Update • Saint Edmund Campion Missal

Update • Saint Edmund Campion Missal

Searching for the Saint Edmund Campion Missal? Read this letter.

The 3rd edition won’t include hymnody, since it would be imprudent to challenge the new Saint Jean de Brébeuf Hymnal, recently declared by the New Liturgical Movement to be “hands down, the best Catholic hymnal ever published.”

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* Click Here to learn about the Brébeuf Hymnal
—Pew Edition, Choral Supplement, Organ Accompaniment, and more!

Additional Information Re: Brébeuf Hymnal

* Instructional Video • YOUTUBE
(“Using the Brébeuf Index Correctly”)

* PDF Download • SEASONAL INDEX
(For personal use, uploaded by Veronica Moreno)

* PDF Download • COMPLETE INDICES
(Material from the Saint Jean de Brébeuf Hymnal)

* CCWatershed Article • ORGAN ACCOMP.
(Additional info Re: the Organ Accompaniment volumes)

* PDF Download • ADDITIONAL ARTICLES
(Ten articles about the Saint Jean de Brébeuf Hymnal)

* PDF Download • EXECUTIVE SUMMARY
(Salient points about this hymnal on a single sheet)

* PDF Download • TESTIMONIALS
(Read what the experts have to say about this new Catholic hymn book.)

You can visit the for the (archive) website Second Edition of the Edmund Campion Missal.

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski

“Sharing Is Caring”

I would like to share a message from a highly respected scholar. (His articles appear in distinguished journals such as Études grégoriennes and Oxford’s Early Music.) He wrote as follows:

The Brébeuf Hymnal is very tastefully done. Your team has exquisite literary and musical taste. I see from my copy of the hymnal that you also set Ex more docti to “Rockingham” (one of my favorite melodies for “When I survey the wondrous cross”). I especially appreciate the background information at the bottom of the page. When I played at the Lutheran church, I would always have a little note about the music, sometimes about a hymn, if the “Hymnal Companion” offered something of interest. The church we attend has battered Worship II hymnals (one per pew), but almost nobody seems to want to sing. I congratulate you on the staggering amount of work it took to produce the Brébeuf hymnal: excellent contents and production.

—Jeff Ostrowski