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Views from the Choir Loft

PDF Download • “English Hymns for Three Voices” (SSA), edited by Dr. Theodore Marier—182 pages

Jeff Ostrowski · April 27, 2023

HAVE SPOKEN about how I communicate with dead composers. Today, I felt like the recipient of a “pat on the back” from Dr. Theodore Marier—one of America’s leading church musicians—who passed away on 24 February 2001. That’s because I was looking through one of his books (which I’d never seen before). It’s called CANTUS POPULI, which means “Songs for the people” in Latin. The word cantus can mean “chant” or “item which is sung” or “song.” This book has been out of print for more than a century. I was so pleased, because many of the items included by Dr. Marier were hymns I fought for while serving on the committee which produced the Brébeuf Hymnal. Here are some examples: (1) “Lift High The Cross”; (2) “Now Thank We All Our God”; (3) Numerous hymn translations by Monsignor Ronald Knox, whose works were honored and featured by the Brébeuf Hymnal; (4) Hymns by John Henry Cardinal Newman; (5) Translations by Alan McDougall; (6) An Irish melody, on page 31, which is enshrined in the Brébeuf Hymnal; (7) a setting of Sáncti Veníte, an ancient text honored greatly by the Brébeuf editors; (8) numerous Marian hymns which were also included in the Brébeuf Hymnal; (9) an English translation of Veni Redemptor Gentium, a text highly honored by the Brébeuf editors; (10) a text with VOM HIMMEL HOCH, a melody greatly exalted by the Brébeuf committee; (11) the way Dr. Marier writes out each verse of the hymn on page 107 reminds me of how the Brébeuf Hymnal notates each and every verse, making life easy for singers and organists; and so forth.

All hymn arrangements are for three (3) voices! That’s something many choir directors have been begging for!

*  PDF • “CANTUS POPULI” for SSA Voices (182 pages)
—182.4MB • Cantus Populi: A Collection of Psalms, Hymns & Chants for SSA Voices (1963).

Brief But Beneficial • Indeed, this book by Dr. Marier seems almost like an “abridged” version of the Brébeuf Hymnal, except for SSA voices. (Of course, Dr. Marier’s book is only 182 pages, whereas the Brébeuf has close to 1,000 hymns.) This collection by Dr. Marier contains tons of English plainchant settings, which I suspect were used again two decades later, in Hymns, Psalms, and Spiritual Canticles (reviewed by Daniel Craig here). Something which surprised and delighted me was when I saw Dr. Marier’s plainsong setting of an Advent hymn you’ll recognize!

Major Differences • There are, however, a number of differences between this book and the Brébeuf Hymnal: (A) Dr. Marier’s book only includes a small number of verses—usually two or three—whereas the Brébeuf Hymnal includes all the verses for each hymn; (B) Dr. Marier’s book, published in the early 1960s, uses lyrics that are a bit more “old-fashioned” than the Brébeuf Hymnal; (C) Dr. Marier’s book includes about sixty hymns, whereas the Brébeuf Hymnal contains about 900; (D) Dr. Marier’s book is for three voices—SSA or TTB—whereas the Brébeuf Hymnal is for four voices [SATB]. Nevertheless, when I direct choirs consisting of all women or all men, I will definitely investigate some of these fine settings by Dr. Theodore Marier!

1960s Anyone?

Early 1960s Musical Scene • As far as I can tell, this book was published in the early 1960s. What was taking place on the musical scene at that time? In short, a whole lot! Regarding the use of vernacular, the Second Vatican Council had declared: “the limits of its employment may be extended.” Nonetheless, the Council solemnly declared that “it is for the competent territorial ecclesiastical authority to decide whether, and to what extent, the vernacular language is to be used.” Indeed, the specific language ratified by Vatican II says Latin must be retained; this is not a suggestion.

The Boring Stuff • Perhaps nobody will care about this next part, but I will include it anyway. By the early 1960s, the “pure” Editio Vaticana rhythm had begun to fall away. It had been replaced by the rhythm of Dom André Mocquereau, who—broadly speaking—matched the official rhythm in the KYRIALE, but radically contradicted it in the GRADUALE and ANTIPHONALE. The NOH, produced in the 1940s by the Lemmensinstituut, adhered to the official rhythm. One of the NOH composers was Marinus de Jong. When Omer Westendorf (d. 1997) commissioned an organ accompaniment from him in 1964, Marinus de Jong departed from the official rhythm and adopted the rhythm of Dom Mocquereau. You can compare the 1940s NOH accompaniment (which follows the Editio Vaticana) with the 1960s accompaniment by Marinus de Jong, which matches the rhythmic modifications by Dom Mocquereau.

Notice how the “pure” Editio Vaticana changes chords on the tonic accent:

Notice how Dom Mocquereau’s method places the chords on the final syllable of the word (which corresponds to the French language):

I recently spoke at length about the way organ accompaniments are written to match the Dom Mocquereau rhythm. This method was particularly worrisome to Mocquereau’s confrère at Solesmes Abbey, Dom Delpech.

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

Filed Under: Articles, Featured, PDF Download Tagged With: CANTUS POPULI MARIER, Dom Mocquereau Ictus, Hymns Psalms and Spiritual Canticles, Marinus de Jong Composer, Marinus de Jong Theorist, Mocquereau Rhythmic Signs Last Updated: April 27, 2023

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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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Corpus Christi Watershed

President’s Corner

    “What Martin Luther Said…”
    My pastor asked me to write little columns for the bulletin each week. The article for 20 July 2025 has been posted, and it’s called: “What Luther Said…” Martin Luther (an ex-priest and apostate) was an infamous heretic whose ignorance of JESUS CHRIST was only exceeded by his filthy and disgusting vulgarity.
    —Jeff Ostrowski
    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Unfortunately, on the one hand a deadly error in judgment placed the official leadership of this committee into the hands of a man who—though generous and brave—was not very knowledgeable: Cardinal Lercaro. He was utterly incapable of resisting the maneuvers of the mealy-mouthed scoundrel that the Neapolitan Vincentian, Bugnini, a man as bereft of culture as he was of basic honesty, soon revealed himself to be.”

— ‘Fr. Louis Bouyer, an important member of the Consilium’

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