ODAY, FOR THE FIRST time in history, we release the complete set of Englished Gregorian Propers—all 483 pages!—created by the Sisters of the Most Precious Blood in O’Fallon, Missouri. Monsignor Martin B. Hellriegel spent two decades as chaplain to these sisters at their motherhouse in O’Fallon before being transferred to Saint Louis.* Before I provide the download links, let me suggest four reasons composers should set the Sung Propers and not the Spoken Propers, which were included in the SACRAMENTARY for priests offering Mass privately or without music. In 2007, the chairman of the USCCB Committee on Divine Worship correctly pointed out that the Spoken Propers “differ substantially” (his words) from the Sung Propers and “were never intended to be sung” (again, his words). Archbishop Bugnini wrote, very succinctly: “The entrance and communion antiphons of the Missal were intended to be recited, not sung.”
(1 of 4) Disrespect for Scripture • The “spoken” propers often modify the traditional text in subtle ways. For example, the ENTRANCE CHANT for the 16th Sunday in Ordinary Time at first glance seems identical to the “sung” version, but closer examination shows how the “spoken” version omits the references to God “conquering” or “destroying” enemies. (The 1970s reformers considered such Scripture passages insufficiently “nice.”) But Sacred Scripture should not be bowdlerized. Something similar was done on the 18th Sunday in Ordinary Time.
(2 of 4) Theological Distortions • The “spoken” propers sometimes downplay traditional theology. For example, the 16th Sunday in Ordinary Time assigns Acceptábis Sacrifícium as the COMMUNION CHANT. But that chant “emphasizes” or “reinforces” or “calls to mind” how the Mass is primarily a sacrifice. Because of this, the “spoken” version eradicated the traditional passage, inexplicably replacing it with a completely different one.
(3 of 4) No More Sin? • Broadly speaking, the “spoken” propers de-emphasize, minimize, or eliminate texts which dwell on sin (and especially sorrow for sin). For example, the “spoken” version of the ENTRANCE CHANT for the 5th Sunday in Ordinary Time at first glance seems identical to the “sung” version. However, a close examination reveals that plorémus ante eum (“let us shed tears before the Lord”) was inexplicably excised.
(4 of 4) Connections Severed • The most important reason to avoid the “spoken” propers is obvious: they have no history. The GRADUALE ROMANUM is astronomically ancient, far more ancient than the ORDINARIUM MISSAE. Why on earth would we wish to sever the connection to these ancient prayers, and (by so doing) gain absolutely nothing?
Needless to say, the Sisters of the Most Precious Blood in O’Fallon, Missouri, used the Sung Propers. (The Spoken Propers wouldn’t be invented for another five years.)
* PDF Download • “O’FALLON PROPERS” (1 of 7) —39 pages
—“Advent to Septuagesima” • Sisters of the Most Precious Blood (O’Fallon, Missouri).
* PDF Download • “O’FALLON PROPERS” (2 of 7) —51 pages
—“Septuagesima to Easter Vigil” • Sisters of the Most Precious Blood (O’Fallon, Missouri).
* PDF Download • “O’FALLON PROPERS” (3 of 7) —58 pages
—“Easter Vigil to the 3rd Sunday after Pentecost” • Sisters of the Most Precious Blood (O’Fallon, Missouri).
* PDF Download • “O’FALLON PROPERS” (4 of 7) —64 pages
—“4th Sunday after Pentecost to Advent” • Sisters of the Most Precious Blood (O’Fallon, Missouri).
* PDF Download • “O’FALLON PROPERS” (5 of 7) —84 pages
—“Common of the Saints” • Sisters of the Most Precious Blood (O’Fallon, Missouri).
* PDF Download • “O’FALLON PROPERS” (6 of 7) —163 pages
—“Feasts of the Saints” • Sisters of the Most Precious Blood (O’Fallon, Missouri).
* PDF Download • “O’FALLON PROPERS” (7 of 7) —24 pages
—“Plainsong Burial Rite” • Sisters of the Most Precious Blood (O’Fallon, Missouri).
Final Thoughts • Sadly, they didn’t include the feast of Saint Isaac Jogues and Companions, who are the Patron Saints of North America. Jim Randazzo informs me that the eye-catching artwork on the book covers was designed by one of their own: Sister Hiltrudis Powers. I would very much like to know why they included the word “alleluia” on the Requiem cover. (In the west, the word “alleluia” was not said as part of the Requiem Mass until after Vatican II.) From a musical perspective, some of the settings are very well done, very clever, and very tuneful.
Photographs courtesy of Cynthia Ostrowski.
* Some believe that Monsignor Martin Hellriegel was quite involved with the creation of the O’FALLON PROPERS.
