; The Duteous Day Now Closeth; Hail, Jesus, Hail! Who for My Sake; Upon the Cross Extended; O Thou Who Dost Accord Us; Now Woods and Wolds Are Sleeping; O Food of Exiles Lowly; Come Then, My Soul, and Gladly Sing and so forth.

Dom Gregory Ould • The version we sang uses an exceptional Roman Catholic Translation from 1670AD, and the text is Crux Fidelis (a.k.a. Pange Lingua). Credit for pairing text with tune goes to Dom Gregory Ould (d. 1939), a famous Roman Catholic musician who served our Savior as a Benedictine monk at Fort Augustus Abbey in Scotland:

To access this hymn’s media in the Brébeuf Portal, click here.

Below is from a legendary performance
by Wilhelm Furtwängler, recorded ‘live’
during Holy Week (1954) just seven months
before Furtwängler’s death:

Here’s the direct URL link.

It is also frequently used as
“O Esca Viatorum,” a Eucharistic
hymn. — Learn more.

To access this hymn’s media in the Brébeuf Portal, click here.

Addendum • Here’s how melody and text appeared in the 1910 hymn book by Dom Gregory Ould (mentioned earlier):

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

Filed Under: Articles Tagged With: Samuel Gregory Ould OSB Last Updated: March 17, 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

    Simplified Accomp. • Schubert’s “Ave Maria.”
    Sometimes the organist must simultaneously serve as the CANTOR. (Those who work in the field of church music know exactly what I’m talking about.) One of our contributors composed this simplified keyboard accompaniment for Franz Schubert’s “Ave Maria,” a piece which is frequently requested for Catholic funerals and weddings. In terms of the discussion about whether that piece is too theatrical (‘operatic’) for use in Church, I will leave that discussion to others. All I know is, many church musicians out there will appreciate this simplified version.
    —Jeff Ostrowski
    “Reminder” — Month of April (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
    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting in 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simply click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “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

Random Quote

“With all the powers of modern music open to him, from romanticism through French impressionism to the German and Russian modernists, he is yet able to confine all these contradictory forces on the groundwork of the Gregorian tradition.”

— Theodor Rehmann (on Msgr. Jules Van Nuffel)

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