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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

Booklet • Saint Antoine Daniel “Kyriale” (126 pages)

ERE IS A SPLENDID, affordable, powerful, indispensable book you should consider purchasing. It was created specifically for my parish in Los Angeles (where the Père Daniel resources are quite popular) but I thought some of our readers might like it as well, so it’s been made available for everyone. I could not function as a choirmaster without this book; it’s truly fabulous. Feel free to examine the complete file (126 pages). The draft copy was downloaded 600+ times—so there appears to be interest.

It came out crisp and beautiful:

*  Saint Antoine Daniel Kyriale ($5.99)
—126 pages; contains the complete KYRIALE, including Credo VII.

Why This Book? Some might point out that the KYRIALE can be found in the Parish Book of Chant (CMAA), which is a very nice book, as this pdf copy demonstrates. However, the Parish Book of Chant has a number of disadvantages:

Starting Pitches • The Parish Book of Chant lacks starting pitches; those who sing from the “Ordinarium Missae” on a regular basis appreciate how handy these are.

7th Credo • The Parish Book of Chant lacks the medieval Credo VII (one of the best).

Vidi Aquam Psalm Tone • The Parish Book of Chant does not provide an optional psalm tone version of the “Vidi Aquam” for the repeat—which means the priest has to stand there for a long time waiting.

Confusing Numbers • The Parish Book of Chant uses a “double” numbering system which is inelegant and extremely confusing.

Ineffective Headers • The Parish Book of Chant uses headers at the top of each page which are poorly done, repeating “Parish Book of Chant” over and over again.

Cost • The Parish Book of Chant costs $22.00 per copy, whereas the Antoine Daniel Kyriale costs $5.99.

Those are some of the reasons why our new publication was necessary.

Fun Fact: You might notice the bottom of page 76. This was an excellent suggestion by Fr. Valentine Young, OFM, and several FSSP priests. Without going into detail, it takes the “Benedicamus Domino” melody—for Sundays in Advent and Lent—but switches the words to “Ite Missa Est,” in accordance with Chapter 9 of Rubricarum Instructum (1961). I’m not thilled with the syllable placement, but it matches what is found in the official books:

82882-Benedicamus-Domino

After you examine page 76, let me know your thoughts in the Facebook comment section. While I don’t use Facebook very much for personal stuff, I do religiously read the comments that appear on the CCW Facebook page. (Pardon the pun!)

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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

They were not ashamed to lay their hands on Sedulius, on Prudentius, on St. Ambrose himself. Only in one or two cases does some sense of shame seem to have stopped their nefarious work. They left “Ave maris stella,” “Jam lucis orto sidere,” and St. Thomas Aquinas’s hymns alone (they would have made pretty work of “Sacris solemniis”). In 1629 their mangled remnants were published.

— Rev’d Adrian Knottesford Fortescue (25 March 1916)

Recent Posts

  • PDF Download • “Sprinkling Rite”
  • ‘Sarum’ Good Friday?
  • Gregorian Chant • The “Correct” Way of Singing ?
  • PDF Download • “Eb Organ Postlude”
  • Fulton J. Sheen • “24-Hour Catechism”

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