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APPROVED LIST OF 

CLtcL M n u e 

FOR THE 

ARCHDIOCESE 
OF DUBUQUE 

Edited by the 
A R C H D I O C E S A N M U S I C C O M M I S S I O N 





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of 

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for the 

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edited by the 

A R C H D I O C E S A N M U S I C C O M M I S S I O N 

M E M B E R S O F T H E C O M M I S S I O N 

R E V . A L P H O N S E DRESS, Ph.D., Chairman^ 

R E V . W. H . S C H U L T E , P h . D . , Executive Secretary and Editor 

R E V . E M M E T T K E L L Y , M . A . 

PROFESSOR J O S E P H J . D R E H E R 

PROFESSOR B . W . S C H U L T E 

COLUMBIA COLLEGE PRESS 

DUBUQUE, IOWA 

1938 



N I H I L O B S T A T 

REV. ANTHONY KREIMER, Ph.D. 

Censor Deputatus 

I M P R I M A T U R 

^FRANCIS J . L. BECKMAN, S.T.D. 

Archbishop of Dubuque 

Dubuque, Iowa, April 30, 1938 



^Jable of (Contents 
Page 

Foreword J 

Preface 9 

Introduction 13 

Regulations for Church Music 15 

Official Pronouncements 21 

PART I. H i g h M a s s 3 9 

Section 1. Ordinary of the Mass 39 

A. Plain Chant 39 

B. Non-Plain Chant 40 

a. Unison 40 
b. Two Equal Voices 42 
c. Two Mixed Voices 44 

d. Three Female Voices 44 
e. Three Male Voices 45 

f . Three Mixed Voices 4 6 

g. Four Female Voices 47 

h. Four Male Voices 47 

i. Four Mixed Voices 49 

j. Five Mixed Voices 53 

k. Six Mixed Voices 54 

Section 2. Proper of the Mass 54 

A. Plain Chant 54 

a. For Entire Year 54 

b. For All Sundays and More Common Feasts! 5 5 

c. For Special Feasts and Special Services 5 5 

B. Non-Plain Chant 55 

a. For Entire Year 55 

b. For Special Feasts 55 

Section 3. Requiem 64 

A. Plain Chant 64 

B. Non-Plain Chant 65 
a. Unison ? 65 

b. Two Equal Voices 65 

c. Three Mixed Voices 65 

d. Four Mixed Voices 65 

e. Four Male Voices 66 

— 3 — 



THE LITURGICAL INSTITUTE (August 1-8) 
The I N S T I T U T E will be conducted on the campus of Columbia College. It will open on Monday morning at 
9:00 o'clock in the Library of St. Joseph Hall. 

C O U R S E S O F I N S T R U C T I O N 

9:00-9:50—(St. Joseph Hall Library) 
The Musical Parts of the High Mass. The emphasis in this course will be placed upon the Proper of the Mass. 
To make the performance of the Proper possible for every type of organist and director its Plain Chant and 
non-Plain Chant musical settings will be studied. This course will include such problems as are connected with 
the liturgical and_ musical rendition of Chants at High Mass. DR. W . H . SCHULTE 

10:00-10:50—(St. Joseph Hall Library) 
Non-Plain Chant High Mass. Several unison, two-voiced (and others, if feasible) Masses will be practiced. The 
purpose will be to become familiar with Masses which may well form a part of the repertoire of Catholic 
choirs. It is hoped that the study of these Masses will sufficiently prepare organists and directors to teach their 
own choirs these same Masses. DR. W. H . SCHULTE 

11:00-12:00 
A t 11:00 o'clock Father Kelly will be in Room 103, St. Joseph Hall, to make definite arrangements with those 
who wish to take organ lessons during the period of the INSTITUTE. 

Note: Those who are interested in taking organ lessons are strongly urged to not i fy the Director of the Litur-
gical Institute, Columbia College, if at all possible, before July 27, in order that the necessary arrangements 
may be made for instructors. 

The period from 11:00-12:00 is left open so that those who are in attendance may discuss their problems with 
one another. Such discussion always leads to a helpful exchange of opinion and suggestion. 

12:00—Dinner (Saint Francis' Hall) 

2:00-2:50—(Room 242 St. Joseph Hall) 
Theory of Plain Chant. This course will deal with the fundamentals of Plain Chant. It will include the read-
ing of Plain Chant notes, phrasing, rhythm and all matters that are requisite for correct understanding and proper 
rendition of Gregorian Chant. REV. E. KELLY 

3:00-3:50—(Room 242 St. Joseph Hall) 
Practical Course in Plain Chant. This will serve as opportunity to apply the principles taught in T H E O R Y OF 
PLAIN C H A N T . Several of the regular Plain Chant Masses will be practiced. It will also include a study of 
the Chants which are used at special liturgical functions during the year, e. g. Confirmation Service, Forty Hours' 
Adoration, Weddings, Funerals, etc. REV. E. KELLY 

5:00-5:50—(St. Joseph Hall Library) 
Roundtable Discussion. This period will deal with special topics of direct interest to choir directors and organists. 
The APPROVED LIST OF C H U R C H MUSIC FOR T H E ARCHDIOCESE OF D U B U Q U E will be discussed 
and analyzed, and the method of selecting material for choir use will be indicated. Choir problems will form 
another topic for discussion. 

Students are encouraged to bring special problems to this course in order that by discussion with others and under 
the direction of the leader practical solutions to these problems may be found. 

D R . W . H . SCHULTE a n d REV. E . KELLY 

6:00—Supper (Saint Francis' Hall) 

The evening period, i. e. the time after supper, will be left free for private discussions, consultations, organ 
practice, group practice, visits to the city, etc. 

It is the plan of those in charge of the I N S T I T U T E to set aside one evening for a visit to N e w Melleray Abbey 
to attend the evening services of the Trappist monks. 

Liturgical Services. 
In order to make the LITURGICAL I N S T I T U T E truly liturgical in the spirit of the Church, a Mass will be sung 
at 8:00 o'clock every morning of the INSTITUTE beginning with Tuesday, August 2. Benediction with the 
Blessed Sacrament will be given every afternoon at 4:45. 

These services will be held in St. Joseph Hall Chapel. 

Those who attend the I N S T I T U T E will form the choir for these liturgical services. 

Accommodations. 

Sisters and lay women will be assigned rooms at Loras Hall; priests and laymen at St. Joseph Hall. 

Mail. Those who expect mail may have it addressed 
Columbia College, % Liturgical Institute, Dubuque, Iowa. 





THE FINE GOLD OF THE 
OLD TESTAMENT 

A B O O K O F R E A D I N G S F R O M T H E D O U A Y B I B L E 

Head, of the Department of English at Columbia Collegk 
Lecturer on English Literature in Clarke College 

W i t h a Foreword by 

T H E REV. M A U R I C E S. SHEEHY, PH. D. 
Head of the Department of Religion at the Catholic University of America 

Edited with Introductions and Notes 

By 

T H E R E V . L J. S E M P E R 

DUBUQUE 

COLUMBIA COLLEQE PRESS 

1938 

[Facsimile of Title Page] 



A NEW TEXT FOR COURSES IN THE OLD TESTAMENT 
The Fine Gold of the Old Testament has been planned for 

the use of college students, either in the department of English 
or in the department of Religion, for study clubs and for the 
general reader. 

This volume contains (1) a brief introduction to the Old 
Testament, (2) readings significant for religious content and 
literary form from every one of the Poetical, Sapiential and 
Prophetical Books of the Old Testament, (3) a short intro-
duction prefixed to each Book, and (4) brief explanatory notes 
on the text. All the readings, which are complete in them-
selves, have been grouped according to literary form, and the 
text has been modernized with regard to punctuation, spelling 
and awkward grammatical constructions. The prose is thrown 
into paragraphs; the lyrical poetry is cast in the form of verse ; 
and the book of Job is arranged as drama. 

"The value of Father Semper's work lies in its presenta-
tion of theDouay verson of the Bible, approved by the Church, 
in carefully selected passages designed to present in intelligible 
and compact form some of the literary and spiritual treasures 
of the Old Testament." —(From Dr. Sheehy's Foreword). 

Psalm I 
to illustrate 
size of type 
and 
arrangement 
of lines 

PRELUDE 
(Psalm I) 

Blessed is the man who walketh not in the counsel of 
the ungodly, 

Nor standeth in the way of sinners, 
Nor sitteth in the chair of the scornful. 

But his delight is in the law of the Lord; 
And on his law doth he meditate day and night. 

He is like a tree planted by running waters, 
Which bringeth forth its fruit in due season, 
And whose leaf falleth not. 

Whatsoever he doth shall prosper. 

Not so the wicked! Not so the wicked! 
They are like the chaff which the wind scattereth. 

Therefore the wicked shall not stand in the judgment, 
Nor sinners in the assembly of the just. 

For the Lord knoweth the way of the just; 
But the way of the wicked shall perish. 

300 pages, octavo size, large type, flat opening, paper binding. 
Price: Single copies, $1.00; postage, 15 cents. For quantity orders of 12 

or more, the usual discount will be allowed. 

Send orders to COLUMBIA COLLEGE PRESS 
Box 178 Dubuque, Iowa 



PART II. Vespers and Compline 67 

Section I , Vespers 67 

A. Plain Chant 67 

B. Non-Plain Chant 67 

Section 2. Compline 68 

PART III. Antiphons, Responsories, Hymns and Motets 69 

PART IV. Hymn Books, Collections and Wedding Music 82 

A. Unison 82 

B. Two Equal or Mixed Voices 83 

C. Three Equal or Mixed Voices 84 

D. Four Equal or Mixed Voices 8S 

PART V. Material for the Various Feasts and Seasons of the Year 87 

PART VI. Organ Music 98 

Section 1. Organ or Harmonium (on two staves) 98 

Section 2. Organ only 99 

PART VII. Theoretical Works 100 

Section 1. Books 100 

Section 2. Publications 100 

Section 3. Records 100 

PART VIII. Disapproved Music 103 

PART IX. Names and Numbers of Publishers used in Approved List 10 J 

(For abbreviations used in The Approved List cf. p. 14.) 



With trumpets sounding the "Jubilate" before the Cathedral of St. 
Raphael during the procession to the Pontifical Mass we inaugurated the 
Centennial Commemorations of the erection of the Diocese of Dubuque on 
Wednesday, July 28, 1937. In the first shrine of devotion in this Archdiocese 
we praised the glory of God in His holy place. We rejoiced in the divine 
blessings vouchsafed to the faithful of this region during a hundred years of 
its history. The gathering of that day was truly the "Kingdom of God and 
joy in the Holy Ghost" (Rom. XIV, 17) , when we gave expression to the 
joy of our hearts in union with the rejoicing pioneers in their eternal home. 
With the Church of Phillippi we had reason to "rejoice in the Lord always; 
again, I say, rejoice" (Phil. IV, 4 ) . We were sensible of the Providence of 
God Who for a century had directed His children in the way of holiness and 
Who had gained us the happiness of witnessing that day of many grateful 
memories. With the Church we prayed that with us also God might "abide 
for your furtherance and joy of faith" (Phil. I, 25) . 

For a hundred years the faithful of these parts, the pioneers and their 
children to the third generation, had sung their gratitude, praise and thanks-
giving, their joys, their sorrows and petitions in psalms and hymns and spiri-
tual canticles. It was fitting, therefore, that music should be the expression 
of our prayerful devotion during the year of Jubilee, and that the clergy, sis-
terhoods and laity should unite their talents in the composition and rendi-
tion of special music which would be sung on solemn occasions during the 
celebration of the Centennial. 

Inspired by the spirit and the purpose of the Jubilee, the Rev. Dr. Al-
phone Dress composed a "Hymn to the Archangel Raphael" (words trans-
lated from the Roman Breviary by the Rev. I. J. Semper and Rev. Dr. W. 
H. Schulte), a "Dedication Hymn" (words by Rt. Rev. Msgr. Thomas 
Conry, V.G.) , and a "Centennial Hymn" (words by Raymond F. Roseliep) , 
and Prof. B. W. Schulte composed a "Hymn in Honor of Bishop Loras" 
(words by the Rev. Maurice J. Tracy and Sister M. Meneve, B.V.M.). 

In the program for the Jubilee Year We directed that special renditions 
of liturgical music be given in. the See City of Dubuque which would serve 
as models for the deanery commemorations and for special services in the 
parishes, mission churches, chapels of religious institutions and in the schools. 
Accordingly, the following solemn services were held in which every require-
ment of the music and ceremonies of the liturgy was observed: 

October 3: Solemn Pontifical Mass at Columbia College Gymnasium, 
music by the united men's choir of the city under the direction of William 
H. Keller, accompanied by Miss Doris McCaffrey. 

October 3 : Solemn Holy Hour in the Cathedral in the evening, con-
gregational singing of Eucharistie Hymns by men under the direction of 
Rev. Dr. Alphonse Dress, accompanied by Miss Ruth Harragan. 

October 4: Solemn Pontifical Mass in St. Raphael's Cathedral, congre-
gational singing by one thousand nuns under the direction of Rev. Dr. Al-
phonse Dress, accompanied by Miss Ruth Harragan. 

October S: Solemn Pontifical Mass at Columbia College Gymnasium, 

— 5 — 

| f Special Î 
Collections 

X ^ o h O Î 



singing by united city choirs of women under the direction of Harold 
Schneider, accompanied by Miss Doris McCaffrey. 

October 6: Solemn Pontifical Mass at Columbia College Gymnasium, 
singing by three thousand children under the direction of Miss Leona M. 
Heim, Prof. Joseph J. Dreher and Prof. John Kelzer, accompanied by Miss 
Ethel Gassman. 

While the purpose of celebrating the Jubilee Year was to render honor 
and gratitude to God for the innumerable blessings that had been bestowed 
on the bishops, archbishops, clergy and laity of the Archdiocese during the 
hundred years of its existence, it was also to be the occasion of the regen-
eration of the Catholic spirit and of the revival of Catholic tradition 
amongst the faithful in the years that lie ahead. 

There can be no lasting regeneration nor enduring revival except 
through the observance of the laws of God and of His Church. These laws 
direct us not only in faith and morals, but also in the means and methods 
we are to use in giving expression to our relations and obligations to our 
Creator. Sacrifice and prayer are the most important obligation we owe to 
God, and under the inspiration of the Holy Spirit they have been expressed 
in the liturgy of the Church. In the sacred liturgy every faculty of the in-
telligent creature is directed toward the service of the Creator and is availed 
of to bring him close to God. The Church employs every talent of the hu-
man being, not only for the subjective purpose of cultural improvement, but 
also for the objective purpose of elevating him above his earthly condition 
so that he may be' brought into intimate communion with his Maker. Thus, 
she has fostered the arts of sculpture, painting and architecture throughout 
all her history, not only to develop a sense of beauty and of perfection in 
her children, but chiefly to help them to know the perfections of God and 
to emulate the virtues of His elect. And since the life and activity of the 
Church are manifest in her liturgy, it was natural that she should employ 
the art of music, which is nature's medium of the expression of joy and sor-
row, to voice her faith in the sacred mysteries and to carry her praise and 
her petitions to the throne of God. Thus sacred music is as old as the 
Church. She learned it from her predecessor, the Church of the Old Testa-
ment, for which King David composed the divine Psalter. 

But while the art of music can interpret man's purest and sublimest 
feelings, it can also give expression to his most degrading emotions. Hence 
the Church has always been careful to foster in her liturgy the type of 
music which expresses the grandeur as well as the simplicity of her public 
prayers. She has rigorously excluded what was sensuous and what had a 
tendency to disturb rather than to assist the mind and the senses in the 
celebration of the divine mysteries. She has preserved and developed the tra-
ditional Plain Chant which has come down to us, perhaps, from the cata-
combs, and which claims our veneration and our affection because of its age 
and its origin. Popes and bishops in every age have insisted on its use in the 
liturgy, and they have never tolerated any other music except that which 
has the modes of Plain Song for its basis. The Plain Chant of the Church 
lends itself naturally to the performance of the ecclesiastical oflSces because 
it alone accommodates itself to the active participation of the laity in the 
divine liturgy, and it alone, when properly executed, with the beauty, pur-



ity, simplicity, earnestness and flexibility of its tones possesses the power to 
transport the mind, the heart and the senses into the presence of God. 

The Church has continuously appealed to those in responsible position 
not only to observe the regulation she has made in regard to the preserva-
tion and use of her Plain Song, but she has exhorted them to strive to make 
the faithful more sensitive to the beauty of her liturgical music by encour-
aging their active participation in her divine services. To this end she has 
positively directed Catholic schools and religious institutions to train their 
charges in the singing of the Plain Chant. A perusal of the extracts from 
her regulations, which We have made a part of this brochure, will amply 
reveal her mind and her wishes in this matter. 

Because Our predecessors promulgated the decrees of the Supreme Pon-
tiffs in the Archdiocese of Dubuque, the spirit of the liturgy and its music 
is almost everywhere in evidence. We would, nevertheless, be lacking in 
loyalty to the Church and in fidelity to the traditions of this venerable See 
if We ceased to build on'the foundations that have been so well laid. Con-
scious of this duty We now direct that all priests and teachers in the Arch-
diocese renew their efforts in behalf of liturgical music and congregational 
singing. 

In all our schools liturgical music should be made an integral part of 
the curricula. Children, even those of tender years, can be taught to read 
the notation of the Plain Chant as easily as that of modern music. The old-
est of the arts assuredly has an educative value, and this is particularly true 
of the liturgical music in our Catholic schools. If Catholic children are 
taught the Plain Song of the Church in their early years they will undoubt-
edly want to sing it all their lives. Directors of music should accordingly 
provide for instruction in Plain Chant so that the children will find it just 
as attractive as modern music and become just as conversant with it. 

We began our Jubilee with joyous singing in response to the natural 
religious instinct of gratitude. The experiences and the graces of the Cen-
tennial Year should impel us to participate in a revival of the spirit of the 
liturgical Chant so that all may react in the new centennial to the exhorta-
tion of the Apostle: "Be ye filled with the Holy Spirit, speaking to your-
selves in psalms and hymns and spiritual canticles, singing and making mel-
ody in your hearts to the Lord; giving thanks for all things, in the name of 
our Lord Jesus Christ, to God and the Father" (Eph. V, 18-20) . 

To achieve this worthy and important purpose, and to solve a problem 
that has often been perplexing, We directed the Sacred Music Commission of 
the Archdiocese to compile a list of acceptable selections of sacred music for 
all liturgical occasions, to indicate the compositions that should be excluded 
from the services of the Church, and to publish its findings and recom-
mendations for the direction of the clergy. The Commission has rendered 
invaluable service to the cause of Church music in this Archdiocese by its 
conscientious dedication to the duties and to the trust We have reposed in 
it. Its members have given the finest efforts of their wisdom and experience, 
and they are deserving of both our gratitude and the blessings of God for 
the increase of His praises which will result from their labors. 

THIS COMPILATION OF C H U R C H MUSIC N O W BECOMES 
NOT" ONLY THE GUIDE BUT ALSO THE IMPERATIVE REGULA-
T I O N FOR ALL LITURGICAL FUNCTIONS I N THIS ARCHDIO-



CESE. THOSE I N A U T H O R I T Y ARE HEREBY DIRECTED T O HAVE 
THEIR MUSIC LIBRARIES CLEARED OF ALL OBJECTIONABLE 
MANUALS A N D SELECTIONS A N D T O CHOOSE N E W MATERIAL 
AS IT IS NEEDED, FROM THIS OFFICIAL LIST. THIS COMPILA-
T I O N WILL BE SUPPLEMENTED FROM TIME T O TIME BY SUCH 
N E W COMPOSITIONS AS T H E COMMISSION FINDS WORTHY. 

The restoration of the Plain Chant in all religious ceremonies is a part 
of the Liturgical Movement which has been gaining such world-wide mo-
mentum and favor in recent years. The liturgy is the official worship of the 
Church. It is the basis of her spiritual life. She renews her strength at the 
fountain of grace in the liturgical sanctuary. It is Our duty as well as Our 
privilege to guide the fathful in participation in the liturgy in order that 
they may be brought into closer union with the Mystical Body of Christ, 
and to explain to them the external liturgical forms and actions which are 
symbolic of the internal effects of the sacred mysteries in the souls of those 
who participate in them. 

When the world has begun to sing the praises of God it will discover 
the way to happiness and peace. For us who are members of the Mystical 
Body of Christ, there is harmony, unity and joy at His sacrificial altar where 
priest and people unite in liturgical songs of praise for the glory of God and 
of thanksgiving for the favors He has bestowed on us. And while we do not 
know what the Providence of God has in store for the faithful of this Arch-
diocese in the new century, we are certain that the great contests of the fu -
ture-will be decided around the altar of God. May God keep us close to that 
altar by an intelligent participation with the faithful in the Sacred Mysteries 
which are enacted upon it. 

•T FRANCIS J . L . BECKMAN, S . T . D . , 

Archbishop of Dubuque. 



r e f - a c e 

The origin of music like that of the other arts is, in a measure, lost in 
obscurity. The muses of the ancient pagans helped the people to dispel all 
evil through music. It is probable that man expressed himself in rhythmic 
ways as early as he attempted expression of his inner thought and feelings. 
The impulse to express himself is immediately associated with his needs and 
desires as these integrate themslves with security. He has always evidently 
sung to the divinity on which he depended for his security and the satisfac-
tion of his needs. Well, then, did he regard music as the Divine Art. 

His religious history shows that his songs were one with his prayers. His 
impetrations to the Most High were sung with the best of his musical ex-
pression and instruments. "Let us sing to the Lord for He is gloriously 
magnified" exhorts the writer of Exodus (XV, 21) . "Mercy and judgment 
I will sing to Thee, O Lord" says the royal psalmist, David (Ps. C. 1) . 
"Blessed is he that cometh in the name of the Lord: Hosannah in the high-
est" (Math. XXI, 9) sang the host that greeted Jesus on His triumphal en-
try into Jerusalem. The Seraphim sing "Holy, holy, holy God of Sabbaoth, 
the heavens and the earth are full of Thy glory." St. John writes of his vis-
ion: "I heard as it were the voice of much people in heaven saying: Alle-
luia, salvation, and glory, and power to our God" (Apoc., XIX, 1) . 

The Church received her first suggestions of Sacred Music from the arts 
of the Jews and of the Gentile nations. Her first scales were taken from 
the melodies of the ancient Greeks. St. Paul, who exhorts the faithful so fre-
quently to sing, evidently was impelled by the custom of singing spiritual 
hymns in the Synagogue. The faithful of the early Church refrained from 
much singing of psalms and hymns, both on account of the circumstances 
of the persecutions, and because of the fear of the intrusion of a pagan spirit 
foreign to the life of the Christians. Tertullian writes of psalm singing in 
the Western Church in the second century. 

Antiphonal and Responsorial Chant was introduced into the Western 
Church to aid the people in their participation in Divine worship. The Anti-
phonal Chant consisted in the alternation of two choirs, whilst the Respon-
sorial was composed of solo-singing with a refrain by the congregation. It 
was brought by St. Ambrose (d. 397) from Egypt and Syria, who introduced 
congregational singing and is regarded as the Father of Church Music. St. 
Jerome (in Eph. V., 19) exhorts the youth of his day: "Let the servant of 
God sing in such a manner that the words of the text rather than the voice 
of the singer cause delight, and that Saul's evil spirit may depart from those 
who are under its dominion, and may not enter into those who make a the-
ater out of the house of the Lord." Pope Celestine I (422-432) founded the 
Schola Cantorum (school of chanters) in Rome. 

The golden age of the Liturgical Chant began with Pope St. Gregory 
the Great, the first Benedictine Pope "(590-604). St. Gregory gave a uniform 
and characteristic stamp to the various Chants. In organizing the liturgy he 
selected from the literature then extant that which was written as unison 
music. The tonal and rhythmic vocabulary was characterized by free rhythm 
and equal tone value of each note. In such compositions the spirit of prayer 



more readily sounds forth through the words of the liturgy. The rhythm 
of such music is free and flowing rather than measured and irregular. 

The Gregorian Collection is made up of two principal divisions, music 
of the Mass (Missal), with which is grouped that of Baptism and other occa-
sional services, and the music of the Daily Hours of Divine Service (Brev-
iary). The Collection for the Mass comprises over 600 compositions set en-
tirely to scriptural words. St. Gregory had a personal share in the arrange-
ment of the Collection. He not only personally supervised the Roman choir 
school, but he did much of the editorial work in the revision of the music. 

Benedictine missionaries, under St. Augustine (d. 604) introduced this 
music in England and the monks of his order also took it to the other coun-
tries of Europe. Kings Pepin (d. 768) and Charlemagne (768-814) made 
strict ordinances for schools of Liturgical Chant within their jurisdiction. 

About the year 1000 there appeared a decline in the observance of the 
principles and regulations of Pope Gregory. Gradually the new productions 
introduced harmony, which led to the departure from unison singing. They 
lacked in the true spirit of the Chant, simplicity, warmth and religious fer-
vor of its feeling. 

By the seventeenth century (1600) the spirit of the Renaissance pos-
sessed the authors, who more and more degraded the Chant by the introduc-
tion of naturalism and, then, secularism, so contrary to the spirit and mind 
of the Church. Their compositions no longer breathed the spirit of prayer. 
The simplicity of the traditional Plain Chant was either mutilated or en-
tirely discarded. The spirit of the theater was brought into the holy places 
of God through the sensuous resoundings of the secular arts of the time. 

A t the same time polyphony was beginning to displace the Chant. 
Much of it kept the spirit of prayer of the simpler Chant and the great 
school of polyphonic music of the 16th century was developed under the 
master John Peter Louis da Palestrina (d. 1594), who developed it to its 
highest perfection of majesty and power. He has become known as the orig-
inator of the classical school of polyphony. 

From 1850 to the present the Holy See has continued its efforts to re-
form Church music throughout Christendom, as the tendency to secularize 
it has persisted through the years. These trends are even affected with the 
spirit of modernism, which is opposed to the noble religious traditions of the 
Church. 

The Church has aimed during the era of reform to attain three main 
objectives: (a) to restore the genuine text of the Gregorian Chant of the 
Roman traditions, (b) to reduce the critical standards to principles and rules 
for the selection and rendition of the Chant, so that its intrinsic beauty 
might be understood and appreciated, (c) to dissuade the directors of choirs 
and instructors of music from introducing theatrical compositions into the 
music of the Church. 

« w I n 1 8 j 6 ' t h e S e c o n d Council of Baltimore (p. 338) decreed as follows: 
We consider it very desirable that the elements of Gregorian Chant be 

taught and exercised in the parochial schools." 
Dom Prosper Louis Paschal Gueranger (1805-1875) of Solesmes Abbey, 

founded in 1810 near the French town of Sable in Northern France, inaug-
urated the great modern movement for the revival of the liturgy and the re-
newal of the spirit of the Gregorian Chant. He began by the reintroduction 

— 10 — 



of the chanting of the Divine Office, in keeping with the Chant, in all Bene-
dictine Monasteries. 

He directed Dom Jansions to prepare reliable Chant books for the choirs. 
A young novice, Dom Pothier, (d. 1923) was appointed as the principal 
helper in this great project. He carried on his work with indefatigable zeal 
and wise discretion. To restore the original melodies he visited the libraries 
of Europe to find the authentic, original texts. In 1880 appeared Les Mel-
odies Gregoriennes and in 1880 the Liber Gradualis, and later the Liber Anti-
phonarius, the Processional, the Responsorial, and other works which grad-
ually led to the restoring of the Chant in the services of the Church. 

Dom Andre Mocquereau, O.S.B., familiar with this pioneer work, began 
to refine, revise and to perfect it. He was appointed director of the Solesmes 
Monastery School of Chant, which he gradually developed to the highest de-
gree. With twelve monks, well trained in the critical arts of research, he ex-
amined all the texts in the libraries of Europe, with the most exacting instru-
ments of scientific criticism, and compiled the findings in the studies, which 
fill ten monumental volumes. 

His critical methods gradually led him to ascertain the true models of 
Gregorian rendition in the pure and inadulterated texts. In 1901 the critical 
school of Dom Mocquereau merited a letter of highest commendation from 
Pope Leo XIII, addressed to Dom Paul Delette, O.S.B., then Abbot of 
Solesmes. As a result of his researches, Dom Mocquereau and his co-laborers 
Dom Gatard and Dom Desroquesttes, became the exponents of free rhythm, 
which in 1910 was declared binding on all. 

Dom Mocquereau gives his own impression of the Plain Chant in 
Church Music, (1,905, Volume I ) : "Hearing the chant daily in choir helped 
one to acquire a Gregorian temperament. One learned to utter, to sing, 
and to appreciate this melodious speech, renascent after the oblivion of so 
many centuries. The changeful undulation of the free and flowing rhythms 
at first almost startled the half-reluctant ear, ill-prepared through previous 
training in measured modern music to appreciate their subtle, indefinable 
beauties, the charm of which proved finally quite irresistible." 

In 1901 the monks of Solesmes were driven from France to the Isle 
of Wight near England. They returned in 1922. On May 22, 1904, 
Pope Pius X named Dom Pothier, Abbot of St. Wendrlile Abbey in Bel-
gium, President of a Pontifical Commission to prepare an official Vatican 
Edition of liturgical melodies. As this edition of the liturgical books 
appeared it was declared official by special decrees of the Sacred Congrega-
tion of Rites, and its use was pronounced binding throughout the Latin 
Church. Thus, this edition has been binding since September 2J, 190J. 

It was the Decree of Pope Pius X (Nov. 22, 1903), that renewed the 
vigor of reform of Church music in the more recent decades. It was the 
application of the spirit of his pontificate, "to restore all things in Christ." 
His aim was to make the liturgical Chant the noble possession and the skill 
of all the faithful, young and old. 

In his Motu Proprio, commemorative of the 15 th anniversary of St. 
Gregory the Great, to whom is justly attributed the composition of the 
sacred melodies and from whom their name was derived, Pope Pius again 
officially restored the Church's own Chant to its original purity by reiter-
ating well-established principles, and proclaimed it the supreme model for 

— 1 1 - -



all Sacred Music. Despite the great obstacles and difficulties this move-
ment has continued to advance throughout the Church. 

The measures indicated by Pius X were repeated by Pius XI in His 
Apostolic Constitution of 1928, published twenty five years after the Motu 
Proprio of Pius X. 

In 1918 the Pius X Institute of Liturgical Music was founded in New 
York City, in which both Dom Mocquereau and Rt. Rev. Paul Ferretti, 
O.S.B., President of the Pontifical Institute of Music in Rome, have since 
given courses. Pius X in the Motu Proprio had decreed in 1903 that choir 
schools for boys should be established wherever possible. 

As a result of continued studies there has been a resurrection and re-
surgence of the old Chants. The musical literature of all the nations has 
since been examined and many of the compositions of forgotten masters 
of the 15 th and 16th centuries have impressed modern audiences with the 
beauty of the music of the Church. 

There are three types of music, which are now officially regarded as 
imbued with the proper religious spirit: (a) Gregorian Chant, as edited and 
compiled in the Vatican Edition; (b) Classic Polyphony of the Palestrina 
style, and (c) modern compositions that possess the characteristics of the 
supreme model. The Church fosters the progress of all arts and is not 
adverse to new compositions of religious music, that breathe the spirit of 
the liturgy and have no reminiscence of the concert, the theatre and the 
dance. 

Directors of music need have no fear that they will impoverish their 
art or starve their aesthetic sense by adhering closely to the prescriptions 
of the Church in their choice of materials and their conduct of vocal 
groups. One of the greatest musicians of all time, Mozart, stated long 
ago, "that he would gladly exchange all his music for the fame of having 
composed the Gregorian Preface." The music of the Church is a mine of 
treasures of the purest and richest melodies. 

Congregational singing may well help to bring the High Mass and 
other solemn ceremonies of the Church out of the disfavor and neglect into 
which they have fallen. Their active participation in this part of the 
liturgy will easily persuade the people by the restive, calming joy of the high 
mass. "Behold the kingdom of God is within you" may truly impress 
itself upon the faithful when they enter earnestly into the spirit of the 
liturgy "in the odor of sweetness." 

The list of materials, which The Music Commission has prepared, will 
be a safe guide to those, who select music for Church functions. Most of 
the compositions have met the careful scrutiny of such living authors as 
the Most Rev. Joseph Schrembs, D.D., Pietro A. Yon, Rev. S. M. Yenn, 
J. Lewis Browne, V. Rev. Leo P. Manzetti, Nicola A. Montani, Prof. John 
B. Singenberger, Rev. Gregory Huegele, O.S.B., and others. Many of the 
selections are also comprised in- the lists prepared by the Society of St. 
Gregory of America and the Cecilian Society. 

The Commission has regarded it a high privilege to have this share 
in the work of the Most Reverend Archbishop, whose appreciation of the 
noble traditions of the Church universal and of this Archdiocese inspired 
him to plan the ways ahead for the new centennial for his priests, religious 
and faithful laity. In this plan religious music has been given its appro-
priate place of importance. 

REV. D R . A L P H . DRESS, 

Chairman 

— 12 — 



ntroauction 

The Approved List of Church Music for the Archdiocese of Dubuque 
aims to supply a long-felt need. Within the past 30 years there have been 
issued splendid reference works1 as well as various diocesan regulations for 
Church music. These have all aimed to apply the instructions of the Holy 
See on this subject. 

The present work justifies its existence by offering to pastors, directors 
of choirs, instructors in our schools and institutions, and organists of the 
Archdiocese of Dubuque a fairly comprehensive list of Church music, as 
well as of books dealing with its theory. The aim has been to make this a 
practical list and to suggest music that is easily obtainable. 

This Approved List is by no means exhaustive but it is hoped that this 
effort will serve as the nucleus for a much larger and more complete official 
list in the not too distant future. 

It has been the aim to be practical, above all else, in the presentation 
of the literature. Two features of compilation are not found in other 
similar works. In Part V appropriate music for special feasts and liturgical 
functions may be easily located by finding the name of the feast or function 
under the proper alphabetical listing. The notation of price is the second 
special feature.2 It has been thought advisable to indicate the cost of music 
because costs often determine whether or not a new piece of Church 
music shall be purchased for a choir. Consequently with the notation of 
price it is readily possible to determine in a few moments what a given 
Mass with all its parts, or any other piece of Church music, for the entire 
choir would cost. Publishers of Church music ordinarily do not allow 
discounts. Instead, many are willing to submit music for examination. 
They naturally expect that after such examination a reasonable amount ot 
music be purchased. All the prices noted in this List have been checked 
with the publishers and were correct as of January 21, 1938. 

The prices of foreign publications are not listed because of the con-
stant fluctuation of foreign exchange. Any one who is interested in a 
foreign work, e.g. accompaniments to Plain Chant by Bas, Wagner, etc., 
may easily procure information as to prices by corresponding with the 
American music publisher whose number in parenthesis, in all such in-
stances, is given after the name of such music. 

The division and make-up of the Approved List of Church Music for 
the Archdiocese of Dubuque may be easily understood from a study of the 
Table of Contents. The entire List is divided into nine parts. Necessary 

1 Singenberger John, Guide to Catholic Church Music, 190$, St. Francis, Wis.; Sing-
enberger John, Supplement to the Guide to Catholic Church Music, 1911, St. Francis, Wis.; 
The ^hite List, 1932s, Society of St. Gregory of A m e r i c a , New York, Philadelphia. 

2. In the entire work the prices for the score (director's or organist's copy) and 
for voice parts have been noted separately. In cases of some music there are no special 
voice parts but the entire score has to be purchased as a voice part. This information 
is easily obtained by noting that there is a price indicated only for the score and not 
for the voice part. 

3. If , for example, anyone is interested in purchasing the Organ Accompaniment of 
Bas or Wagner, he will note on page 39 that the numbers in parentheses (1) (3) indicate 
the publishers through whom this music may be had. Consequently, both Fischer (1) and 
McLaughlin & Reilly (3) will be pleased to give any desired information. 

— 13 — 



explanations, showing what type of material is given under each general 
heading, are also indicated in the Table of Contents. Under the heading 
High Mass, e.g. Masses, both Plain Chant and Non-Plain Chant, as well as 
Requiems, Plain Chant and Non-Plain Chant, are noted. Furthermore, the 
Proper, whether Plain Chant or not, is also found under this general head-
ing. Rather superficial perusal of an entire part will immediately reveal 
what, in general, is contained in it. 

Every piece of music that is mentioned in the Approved List of Church 
Music for the Archdiocese of Dubuque is described as completely as pos-
sible. One glance will tell for how many voices a piece is intended. The 
abbrevaitions for voices S.A.T.B. are readily recognized as Soprano, Alto, 
Tenor and Bass. 

, ° f great concern to choir directors, organists, and pastors is the grade 
of difficulty of any new music that is to be purchased. To be of assistance 
in this matter there is noted before each entry of music an abbreviation to 
indicate the degree of difficulty. The following are the letters so used and 
their significance: 

v e very easy md medium difficult 
e easy d difficult 
e m easy to medium vd very difficult 
m medium 

k w i U b e appreciated that the grading of music on the basis of 
difficulty cannot be done absolutely. Therefore, these letters and their 
meanings are more or less relative. What seems very easy to one may not 
seem so to another. Every effort has been made to be as consistent as 
possible. 

After every piece of listed music its publisher is identified by number. 
These numbers are listed on page 105 where the addresses of the publishers 
are also given. Whenever two or more publishers have the same music the 
several publishers are indicated by numbers. As noted above, numbers in 
parentheses indicate American publishers who will act as agents for Euro-
pean publishers. 

When a new piece of music, be that a Mass, motet or any other piece, 
is to be purchased, it is well for the director to determine upon these two 
points: 1. For how many and for what voices is the music desired? 2. What 
grade of difficulty is within the reach of director and choir without too 
much practice? If the choir has not had much experience it is generally 
suggested that music marked "ve" or "e" should be purchased. Having 
selected several pieces that meet these requirements, at least theoretically, it 
would then be practical to write to the publisher and ask him to submit 
for examination the score for the various pieces that seem suitable. From 
these one can readily make a proper selection for the choir. 

In the following pages an asterisk ( * ) before an entry indicates that 
the music is to be performed without organ accompaniment. 

In Part V English songs have been included for the various feasts. 
These, of course, may not be used for liturgical functions, but they may 
well serve for extra-liturgical devotions. 

Some entries have been made of works that are presently out of print. 
These have been so indicated. They were inserted because they were sub-, 
mitted for approval by choir directors. 

— 14 — 



l^eau(atioit5 for C^LurcL ri/jiisic 

The following paragraphs form a summary of Church regulations con-
cerning Church music and its performance and are based upon pronounce-
ments of Ecclesiastical authority. 

ORGAN 

1. The organ is the only musical instrument that is proper for the 

Church. 

2. The Chant may not be preceded by long preludes, nor be inter-

rupted with intermezzo pieces. 3. The nature of preludes, interludes and postludes must be such as is 
becoming to sacred music. 

4. The organ may not be played at liturgical services on Sundays and 
Ferials of Lent and Advent, except on the Third Sunday of Advent and 
the Fourth Sunday of Lent. It may, however, be used simply as an accom-
paniment to the singing. The use of the organ alone, i.e., for preludes, 
interludes, etc., is strictly forbidden on these days. (The Ferials here men-
tioned are the week-days of Lent and Advent when the priest wears violet 
vestments.) t i t . 

5. During Holy Week the organ is used to accompany the Gloria ot 
Holy Thursday. From then until the Gloria at the Mass on Holy Saturday 
the use of the organ, even as an accompaniment, is strictly forbidden at all 
liturgical services. . , 

6. At non-liturgical services of Holy Thursday and Good Friday the 
organ may be used to accompany, although it would be more in the spirit 
of the Church to refrain from its use entirely during the period from the 
Gloria of Holy Thursday to the Gloria of Holy Saturday. 

7. The organ may not be used to accompany the priest when he sings 
the Preface or the Pater Noster. 

8. On the occasion of First Communion, even during Lent, the organ 
may be played. 

9. The organ may be played during the Elevation at such times when 
the full use of the organ is permitted (i.e. except during Lent, Advent, 
etc .) . The accompaniment should be devotional and soft. The organ may 
also be played when the Blessing with the Blessed Sacrament is given at 
Benediction. Most organists deem it more devotional if the organ is not 
played during Elevation and the Blessing at Benediction. 

10. The organ may be used during Benediction of the Blessed Sacra-

ment at any time during the year. 
11. The use of the organ is permitted on feast days during Lent and 

Advent. \ * t 
12. Organists may not introduce profane music, e.g., selections from 

operas, plays, etc.; nor may they improvise music upon themes from such 
works. 

13. It is strictly urged that choirs answer all responses without organ. 

14. At High Mass the Credo must be sung before the Offertory is 

begun. 
15. At no time during liturgical services should the celebrant at the 



altar be obliged to wait for the sake of instrumental music; nor should he 
be obliged to wait unduly for the sake of the singing. 

16. It is well for organists to remember that the instrument is used 
to accompany the choir and for that reason should not be played too loud. 

OTHER INSTRUMENTS 

1. The piano, drums, cymbal, bells and the like are absolutely for-
bidden. 

2. Bands may not play in Church. 
3. Other instruments may be allowed in some special cases, within 

due limits and with proper safeguards, but never without the special per-
mission of the Ordinary. 

4. The Ordinary may give permission for a band to play in processions 
outside the Church, provided no profane pieces are executed. 

T H E LANGUAGE OF LITURGICAL SINGING 

1. Latin is the only language which may be used during liturgical 
services. Consequently no song or motet may be sung in the vernacular 
(English, German, etc.) during a High Mass, Requiem High Mass, etc. 

2. During Low Mass and also at extra-liturgical functions, songs in 
the vernacular may be sung.1 

3. The pronunciation of the Latin should be that which is known as 
the Italian. The following principles will serve as a guide to the correct 
Italian pronunciation of Latin: 

1. Single vowels: 
"a" as in father; "o" as in lore. 

"e" before vowels as at in air, "e" before consonants as in get. 
"i" as e in cede. 
"y" same as "i". 
"u" as oo in pool. 

2. Diphthongs: 
"ae" and "oe" and "ei" ("ei" is a diphthong only in the word 

hei) as ay in ray. 
Care must be exercised in distinguishing between diphthongs 

and vowels that form complete syllables, e.g. ei is pronounced 
as a word with two syllables e-i; cu-i, hu-ic etc. 

3. Consonants: 
"c" before e, i, y, ae, oe, as ch in charm. At all other times "c" 

is pronounced as English "k". 
"c" before e, i, ae, eu, oe, as tsch, e.g. ecce is pronounced 

et-sche. 
"g" before e, i, ae, oe, as g in gentle; at other times it is pro-

nounced as g in go. 
"gn" as ny, e.g. agnus is pronounced an-yus. 
"h" as normally in English, except in mihi and nihil where it 

is pronounced as the English "k". 
"j" as English "y" in j'ou (it is never pronounced as Eng-

lish "j"). 

1. In the liturgical services are included: High Mass, Requiem High Mass, Nuptial 
High Mass, Vespers, Benediction of the Blessed Sacrament, Holy Week Service and Forty 
Hours, (cf. f tn . on Forty Hours, page 19.) 

— 16 — 



"sc" before e, i, ae, oe, as sb in show; at all other times as sk. 
"ti" as tsi if preceded and fpllowed by a vowel. 
"th" as t never as English th. 
"xc" as ksh, e.g. excelsis. (Excelsis—egg-shell-sis). 
"qu", "gu", "su" as kw, gw, sw, when they form one syllable 

with the following vowel, e. g. quem; but suo etc. 
4. Very definite effort should be made to pronounce all words precisely 

and to avoid slurring words or syllables together. 

H I G H MASS 

1. The Asperges (in its place the Vidi Aquavt from Easter Sunday 
until Pentecost incl.) must be sung on every Sunday before the High Mass. 
It is omitted when the Bishop celebrates Pontifical Mass; also if the Bishop 
blesses the Palms on Palm Sunday or the candles on the Feast of the Puri-
fication (if the latter falls on Sunday.) 

2. The Ordinary (Kyr ie , Gloria, Credo, Sanctus, Benedictus and Agnus 
Dei) and the Proper (Introi t , Gradual, Alleluia or Tract, Sequence, Offer-
tory and Communion) must be sung by the choir at every High Mass. If 
the choir director feels that the Proper of the Plain Chant is too difficult 
he may use the editions of Tozer and Rossini as indicated in Part I, page 55, 
in the List. 

3. The correct time for singing each of the various parts is as follows: 
a. Introit, when the celebrant arrives at the foot of the altar. 

or when he is approaching the altar. 
b. Kyrie, immediately after the Introit. 
c. Gloria, immediately after the intonation by the celebrant. 

(The choir may not repeat the words Gloria in Excelsis 
Deo). 

d. Gradual, Alleluia or Tract and Sequence, immediately after 
the epistle. 

e. Credo, immediately after the intonation by the celebrant. 
(The choir may not repeat the words Credo in unum 
Deum). 

f. Offertory, after the Credo when the celebrant has sung 
Oremus. 

g. Sanctus, immediately after the Preface. 
h. Benedictus, immediately after the Elevation. 
i. Agnus Dei, immediately after Pax Domini sit semper vobis-

cum, Et cum spiritu tuo. 
j. Communion, at the ablution, i.e., when wine and water are 

poured into the chalice over the fingers of the priest. 

4. The choir must not answer the Deo gratias after the epistle nor the 
Laus tibi, Christe after the gospel. 

5. The Benedictus may not be sung before the Elevation. 

6. If a choir wishes to sing a Latin Motet immediately after the reg-
ular Offertory it may do so, provided time permits. 

7. There is no law which forbids the singing of the Veni Creator be-
fore the sermon during High Mass. 

8. After the Benedictus, a Latin Motet to the Blessed Sacrament may 
be sung, if time permits. 

— 17 — 



9. The responses at the Preface and Pater Noster are always in sol-
emn tone except for Votive, Ferial and Requiem Masses. 

10. Efforts should be made to sing the proper Ite Missa est and Bene-
dicamus Domino for every High Mass. 

11. Generally speaking, solo singing is forbidden unless it be an occa-
sional and incidental song, e. g. a short portion of the Gloria, Credo, etc. 
One reason for this attitude towards solo singing is to avoid the display of 
the performer and his technique, which is oftentimes the principal object 
of solo singing. 

REQUIF.M HIGH MASS 

(Includes Funerals). * 

1. All the parts of the Requiem must be sung (or recited). These 
parts are the same for every Requiem High Mass. 

2. The Dies Irae is part of every Requiem High Mass and all its verses 
must be either sung or recited by the choir, i. e., they may be sung and 
recited alternately. When a verse is recited special care should be taken 
that the words are correctly and well pronouncd. 

3. There should be no preludes, interludes or postludes. 
4. The responses to the Preface and Pater Noster are sung in Ferial 

tone. 
5. In the Approved List of Church Music for the Archdiocese of Du-

buque, many simple and easy Requiems may be found listed for one voice, 
two voices, etc. 

NUPTIAL HIGH MASS ( W e d d i n g s ) 

1. The Ordinary and Proper of the Mass must be sung as at any 
other High Mass. 

2. The Gloria and Credo are omitted (except on high feast-days when 
the Nuptial Mass itself is not permitted.) 

3. Because of the many abuses which have crept into the music on 
the occasion of weddings, it is suggested that the section dealing with Dis-
approved Music be read carefully, and that the two following works be 
procured to supply the needs for music at Nuptial High Masses: 

The Wedding March by P. G. Kreckel. Price 30c. Publisher, 
Fischer. 

Wedding Music by the Rev. Carlo Rossini. Price $1.25. Pub-
lisher, Fischer. 

4. It is understood that no text may be used during the High Mass 
except Latin texts. 

BENEDICTION OF THE BLESSED SACRAMENT 

1. Liturgically, Benediction begins with the Tantum Ergo and ends 
with the Amen after the oration which is sung by the priest. 

2. Before the Tantum Ergo, any hymn, anthem or motet whose sub-
ject is the Blessed Sacrament may be sung, e. g. O Esca Viatorum, Pants 
Angelicus, Adoro Te Devote, O Salutaris Hostia,1 etc. This hymn should 
be in Latin. 

1. At the- end of the O Salutaris Hostia the word Amen is not sung if the Tantum 
Ergo follows immediately; at other times the Amen is sung. 

— 18 — 



3. There are no special rules which govern the singing of special 
chants after Benediction, because, as noted above, liturgically, Benediction 
ends with the Amen after the oration. 

4. It would seem advisable to sing the response Omne delectamentum 
in se habentem in one breath and without a pause. 

FORTY HOURS1 

1. As a guide to the order of the Forty Hours' Devotion, the follow-
ing outline will be of help: 

FIRST DAY 

a. The High Mass of Exposition is, if the rubrics permit, the 
Votive Mass of the Blessed Sacrament (with Gloria and 
Credo). 

b. As the procession begins, the Pange Lingua is intoned and 
sung. 

c. The Tantum Ergo and Genitori are sung as the celebrant 
approaches the altar after the procession. 

d. The Litany of the Saints with its responses follows immedi-
ately. 

SECOND DAY 

The Votive Mass Pro Pace, if the rubrics permit, is sung. It 
always has a Credo but no Gloria. 

THIRD DAY 

a. The Votive Mass of the Blessed Sacrament, if the rubrics per-
mit, (with Gloria and Credo) is sung. 

b. At the evening services the Litany of the Saints is sung im-
mediately after the sermon as far as Domine exaudi orationem 
meam, Et clamor mens ad te veniat inclusive, then with the 
beginning of the procession the Pange Lingua is intoned and 
sung. The Tantum Ergo is begun as the celebrant returns to 
the altar. The answers to the responses after the Tantum 
Ergo are found in most hymnals. 

2. It is suggested that choir directors consult with the pastor to 
inform themselves whether on the various days of the Forty Hours' Devo-
tion the special Masses as indicated above may be sung. 

3. The Pange Lingua must always be sung in its proper place even 
if there is no procession. 

4. It is forbidden to sing vernacular hymns alternately with Latin 
hymns in the solemn procession of the Blessed Sacrament. 

HOLY HOUR 

1. At the Holy Hour the singing of Latin hymns in honor of the 
Blessed Sacrament by the entire congregation is strongly urged. 

1. Although the Forty Hours' Devotion is not a liturgical service in the strictest 
sense, yet regulations have been promulgated by the Church at various times since 1731. 
A booklet entitled Manual of the forty Hours' Adoration which contains the litanies and 
all instructions for the Forty Hours' Devotion and which is very valuable, may be pro-
cured from M. J. Knippel Co., Dubuque, Iowa, for 30c postpaid. 

— 19 — 



2. In the event that Latin hymns cannot well be sung, English 
approved hymns in honor of the Blessed Sacrament should be used. 

3. The aim at the Holy Hour should be to have the entire congre-
gation take part in the singing. 

H O L Y W E E K 

1. Holy Week books which give both the Latin and English texts 
(but without music) may be had at the M. J. Knippel Co., Dubuque, Iowa, 
at prices from $1.00 to $2.00. 

2. The Liber Usualis contains all the services for Holy Week with 
Latin texts only. The parts to be sung are provided with notes. 

3. For special music for Holy Week cf. page 93. 



vJwicia 

O N THE LITURGY, AND ON FOSTERING GREGORIAN CHANT AND 
SACRED MUSIC 

HIS HOLINESS, POPE PIUS XI 

The Apostolic Constitution, Divini Cultus Sanctitatem, published by the Holy Father on 
December 20, 1928 

The Church has received from Christ, her Founder, the charge of watching over 
the sanctity of Divine worship. Thus it belongs to her—in safeguarding the essence of the 
Holy Sacrifice and of the Sacraments—to regulate all that assures the perfect ordering 
of this august and public ministry—the ceremonies, rites, texts, prayers, chant. All this 
she calls by its own proper name, the liturgy, or "sacred action", par excellence. 

The liturgy is truly a sacred thing. Through it we elevate ourselves to God and 
we are united to Him, we profess our faith before Him, we acquit ourselves in His 
presence of a serious obligation of recognition of all the benefits and the helps that 
He has granted to us, and of which we have perpetual need. Thence arises a certain 
connection between dogma and the liturgy, as also between the Christian worship and 
the sanctification of the people. Thus Pope Celestine I esteemed that the rule of the 
faith is expressed in the venerable formulae of the liturgy. He says in effect: 

That the law of prayer determines the law of belief. For, when the heads of the 
assembled Faithful acquit themselves of their function in virtue of the command which 
they have received, they plead before the Divine clemency the cause of the human 
race, and they pray and supplicate with the entire Church which unites their suplpica-
tions to hers. 

These common supplications—at first called the "work of God," then the "Divine 
office," as a debt which we daily owe to God, formerly had place day and night, and 
numberless Christians took part in them- And it is wonderful to recall how, even from 
antiquity, the simple melodies which embellished the sacred prayers and liturgical action 
contributed to favor the piety of the people. 

In the ancient basilicas, in particular, when the Bishop, the clergy and the Faithful 
chanted alternately the Divine praises, the liturgical songs contributed very much, as 
history attests—to bring a large number of barbarians to the Christian Faith and to civil-
ization. In the temples the adversaries of the Catholic Faith seemed to know the doctrine 
of the Communion of Saints. Thus the Arian Emperor Valens, struck as by an unknown 
stupor before the majesty of the Divine mysteries celebrated by St. Basil, fell in a faint; 
thus at Milan the heretics reproached St. Ambrose for fascinating the crowds by the 
liturgical chants, those chants which struck Augustine so forcibly and which inspired in 
him the resolution of embracing the Christian Faith. 

Later, in the churches, where nearly all the city formed an immense choir, artisans, 
builders, painters, sculptors, students, steeped themselves, thanks to the liturgy, in this 
knowledge of theological things which today shines forth with such brilliancy in the 
monuments of the Middle Ages. 

We can understand from all this why the Roman Pontiffs had such solicitude in 
defending and safeguarding the liturgy and, while they exercised such care in expressing 
dogma by exact formulae, defended .and preserved from every alteration the laws of the 
sacred liturgy. We see, also, how for this reason the Holy Fathers commended the 
sacred liturgy (the law of prayer), in their words and writings, and the Council of Trent 
desired that it be set forth and explained to the Christian people. 

In our times, Pope Pius X, twenty-five years ago, in the rules promulgated in his 
"Motu Proprio" relative to the Gregorian chant and sacred music, proposed in the first 
place to arouse and to nourish in the people, the Christian spirit, wisely removing anything 
that did not conduce to the holiness and the majesty of our temples. The Faithful 
assembled in the holy place to imbibe piety as from its principal source, taking an active 
part in the venerable mysteries of the Church and in the public and solemn prayers. 
Thus it was of grave import that all that which served as ornament to the liturgy should 

/ jPrc>riOLin,cem,erits 

— 21 — 



be regulated by certain laws and prescriptions of the Church to the end that the arts, 
as ought to be the case, should contribute to Divine worship as its true servants. 

The arts, thus utilized in the churches, met with no damage—nay more, they 
became more dignified and illustrious. This is what has happened in marvelous manner in 
regard to sacred music; wherever the rules laid down have been applied with care, one 
has seen the beauty of this exquisite art revived and .the religious spirit reflowering 
splendidly, to the end that the Christian people, more profoundly penetrated by the 
liturgical sense, have taken a more active participation in the Eucharistic rite, in the 
sacred psalmody and in public prayers. 

We Ourselves experienced satisfaction when, the first year of Our Pontificate, a large 
choir of clergy of every nation sang in chant the Gregorian melodies during the Solemn 
Mass which We celebrated in the Vatican Basilica. 

Here, however, we have to deplore that in certain regard these very wise rules 
have not been completely applied, nor have We gathered from them the hoped-for fruits. 
We know very well that some have pretended that these rules, although solemnly pro-
mulgated, did not bind; others, after submitting to them, have little by little shown 
themselves complacent in regard to a kind of music that it is absolutely necessary to 
remove from the churches; indeed, in certain places, particularly during the solemn 
celebration of centenaries of illustrious musicians, they have taken occasion to permit the 
execution in the churches of works, very beautiful in themselves, without doubt, but 
which, being foreign to the holiness of the place and to the sanctity of the liturgy, ought 
not to be performed in the churches. 

So, in order that the clergy and people may more conscientiously obey the rules and 
prescriptions which ought to be religiously and inviolably observed in the universal 
Church, it seems opportune to Us to make some additions in this regard, and to this 
task We apply the experiences of these last twenty-five years. We do this all the more 
willingly since this year We celebrate not only the souvenir of the restoration of sacred 
music, but also the memory of Guido, the illustrious monk of Arezzo, who about nine 
hundred years ago, came to Rome by order of the Pope and made known his ingenious 
invention, thanks to which the liturgical chants handed down from antiquity were made 
easily accessible and, for the utility and the honor of the Church and of art, preserved 
without alteration for the generations to come. 

At the Lateran Palace—where formerly St. Gregory the Great, after having re-
assembled and put in order the treasure of sacred melodies, the heritage and souvenir of 
the Fathers, so wisely founded his celebrated "Schola," to perpetuate the real interpreta-
tion of the liturgical chant—the monk Guido put to the test his marvelous invention in 
the presence of the Roman clergy and of the Supreme Pontiff himself. The Pope fully 
approved and praised, as it merited, this new invention, which, thanks to him, was pro-
pagated little by little, and brought about considerable progress in music among all the 
people. 

Thus to the Bishops and to the Ordinaries, who as guardians of the liturgy have the 
duty of occupying themselves with the sacred arts in the churches, We desire to make 
certain recommendations, responding to the desires of numerous musical congresses, and 
especially of the recent Congress held at Rome. These desires, made known to Us by a 
large number of pastors of souls and of masters of the art of music—to whom We here 
offer the felicitations they deserve—We ordain to be put into execution in the most 
efficacious way; desiring that: 

I. All candidates for the priesthood, not only in seminaries but also in Religious 
houses, be instructed from their earliest days in the Gregorian chant and sacred music; 
at this age they more especially comprehend all that pertains to melodies and sounds; if 
they have defects of voice, they should be helped to overcome or at least correct them; 
later on, being more mature, they would be unable to remedy such defects. 

The study of chant and of music ought to commence in the elementary schools, and 
be followed in secondary schools. Thus those who are called to receive Holy Orders, 
instructed little by little in the chant in the course of their theological studies, will 
without effort and without difficulty conform themselves to this science—so elevated that 
it is with reason called "esthetic"—of Gregorian melody and the musical art, of polyphony 
and the organ, a knowledge that is absolutely indispensable for the clergy to possess. 

II. In seminaries and in all other houses of study for the formation of the clergy, 
both secular and regular, frequently—nearly every day, in fact—a short lesson or exer-
cise should be given on the Gregorian chant and sacred music. If these lessons are given 

— 22 — 



in a liturgical spirit they will soon bccome for the pupils a repose rather than a labor, 
after the study of more austere sciences. Thus the most needed and most complete 
formation of the two clergies in liturgical music will have the effect of restoring to its 
ancient dignity and splendor the office of choir, which is a principal part of the Divine 
worship. Thus it will result that the "scholae" and "capellae" of musicians, as they are 
called, will regain their ancient glory. 

ir i . All those who have charge of the cult and carry it out in the basilicas, cathe-
drals, collegiate churches, or convents of Religious, should work with all their powers 
to restore, according to the precepts of the Church, the office of the choir; not only 
because it is of common precept to celebrate each day the Divine office with dignity, 
attention, and devotion, but also to do likewise for all that relates to the chant. For in 
the psalmody one must be careful to observe the tones indicated, with their mediant and 
the clauses adapted to the tonality, and the pause proper to the asterisk, and, finally, 
perfect unison in the execution of the versicles, the psalms, and the strophes of the 
hymns. If all this is carried out with artistry, those who sing according to the rule 
will give admirable testimony of the union of their souls in the adoration of God, seeming 
by the regular alternation of the two sections of the choir to imitate the eternal praise 
of the Seraphim who send forth their acclamations, "Holy, Holy, Holy!" 

IV. But, so that no person in future may put forth ready excuses, thinking him-
self dispensed from obeying the laws of the Church, We ordain that all the Orders of 
Canons and all Religious communities shall submit to the same rules, treating of these 
questions in their official meetings. And as formerly there existed a cantor, or leader 
of the choir, so for the future We order that, in the choir, Canons and Religious choose 
someone competent to take charge of the practice of the rules of the liturgy and choral 
chant, who shall correct the faults committed by individuals or by the entire choir. I t 
is well to recall that, after an ancient and constant discipline of the Church, as after 
the capitulary constitutions still in force, all those who have the obligation of choir 
ought to know perfectly at least this Gregorian chant. And this Gregorian chant, whose 
usage is prescribed in all the churches, of whatsoever order they be, is that which, recon-
stituted from ancient manuscripts, has been set forth by the Church in an authentic 
edition published by the Vatican Press. 

V. We desire here to draw the attention of persons qualified to this prescription 
on the "capellae" of musicians. These little by little succeeded to the ancient "Scholae," 
and have their place in the basilicas and the great churches to execute polyphonic music 
especially. With reason does sacred polyphony hold the first place after the Gregorian 
chant, and We desire most ardently that the chapels of this kind, which flourished from 
the fourteenth to the sixteenth century, may be renewed and may progress, especially 
where the Divine worship, most frequently and fully carried out, calls together a larger 
and more excellent choir of singers. 

VI- The "Scholae" of children should be formed not only in the large churches 
and cathedrals, but even in the most modest and simple parochial churches. These 
children should learn to sing, according to the rules, under the direction of choir mas-
ters, in order that their voices, following the ancient custom of the Church, may be 
united to the choirs of men, especially in polyphonic music. They should, as formerly, 
execute the soprano part that is called "cantus." From these choirs of children we know 
that, in the sixteenth century in particular, there came forth very expert authors in 
polyphony, and among them he who, without restriction, is master of all—the celebrated 
John Peter Louis da Palestrina. 

VII. Having learned that there are persons who are trying in certain places to 
bring back to usage a certain kind of music absolutely out of place in the celebration of 
the Divine offices—above all, a wrong use of musical instruments—we declare here that 
the chant, joined to instrumental music, is not at all held by the Church as the most 
Perfect form of music or that best adapted to holy things; for it is fitting that the voice 
itself, more than the instruments, should resound in the sacred places. We speak especially 
of the voices of the clergy,.of the choir, and of the people. 

The Church does not oppose the progress of the musical art when she prefers the 
human voice to any musical instrument whatsoever; no instrument, in truth, however 
excellent or perfect it may be, can surpass the human voice in the expression of senti-
ments—especially when it is placed at the service of the soul—in addressing to God 
Almighty prayers and praises. 

— 23 — 



VIII. There is an instrument which comes to us from the ancients, and which pro-
perly belongs to the Church—it is called the organ; its most admirable amplitude and 
majesty have rendered it worthy of accompanying the chant, even during the silence of 
the choir, and according to prescribed rules for the execution of very sweet harmonies. 
But even here it is necessary to avoid the mixture of sacred and profane; through the 
fault of the manufacturers of the organ, or of certain organists too favorable to the 
production of an ultra-modern music, it has come to pass that this magnificent instrument 
has deviated from the end for which it was destined. 

Certainly, the rules of liturgy remaining intact, We ourselves desire all that con-
duces to the further progress of the organ; but We deplore the attempts made today to 
introduce into the church a profane spirit under forms of music which are wholly modern, 
as persons have already tried to do by other procedures that have been prohibited by the 
Church. If this kind of music begins to be introduced, the Church would have to 
condemn it absolutely. For we ought to hear in the churches the accents of the organ, 
but they should express the majesty of the place and breathe out the holiness of the 
rites; under these conditions those who construct instruments, organists, and others, will 
concur in lending an efficacious help to the sacred liturgy. 

IX. To the end that the Faithful may take a more active part in the Divine wor-
ship the Gregorian chant ought to be brought back to usage among the people, at least 
in all that applies to them. It is absolutely necessary, in fact, that the Faithful should 
not conduct themselves as strangers or mute spectators; but moved by the beauty of the 
liturgy they ought to take part in the sacred ceremonies, including corteges and proces-
sions, as they are called, when a number of the clergy and pious associations march in 
rank, alternately raising their voices according to the rules laid down for the voice of 
the priest and that of the choir. For it has come about that the people no longer respond 
or respond only in feeble murmur to the prayers recited in common in the liturgical 
language or in the vulgar tongue. 

X. The members of the clergy, both secular and regular, should be most indus-
trious, under the direction of the Bishops and the Ordinaries, in providing among them-
selves or by groups of competent persons the liturgical and musical instruction of the 
people—a formation intimately united to Christian doctrine. 

To attain this end more easily they should especially instruct the "scholae," pious 
associations, and other groups in the liturgical chant. 

As to communities of Religious and of pious women-—they ought to zealously devote 
themselves to this work in the various institutions where they have charge of education 
and teaching. We have likewise a great confidence of obtaining this result in the societies 
which, in certain regions, concur with the will of the ecclesiastical authorities, working 
for the restoration of sacred music according to the rules traced out by the Church. 

XI. To realize all these hopes, it is absolutely necessary to have numerous and able 
masters. In this regard We have addressed to the "Scholae" and institutes, founded here 
and throughout the Catholic universe, well-merited eulogies, because by their diligent 
care in working for the progress of these different branches they are forming capable and 
excellent masters. But in particular it pleases Us to cite here and to praise the pontifical 
Higher School of Sacred Music founded at Rome in 1910 by Pope Pius X. This school, 
which Our immediate predecessor, Benedict XV, sustained with zeal and endowed " with a 
new home, We cherish with special favor, as a precious heritage of two Popes; and We 
desire to recommend it most warmly to all the Ordinaries. 

Certainly We know that all the prescriptions herein formulated demand care and 
labor; but who is ignorant of the numberless and finished works of remarkable art that 
our ancestors, surmounting all obstacles, have left to posterity, because they were filled 
with a zeal for the piety and the spirit of the liturgy. This is not surprising, because 
all this had its origin in the interior life which the Church lives, surpassing all the most 
perfect things of the world. So that the difficulties of this very holy enterprise should 
arouse and excite, rather then lessen, the ardor of prelates of the Holy Church, all con-
stantly united in obedience to Our wishes, and achieving for the Bishop of Bishops a 
work truly worthy of their episcopal ministry. 

Such are Our prescriptions, Our declarations, Our orders; We desire that this Apos-
tolic Constitution may be and may remain always firm, valid, and efficacious, and that 
it may receive and obtain its full and entire effects, all things to the contrary notwith-

— 24 — 



standing. So let no one be permitted to infringe upon this Constitution promulgated by 
Us, or to contradict it in temerarious audacity. 

Given at Rome, at St. Peter's, at the beginning of the fiftieth year of Our priesthood, 
the 20th of December, 1928. the seventh of Our Pontificate. 

J O S E P H W I L P E R T , 

Dean, College of the Protonotaries 
Apostolic. 

D O M I N I C S P O L V E R I N I , 

Protonotary Apostolic. 
F R . A N D R E A S C A R D . F R U E W I R T H , 

Chancellor, S.R.E. 
C A M I I L U S C A R D . L A U R E N T I , 

Pro-Prefect, S.R-C. 

SACRED MUSIC 

Pius X, Pope. 

"Motu Proprio" 

Among the cares of the pastoral office, not only of this Supreme Chair, which We, 
though unworthy, occupy through the inscrutable disposition of Providence, but of every 
local church, a leading one is without question that of maintaining and promoting the 
decorum of the House of God in which the august mysteries of religion are celebrated, 
and where the Christian people assemble to receive the grace of the Sacraments, to assist 
at the Holy Sacrifice of the Altar, to adore the most august Sacrament of the Lord's 
Body and to unite in the common prayer of the Church in the public and solemn liturgi-
cal offices. Nothing should have place, therefore, in the temple calculated to disturb 
or even merely to diminish the piety and devotion of the faithful, nothing that may give 
reasonable cause for disgust or scandal, nothing, above all, which directly offends the 
decorum and sanctity of the sacred functions and is thus unworthy of the House of 
Prayer and of the Majesty of God. We do not touch separately on the abuses in this 
matter which may arise. Today Our attention is directed to one of the most common 
of them, one of the most difficult to eradicate, and the existence of which is sometimes 
to be deplored in places where everything else is deserving of the highest praise—the 
beauty and sumptuousness of the temple, the splendour and the accurate performance of 
the ceremonies, the attendance of the clergy, the gravity and piety of the officiating minis-
ters. Such is the abuse affecting sacred chant and music. And indeed, whether it is 
owing to the very nature of this art, fluctuating and variable as it is in itself, or to the 
succeeding changes in tastes and habits with the course of time, or to the fatal influence 
exercised on Sacred art by profane and theatrical art, or to the pleasure that music 
directly produces, and that is not always easily contained within the right limits, or 
finally to the many prejudices on the matter, so lightly introduced and so tenaciously 
maintained even among responsible and pious persons, the fact remains that there is a 
general tendency to deviate from the right rule, prescribed by the end for which art is 
admitted to the service of public worship and which is set forth very clearly in the 
ecclesiastical Canons, in the Ordinances of the General and Provincial Councils, in the 
prescriptions which have at various times emanated from the Sacred Roman Congrega-
tions, and from Our Predecessors, the Sovereign Pontiffs. 

I t is with real satisfaction that We acknowledge the large amount of good that has 
been effected in this respect during the last decade in this Our fostering city of Rome, 
and in many churches in Our country, but in a more especial way among some nations 
in which illustrious men, full of zeal for the worship of God, hive, with the approval 
of the Holy See and under the direction of the Bishops, united in flourishing Societies 
and restored sacred music to the fullest honour in all their churches and chapels. Still 
the good work that has been done is very far indeed from being common to all, and 
when We consult Our own personal experience and take into account the great number 
of complaints that have reached Us during the short time that has elapsed since it 
pleased the Lord to elevate Our humility to the supreme Summit of the Roman Pontifi-
cate, We consider it Our first duty, without further delay, to raise Our voice at once 

— 25 — 



in reproof and condemnation of all that is seen to be out of harmony with the right 
rule above indicated, in the functions of public worship and in the performance of the 
ecclesiastical offices. Filled as We are with a most ardent desire to see the true Christian 
spirit flourish in every respect and be preserved by all the faithful, We deem it necessary 
to provide before aught else for sanctity and dignity of the temple, in which the faithful 
assemble for no other object than that of acquiring this spirit from its foremost and 
indispensable fount, which is the active participation in the most holy mysteries and in 
the public and solemn prayer of the Church. And it is vain to hope that the blessing 
of heaven will descend abundantly upon us, when our homage to the Most High, instead 
of ascending in the odour of sweetness, puts into the hand of the Lord the scourges 
wherewith of old the Divine Redeemer drove the unworthy profaners from the Temple. 

Hence, in order that no one for the future may be able to plead in excuse that he 
did not clearly understand his duty and that all vagueness may be eliminated from the 
interpretation of matters which have already been commanded, We have deemed it 
expedient to point out briefly the principles regulating sacred music in the functions of 
public worship, and to gather together in a general survey the principal prescriptions of 
the Church against the more common abuses in this subject. We do therefore publish, 
"motu proprio" and with certain knowledge, Our present Instruction to which, as to a 
"juridical code of sacred music." We will with the fullness of Our Apostolic Authority 
that the force of law be given, and We do by Our present handwriting impose its scrupu-
lous observance on all. 

INSTRUCTION ON SACRED MUSIC 

I. 

G E N E R A L P R I N C I P L E S 

1. Sacred music, being a complementary part of the solemn liturgy, participates in 
the general scope of the liturgy, which is the glory of God and the sancti£cation and 
edification of the faithful. It contributes to the decorum and the splendour of the eccle-
siastical ceremonies, and since its principal office is to clothe with suitable melody the 
liturgical text proposed for the understanding of the faithful, its proper aim is to add 
greater efficacy to the text, in order that through it the faithful may be the more easily 
moved to devotion and better disposed for the reception of the fruits of grace belonging 
to the celebration of the most holy mysteries. 

2. Sacred music should consequently possess, in the highest degree, the qualities proper 
to the liturgy, and in particular "sanctity and goodness of form," which will spontane-
ously produce the final quality of "universality." 

It must be "holy," and must, therefore, exclude all profanity not only in itself, 
but in the manner in which it is presented by those who execute it. 

It must be true art, for otherwise it will be impossible for it to exercise on the 
minds of those who listen to it that efficacy which the Church aims at obtaining in ad-
mitting into her liturgy the art of musical sounds. 

But it must, at the same time, be universal in the sense that while every nation is 
permitted to admit into its ecclesiastical compositions those special forms which may be 
said to constitute its native music, still these forms must be subordinated in such a manner 
to the general characteristics of sacred music that nobody of any nation may receive an 
impression other than good on hearing them. 

II. 

T H E D I F F E R E N T K I N D S O F M U S I C 

3. These qualities are to be found, in the highest degree, in Gregorian Chant, which 
is, consequently, the Chant proper to the Roman Church, the only chant she has inherited 
from the ancient fathers, which she has jealously guarded for centuries in her liturgical 
codices, which she directly proposes to the faithful as her own, which she prescribes 
exclusively for some parts of the liturgy, and which the most recent studies have so 
happily restored to their integrity and purity. 

On these grounds Gregorian Chant has always been regarded as the supreme model 
for sacred music, so that it is fully legitimate to lay down the following rule: "the more 
closely a composition for church approaches in its movement, inspiration and savour the 
Gregorian form, the more sacred and liturgical it becomes; and the more out of harmony 
it is with that supreme model, the less worthy it is of the temple." 

— 26 — 



The ancient traditional Gregorian Chant must, therefore, in a large measure be 
restored to the functions of public worship, and the fact must be accepted by all that 
an ecclesiastical function loses none of its solemnity when accompanied by this music 

-alone. . , 
Special efforts are to be made to restore the use of the Gregorian Chant by the 

people, so that the faithful may again take a more active part in the ecclesiastical offices, 
as was the case in ancient times. 

4. The above-mentioned qualities are also possessed in an excellent degree by Classic 
Polyphony, especially of the Roman School, which reached its greatest perfection in the 
sixteenth century, owing to the works of Pierluigi da Palestrina, and continued subse-
quently to produce compositions of excellent quality from a liturgical and musical stand-
point. Classic Polyphony agrees admirably with Gregorian Chant, the supreme model of 
all sacred music, and hence it has been found worthy of a place side by side with 
Gregorian Chant, in the more solemn functions of the Church, such as those of the 
Pontifical Chapel. This, too, must therefore, be restored largely in ecclesiastical func-
tions, especially in the more important basilicas, in cathedrals, and in the churches and 
chapels of seminaries and other ecclesiastical institutions in which the necessary means are 
usually not lacking. 

J. The Church has always recognized and favoured the progress of the arts, 
admitting to the service of religion everything good and beautiful discovered by genius in 
the course of ages—always, however, with the regard to the liturgical laws. Consequently, 
modern music is also admitted to the Church, since it, too, furnishes compositions of 
such excellence, sobriety and gravity, that they are in no way unworthy of the liturgical 
functions. 

Still, since modern music has risen mainly to serve profane uses, greater care must 
be taken with regard to it, in order that the musical compositions of modern style which 
are admitted in the Church may contain nothing profane, be free from reminiscences 
of motifs adopted in the theatres, and be not fashions even in their external forms after 
the manner of profane pieces. _ 

6. Among the different kinds of modern music, that which appears less suitable for 
accompanying the functions of public worship is "the theatrical style, which was in the 
greatest vogue, especially in Italy, during the last century. This of its very nature is 
diametrically opposed to Gregorian Chant and Classic Polyphony, and therefore to the 
most important law of all good sacred music. Besides the intrinsic structure, the rhythm 
and what is known as the "conventionalism" of this style adapt themselves but badly to 
the requirements of true liturgical music. 

I I I . 

T H E L I T U R G I C A L T E X T 

7. The language proper to the Roman Church is Latin. Hence it is forbidden 
to sing anything whatever in the vernacular in solemn liturgical functions—much more 
to sing in the vernacular the variable or common parts of the Mass and Office-

8. As the texts that may be rendered in music, and the order in which they are to 
be rendered, are determined for every liturgical function, it is not lawful to confuse 
this order or to change the prescribed texts for others selected at will, or to omit them 
either entirely or even in part, unless when the rubrics allow that some versicles are 
simply recited in the choir. However, it is permissible, according to the custom of the 
Roman Church, to sing a motet to the Blessed Sacrament after the "Benedictus" in a 
Solemn Mass. It is also permitted, after the Offertory prescribed for the Mass has been 
sung, to execute a brief motet to words approved by the Church during the time that 
remains. 

9. The liturgical text must be sung as it is in the books, without alteration or 
inversion of the words, without undue repetition, without breaking syllables, and always in 
a manner intelligible to the faithful who listen. 

I V . 

E X T E R N A L F O R M O F T H E SACRED C O M P O S I T I O N S 

10. The different parts of the Mass and the Office must retain, even musically, 
that particular concept and form which ecclesiastical tradition has assigned to them, and 
which is admirably brought out by Gregorian Chant. The method of composing an 

— 27 — 



"introit, a gradual, an antiphon, a psalm, a hymn, a Gloria in Excelsis," etc., must there-
fore be distinct from one another. 

11. In particular the following rules are to be observed: 
(a) The "Kyrie, Gloria, Credo," etc., of the Mass must, preserve the unity of com-

position proper to their text. It is not lawful, therefore, to compose them in separate 
movements, in such a way that each of these movements form a complete composition 
in itself, and be capable of being detached from the rest and substituted by another. 

(b) In the office of Vespers it should be the rule to follow the "Caeremoniale 
Episcoporum," which prescribes Gregorian Chant for the psalmody and permits figured 
music for the versicles of the "Gloria Patri" and the hymn. 

It will nevertheless be lawful on greater solemnities to alternate the Gregorian Chant 
of the choir with the so-called "falsibordoni" or with the verses similarly composed in a 
proper manner. 

It is also permissible occasionally to render single psalms in their entirety in music, pro-
vided the form proper to psalmody be preserved in such compositions; that is to say, 
provided the singers seem to be psalmodising among themselves, either with new motifs 
or with those taken from Gregorian Chant or based upon it. 

The psalm known as "di Concerto" are therefore for ever excluded and prohibited. 
(c) In the hymns of the Church the traditional form of the hymn is preserved. 

It is not lawful, therefore, to compose, for instance, a "Tantum ergo" in such wise 
that the first strophe presents a romanza, a cavatina, an adagio and the "Genitori" an 
allegro. 

(d) The antiphons of the Vespers must be as a rule rendered with the Gregorian 
melody proper to each. Should they, however, in some special case be sung in figured 
music, they must never have either the form of a concert melody or the fullness of a 
motet or a cantata. 

V. 
T H E S I N G E R S 

12. With the exception of the melodies proper to the celebrant at the altar and to the 
ministers, which must be always sung in Gregorian Chant, and without accompaniment of 
the organ, all the rest of the liturgical chant belongs to the choir of levites, and, there-
fore, singers in church, even when they are laymen, are really taking the place of the 
ecclesiastical choir. Hence the music rendered by them must, at least for the greater 
part, retain the character of choral music. 

By this it is not to be understood that solos are entirely excluded. But solo singing 
should never predominate to such an extent as to have the greater part of the liturgical 
chant executed in that manner; the solo phrase should have the character or hint of a 
melodic projection (spunto), and be strictly bound up with the rest of the choral com-
position. 

13. On the same principle it follows that singers in church have a real liturgical 
office, and that therefore women, being incapable of exercising such office, cannot be ad-
mitted to form part of the choir. Wherever, then, it is desired to employ the acute 
voices of sopranos and contraltos, these parts must be taken by boys, according to the 
most ancient usage of the Church. 

14. Finally, only men of known piety and probity of life are to be admitted to 
form part of the choir of a church, and these men should by their modest and devout 
bearing during the liturgical functions show that they are worthy of the holy office they 
exercise. It will also be fitting that singers while singing in church wear the ecclesiastical 
habit and surplice, and that they be hidden behind gratings when the choir is excessively 
open to the public gaze. 

VI. 
O R G A N A N D I N S T R U M E N T S 

15. Although the music proper to the Church is purely vocal music, music with 
accompaniment of the organ is also permitted. In some special cases, within due limits and 
with proper safeguards, other instruments may be allowed, but never without the special 
permission of the Ordinary, according to prescriptions of the "Caeremoniale Episcoporum." 

16. As the singing always has the principal place, the organ or other instrument 
should merely sustain and never oppress it. 

17. It is not permitted to have the chant preceded by long preludes or to interrupt 
it with intermezzo pieces. 

— 28 — 



18. The sound of the organ as an accompaniment to the chant in preludes, inter-
ludes, and the like must be not only governed by the special nature of the instrument, 
but must participate in all the qualities proper to sacred music as above enumerated. 

19. The employment of the piano is forbidden in church, as is also that of noisy or 
frivolous instruments such as drums, cymbals, bells and the like. 

20. It is strictly forbidden to have bands play in church, and only in special cases 
with the consent of the Ordinary will it be permissible to admit wind instruments, limited 
in number, judiciously used, and proportioned to the size of the place—provided the com-
position and accompaniment be written in a grave and suitable style, and conform in all 
respects to that proper to the organ. 

21. In processions outside the church the Ordinary may give permission for a band, 
provided no profane pieces be executed. It would be desirable in such cases that the 
band confine itself to accompanying some spiritual canticle sung in Latin or in the verna-
cular by the singers and the pious associations which take part in the procession. 

VII. 
T H E L E N G T H O F T H E L I T U R G I C A L C H A N T 

22. It is not lawful to keep the priest at the altar waiting on account of the chant 
or the music for a length of time not allowed by the liturgy. According to the ecclesias-
tical prescriptions the "Sanctus" of the Mass should be over before the elevation, and there-
fore the priest must here have regard for the singers. The "Gloria" and the "Credo" 
ought, according to the Gregorian tradition, to be relatively short. 

23. In general it must be considered a very grave abuse when the liturgy in 
ecclesiastical functions is made to appear secondary to and in a manner at the service of 
the music, for the music is merely a part of the liturgy and its humble handmaid. 

VIII. 
P R I N C I P A L M E A N S 

24. For the exact execution of what has been herein laid down, the Bishops, if 
they have not already done so, are to institute in their dioceses a special Commission 
composed of persons really competent in sacred music, and to this Commission let them 
entrust in the manner they find most suitable the task of watching over the music 
executed in their churches. Nor are they to see merely that the music is good in itself, 
but also that it is adapted to the powers of the singers and be always well executed. 

25. In seminaries of clerics and in ecclesiastical institutions let the above-mentioned 
traditional Gregorian Chant be cultivated by all with diligence and love, according to the 
Tridentine prescriptions, and let the superiors be liberal of encouragement and praise toward 
their young subjects. In like manner let a "Schola Cantorum" be established, whenever 
possible, among the clerics for the execution of sacred polyphony and of good liturgical 
music. 

26. In the ordinary lessons of Liturgy, Morals, Canon Law given to the students of 
theology, let care be taken to touch on those points which regard more directly the 
principles and laws of sacred music, and let an attempt be made to complete the doctrine 
with some particular instruction in the aesthetic side of sacred art, so that the clerics 
may not leave the seminary ignorant of all those subjects so necessary to a full ecclesias-
tical education. 

27. Let care be taken to restore, at least in the principal churches, the ancient 
"Scholae Cantorum," as has been done with excellent fruit in a great many places. It 
is not difficult for a zealous clergy to institute such "Scholae" even in smaller churches 
and country parishes—nay, in these last the pastors will find a very easy means of 
gathering around them both children and adults, to their own profit and the edification of 
the people. 

28. Let efforts be made to support and promote in the best way possible, the higher 
schools of sacred music where these already exist, and to help in founding them where 
they do not. It is of the utmost importance that the Church herself provide for the 
instruction of her choirmasters, organists, and singers, according to the true principles of 
sacred art. 

IX. 
C O N C L U S I O N 

29. Finally, it is recommended to choir-masters, singers, members of the clergy, 
superiors of seminaries, ecclesiastical institutions, and religious communities, parish priests 

— 29 — 



and rectors of churches, canons of collegiate churches and cathedrals, and above all, to the 
diocesan ordinaries to favour with all zeal these prudent reforms, long desired and de-
manded with united voice by all; so that the authority of the Church, which herself has 
repeatedly proposed them, and now inculcates them, may not fall into contempt. 

Given from Our Apostolic Palace at the Vatican, on the day of the Virgin and 
Martyr, St. Cecelia, November 22, 1903, in the first year of Our Pontificate. 

PIUS X., POPE. 

PAPAL LETTER TO THE CARDINAL VICAR OF ROME 

The carrying out of the above regulations for the restoration of sacred 
music is laid upon Cardinal Respighi, Vicar-General of Rome, in the 

following letter from His Holiness. 

Lord Cardinal, . . . Even a little reflection on the end for which art is admitted 
to the service of public worship, and on the supreme fitness of offering to the Lord only 
things in themselves good, and where possible, excellent, will at once serve to show that 
the prescriptions of the Church regarding sacred music are but the immediate application 
of those two fundamental principles. When the clergy and choirmasters are penetrated 
with them, good sacred music flourishes spontaneously, as has been constantly observed, 
and continues to be observed in a great many places; when on the contrary those prin-
ciples are neglected, neither prayers, admonitions, severe and repeated orders nor threats 
of canonical penalties suffice to effect any change; for passion, and when not passion a 
shameful and inexcusable ignorance, always finds a means of eluding the will of the 
Church, and continuing for years in the same reprehensible way. . . . 

You, Lord Cardinal, will be good enough to provide a remedy for this also with 
solicitude, by insisting especially that Gregorian Chant, according to the prescriptions 
of the Council of Trent and of innumerable other councils, provincial and diocesan in all 
parts of the world, be studied with particular diligence, and be as a rule preferred in 
the public and private functions of the institute. I t is true that in other times Gregorian 
Chant was known to most people only through books which were incorrect, vitiated and 
curtailed. But the accurate and prolonged study that has been given to it by illustrious 
men who have done a great service to sacred art has changed the face of things. Gregorian 
Chant restored in such a satisfactory way to its early purity, as it was handed down by 
the fathers and is found in the codices of the various churches, is sweet, soft, easy to 
learn and of a beauty so fresh and full of surprises that wherever it has been introduced 
it has never failed to excite real enthusiasm in the youthful singers. Now, when delight 
enters in the fulfillment of duty, everything is done with greater alacrity and with more 
lasting fruit . . . . We are overjoyed to be able to give these regulations at a time when 
we are about to celebrate the 15 th centenary of the death of the glorious and incom-
parable Pontiff St. Gregory the Great, to whom an ecclesiastical tradition dating back 
many centuries has attributed the composition of these sacred melodies and from whom 
they have derived their name. Let Our dearly-beloved youths exercise themselves in 
them, for it will be sweet to Us to hear them when, as We have been told will be the 
case, they will assemble at the coming centenary celebrations round the tomb of the Holy 
Pontiff in the Vatican Basilica during the Sacred Liturgy which, please God, will be 
celebrated by Us on that auspicious occasion. 

Meanwhile as a pledge of Our particular benevolence, receive, Lord Cardinal, the 
Apostolic Benediction which from the bottom of Our heart We impart to you, to the 
clergy, and to all Our most beloved people. 

From the Vatican on the Feast of the Immaculate Conception of 190}. 

PIUS X., POPE. 

REGULATIONS FOR THE PROVINCE OF ROME 

To the Pastors, Rectors and Superiors of all churches and chapels of 
the clergy, both regular and secular; to the Superiors of Seminaries, 
Colleges and ecclesiastical schools; to the directors of music and the 

choirmasters of Rome. 
. . . Now, however, it has been deemed advisable to lend fresh impetus to the 

movement for the restoration of sacred music in Rome by enlisting the support of the 
Italian Society of St. Cecilia, which society has been canonically appointed by Us and 

— 30 — 



established in Rome on April 28, 1910. Results of a practical nature may be expected 
from this Society toward the reform of sacred music, and we invite all the Reverend 
Clergy, the Superiors and Rectors of Churches and Colleges, and all those who have at 
heart the dignity of the Sacred Liturgy, and the decorum of Holy Church, to join this 
Society in order to cooperate fully with the aims of the Holy Father in his venerated 
Motu Proprio. 

SEMINARIES AND RELIGIOUS INSTITUTIONS 

Positive, energetic and enlightened action on the part of the clergy, both secular 
and regular, is required to attain this result. I t is essential above all that the seminaries, 
ecclesiastical colleges and religious institutions should give their students a sound and 
serious training in liturgical chant and sacred music. . . • 

In order to obtain regularity, precision and prompt observance of the rules govern-
ing-sacred music, the Holy Father has deigned to vest all authority as regards the dis-
ciplinary features of the church music regulations in the Cardinal Vicar, whose authority 
extends to all churches of the secular and regular clergy, the Patriarchal Cathedrals, the 
chapels of religious communities, both of men and women, and to all seminaries, insti-
tutes, societies, congregations, associations and confraternities—even such as may be under 
special exemption. 

We trust that the Reverend clergy, the rectors and pastors of churches and col-
leges, the directors of music and choirmasters, may all be imbued fully with the spirit 
of the Holy Father's wise regulations and show zeal in carrying them out exactly, thus 
promoting the restoration of an art that will be truly noble and worthy of the divine 
liturgy. 

To facilitate this important matter, we have thought it well to lay down some 
practical rules which, by order of the Holy Father, are to be observed by all those 
who are responsible in any capacity for the music in the churches and chapels of Rome. 

RULES FOR DIRECTORS, ORGANISTS AND SINGERS 

1. The most ancient and correct ecclesiastical tradition in regard to Sacred Music, 
encourages the whole body of the people to take an active part in the liturgical services, 
the people singing the Common of the Mass, while a "Schola Cantorum" sing the variable 
and richer parts of the text and melodies, thus alternating with the people. . . . 

2. The Choir (cappelle musicali) composed of a group of trained singers under the 
direction of a choirmaster, is a more recent institution, yet a legitimate one, to replace 
the original combination of "Schola Cantorum" and people. 

3. Since, however, the rendering of the Gregorian Chant (as well as other composi-
tions both ancient and modern) is entrusted to choirs, and since—both in the choice of 
music and in its rendering—there is danger that these choirs may fail to conform to 
ecclesiastical rules, all members of a choir must give full guarantee, not only of their 
technical capacity, but furthermore of their "will to conform" to the ecclesiastical rulings 
and the laws of the Motu Proprio. . . . 

4. The director will be held personally responsible by the Church authorities for 
any infraction of the rules which may be committed by his Schola or his choir. 

J. The formation of a temporary choir for some special occasion of a solemn 
nature in a particular church is allowed provided it be formed under the guidance of an 
approved director and that he be responsible for it. 

6. To hold a position of choirmaster, organist or singer in any church o f . the 
Province of Rome, special authorization must be obtained from the proper ecclesiastical 
authority, who will base his action on the recommendation of the Commission on Sacred 
Music. . . . 

7. The Roman Commission on Sacred Music will judge of the capacity of each 
candidate for the position of director, choirmaster, organist or singer, and when it seems 
advisable will require of the candidate a performance by which to test his artistic 
calibre. . . . 

8. A register or official list of authorized choirmasters, organists and singers shall 
be kept by the Holy Apostolic Visitor. 

9. Churches and Chapels which intend to hold contests for the position of Di-
rector, Choirmaster, Organist or Singer shall act under the direction of the Holy Apostolic 

— 31--



Visitor and the Roman Commission on Sacred Music, following strictly the present 
regulations which, by order of His Holiness, apply to the Patriarchal Cathedrals and all 
Churches and Chapels, even those which are under special exemption. 

10. Only those who have a full knowledge of Gregorian Chant and have Deen 
authorized by the Roman Commission can hold the position of Choirmaster. 

11. In Religious Communities a member of the Order may hold the position of 
Director of Music provided he be found competent, but always on condition that he 
shall conform strictly to the rules laid down by the Roman Commission on Sacred 
Music and by the Holy Apostolic Visitor. 

12. Women are forbidden to sing during the liturgical services except as members 
of the congregation. They may not sing in galleries either by themselves or as form-
ing part of a choir. Women, however, who are members of a Religious Community, 
and, with them, their pupils, may sing in their own Churches and Chapels during 
liturgical services, according to the decree of the Sacred Congregation of Bishops. How-
ever, we desire that the singing of solos by them be forbidden, and we recommend that 
they give preference to Gregorian Chant both at Mass and at Vespers, which Chant 
should, if possible, be rendered by the entire Community. 

n. 
RULES FOR THE RECTORS OF CHURCHES 

13. Pastors and Superiors of churches and chapels must understand clearly and 
familiarize themselves with ecclesiastical rules regarding Sacred. Music. They must ex-
plain these rules to their choirmasters, organists and singers, and insist upon strict ob-
servance of the same. The Pastors shall be held personally responsible (as well as the 
choirmasters) for any infraction of the rules that may take place in their churches. 

14- It is also the duty of Pastors to refuse to tolerate the performance of any 
composition which has not been specifically approved. 

1J. The Pastors must see that the music of the liturgical services shall be properly 
interpreted by a group of singers sufficient in number and competent both from a litur-
gical and artistic standpoint. 

16. The Pastors shall explain to the people (or shall secure the services of others 
who are competent to explain) the Holy Father's high intentions in insisting on the 
reform of Sacred Music and they shall urge the people to co-operate by taking an active 
part in the functions by joining in singing the common parts of the Mass (the Kyrie, 
Gloria, etc.), also the psalms and the more familiar hymns of the liturgy as well as 
hymns in the vernacular. 

17. To bring about this result, the Pastors, Rectors and Superiors, especially of 
the principal churches, shall make every effort to establish their own "Scholae Can-
torum," placing them in the hands of competent musicians. 

Congregations, confraternities, all Catholic Societies and parochial schools are urged 
to foster the effective training of their members in sacred singing. 

18. Lest any abuses should arise in the rendering of the melodies, or any alteration 
or deviation from their genuine form, everything must be carried out under the super-
vision of the Roman Commission on Sacred Music, assisted by the Italian Society of St. 
Cecilia. 

SPECIAL DIRECTIONS 

19. Every "Schola Cantorum" or Choir shall be equipped with an adequate musical 
library for the regular church services, which must include a sufficient number of books 
of Gregorian melodies according to the Vatican edition . . . . 

20. We wish to emphasize the fact that to omit the singing of any prescribed part 
of the Common or the Proper of the Mass, or of the office, or of any other liturgical 
service, is forbidden. 

21. In sacred music the solo must not predominate, but where a solo occurs it 
must have the character of a melodic projection organically united to the rest of the 
composition. 

22. In regard to Vespers, the prescriptions of the Caeremoniale Episcoporum re-
quire that they be sung in Gregorian Chant in accordance with the Church's best 
tradition regarding the singing of psalms and antiphons . . . . 

Therefore, we recommend that the custom of singing of Vespers be made more 



general by encouraging clergy and people to take an active part in the singing as well 
as the choir • . . . 

23. Organists shall be careful not to overpower the voices by an accompaniment 
of an elaborate nature or by the excessive use of heavy reed stops. This warning is 
specially to be observed in accompanying Gregorian Chant. 

Organists shall use only approved music, even for their preludes and interludes. 
24. The organ or the harmonium (reed organ) are the only instruments which 

may be played in Church without special permission . . . . 
26. The use of the organ is forbidden on the weekdays and Sundays of Advent 

and Lent, except on "Gaudete" and "Laetare" Sundays- However, in case of real neces-
sity (recognized as such by Us), a very subdued support of the voices will be tolerated 
when singing the Gregorian melodies. But this concession does not apply to the litur-
gical services on the last three days of Holy Week, when all sound of the organ is 
prohibited. 

27. In the singing of High Masses of Requiem, the organ may be used only to 
support the voices. In Low Masses of Requiem, however, no instrument whatever shall 
be played. 

28. During Low Mass, motets may be sung and the organ played according to the 
rubrics, but the music must cease at the times when the Celebrant prays in a loud 
voice. Music may be heard during the following times: during the priest's preparation 
and thanksgiving; from the "Offertory" to the "Preface"; from the "Sanctus" to the 
"Pater," and from the "Agnus Dei" to the "Post Communion." During the Communion 
of the people, however, the music must stop for the recitation of the "Confíteor" and 
the "Ecce Agnus Dei." 

29. During private Masses and functions that are not strictly liturgical (such as 
Triduums, Novenas, etc.), also with the Exposition of the Most Blessed Sacrament, sing-
ing in the vernacular is allowed, provided that words and music have received proper 
authorization. At the moment of the Exposition of the Blessed Sacrament, only hymns 
or motets to the Blessed Sacrament shall be sung. The hymn "Tantum Ergo" and verse 
"Genitori" must immediately precede the Benediction of the Most Blessed Sacrament, fol-
lowed by the Oremus and the Benediction itself. Nothing else must be sung either in 
Latin or in the vernacular between the "Tantum Ergo," the Prayer and the Benediction. 

30. We wish to correct the idea current among some people that at non-liturgical 
functions, or extra-liturgical functions, a style of music may be rendered which has 
been condemned for use at liturgical functions. Music of this character is condemned 
for use in church for any and every occasion. 

From Our Residence, 
February 2, 1912 

(Signed.) P I E T R O , C A R D I N A L V I C A R I O . 

REGULATION CONCERNING THE USE OF SACRED MUSIC IN ROME, BY THE 
CARDINAL VICAR, PIETRO RESPIGHI. 

(February 2, 1912) 

R E S U M E 

1. According to the true and authentic tradition of the Church, the faithful 
should take an active part in the liturgical functions by their cooperation in the singing 
of the chant. However, in conformity with the "Motu Proprio," the ancient "Scholae 
Cantorum" (singing schools) must be restored together with the use of Gregorian Chant 
among the people, who should sing alternately with the "Schola Cantorum" those parts 
assigned to them. . . . 

4. It is forbidden for choir-masters and cantors to belong to any association op-
posed to the Catholic Church; to give their services in non-Catholic churches, or to take 
part in performances which in any way offend against religion and morals . . . . 

6. It is forbidden for women to sing in. choir either alone or as part of the chorus. 
But they may sing at the church functions in so far as they are either part of or 
represent the people. 

7. Nuns living in community, and their boarders, may sing in their churches or 
chapels during the sacred functions, but now it is forbidden for them to sing solos. 
We desire that during the Mass and at Vespers they shall use Gregorian melodies, to be 
sung if possible by the whole community. 

— 33 — 



REGULATIONS FOR SACRED MUSIC APPROVED BY POPE LEO XIII AND 
PUBLISHED BY THE SACRED CONGREGATION OF RITES. 

(September 21, 1884) 
Article 7. It is absolutely forbidden that the parts of the test in the Kyrie, Gloria, 

Credo, Sanctus, etc., be broken up into detached fragments to the detriment of the 
unity of the whole; as also to omit or unduly hurry through the chant of certain 
parts of the office, such as the responses to the celebrant, the "Introit," the hymn, the 
"Magnificat" at Vespers. Moreover the omission of the "Gradual, Tract, Offertory and 
Communion," under special circumstances, as for instance through lack of voices, with 
substitution of an organ piece cannot be tolerated. 

Article 8. It is forbidden that figured music be mixed with Gregorian Chant; con-
sequently, what are known as musical "punti" are forbidden in the chanting of the 
Passion, but what may be permitted is that the part allotted to the "Turba" be sung 
in polyphonic music according to the model of the Roman School and particularly that 
of Palestrina. 

Article 11. It is absolutely forbidden that any music should be performed in 
Church, however brief it may be, which contains themes drawn from theatrical works, 
from dance music of whatever type, whether polkas, waltzes, mazurkas, varsoviennes, 
quadrilles, gallops, "contre-danses, lithuaniennes," etc., or profane pieces such as national 
hymns, popular songs, love-songs, funny songs, romanzas, etc. 

Article 13. Organ improvisations according to individual fancy are forbidden to 
incompetent persons who are incapable of respecting the laws of musical art as also those 
which should protect the piety and recollection of the faithful. . . . 

GENERAL DIRECTIONS OF NOVEMBER 18, 1856, AND INSTRUCTIONS FOR 
DIRECTORS OF MUSIC OF NOVEMBER 20, 18JC, CARDINAL 

PATRIZI, VICAR OF ROME. 

R E S U M E 

1. Church music should differ from profane and theatrical music, not only "melo-
dically," but also in its "form, substance" and atmosphere. Consequently, the following 
are forhidden: 

a) "Themes" which suggest the theatre and which are not directly inspired by 
the words. 

b) "Rapid and restless movements": for, when the words express joy and exulta-
tion, those sentiments must not be given a musical setting which suggests the gaiety of 
the dance, but one which brings out the calm joy of religion. 

2. The words must always be pronounced clearly and with the rapidity of ordinary 
speech. 

3. The words must be set to music in such a way as to retain their proper order; 
and while it is allowable, after having sung a full and intelligible idea, to repeat cer-
tain words or phrases, this must be done without inverting the order of the words, or 
confusing the meaning; moreover it must be done with moderation; nor is it permitted 
to add to the text other words which are foreign to it, or to omit any of those which 
are contained therein. 

4. It is forbidden to sing "arias," duets, trios, etc., having the same character and 
structure as those'of the theatre. 

J. Instrumental music is forbidden unless with special permission. The use of 
drums, "timpani," (kettledrums) cymbals, all instruments of percussion and those which 
are noisy, is forbidden. 

6. In compositions for the Church, long introductions or preludes are forbidden, 
whether these be for full orchestra or for individual instruments. 

7. Composers of Church music should always bear in mind that instrumental music 
in church is merely "tolerated"; it must serve primarily to sustain and enrich the 
chant, never to dominate it, still less to overpower it and reduce it to a mere accessory. 

8. Organists are forbidden to perform pieces taken, in whole or in part, from 
the theatre; also to play brilliant pieces which are distracting, for, on the contrary, 
music must be made a means of recollection and must serve to excite the devotion of 
the faithful. 

9. It is forbidden to develop certain psalms with great elaboration and with full 

— 34 — 



orchestra, while passing over the other psalms and the hymn with indecent haste and 
with organ accompaniment. Each part of the Mass and of Vespers must be set to music 
and rendered in the same manner. 

10* Each chant of Mass and of Vespers must preserve its "unity as a composition," 
consequently it is forbidden to separate unduly with musical interludes, one part of a 
chant from another. 

11. Those who are incapable of singing the Introit of the Mass and the Antiphons 
of Vespers in Gregorian Chant, may sing them to other melodies, but always in a re-
spectful manner and so that at least the sacred words may be pronounced distinctly and 
with religious gravity. 

12. Choirmasters and organists who fail to observe these rules will be fined 
"five scudi" ($5.00) which fine will be doubled or even trebled should the offense be 
repeated; but, after a third offense, they will henceforth be forbidden to direct music 
or play the organ in Church. 

13. Rectors of Churches will be fined "ten scudi" ($10.00) for infraction of these 
rules, which fine may be doubled or trebled and to which other punishments may be 
added. 

14. A "Commission of Vigilance" is hereby formed, a certain number of whose 
members must be drawn from the Congregation of St. Cecilia. 

GENERAL DIRECTIONS GIVEN BY THE VICARIATE OF ROME. 
(December 5, 183J) 

R E S U M E 

1. All Rectors of Churches in Rome and the surrounding districts are ordered to 
avail themselves exclusively of the services of Directors (Choirmasters) who are approved 
by and hold the diplomas of the Congregation of St. Cecilia, in all matters that con-
cern vocal and instrumental music in the Churches. 

2. These choirmasters must make use only of compositions in "the true ecclesiastical 
style," and .must see that these compositions be rendered by competent artists who, 
in turn, must be approved by and hold diplomas from the Congregation of St. Cecilia. 

3. The same rule applies to Organists. 

D E C R E E O F C A R D I N A L P L A C I D O Z U R L A , V I C A R O F P O P E L E O X I I . 

(December 20, 1824) 
R E S U M E 

1. All Feasts and Solemnities in the Church must be celebrated without profane and 
worldly forms which are forbidden by ecclesiastical laws; and the proper ecclesiastical 
gravity and decorum must characterize the music. 

2. Choirmasters are forbidden to alter in any way or transpose the words of the 
psalms or of the hymns according to their individual fancy; especially must they refrain 
from those endless repetitions which exhaust and crush out devotion instead of nourish-
ing it. 

3. It is forbidden to play instrumental music unless with special permission, and 
it is absolutely forbidden to play "music which is noisy and inappropriate to the Church." 

J 4. During High Mass during exposition of the Blessed Sacrament, organists are 
forbidden to play any music taken directly from the theatre, or even of a profane 
character. The duty of the organist is to foster devotion, "since it is for this purpose 
alone that music is allowed in Church." 

ENCYCLICAL LETTER OF POPE BENEDICT XIV. 
(February 19, 1749) 

Addressed to all the Bishops of the Papal States on the occasion of 
the approaching Jubilee of 1750 and beginning; Annus qui. 

R E S U M E 

1. The Canonical Hours must be sung by those whose duty it is to do so, with 
gravity and with devotion. The Gregorian Chant must be rendered in perfect unison 
and must be directed by persons who are competent. "This Chant arouses devotion, and, 
when well rendered, it gives greater joy to devout persons than figured music." 

— 35 — 



2. Figured music is permitted in Church, and even with accompaniment by the 
organ or other instruments, provided that this music be neither profane, worldly nor 
theatrical in character, but be of such nature as to arouse among the faithful, senti-
ments of piety and devotion and to uplift the soul toward God. 

3. The sacred text must be put to music in such a way that the words remain 
perfectly and clearly intelligible. 

4. Ecclesiastical music roust be composed in a style which differs from that of the 
theatre. The solo, the duet, the trio, etc., are forbidden. 

J. The custom is "tolerated" in those places where it has already been introduced, 
of playing the organ or other instruments in Church, apart from the mere accompani-
ment of the Chant, but on condition that this instrumental music be grave, serious and 
different in style from theatrical music. These instrumental pieces must not be long. 

6. Apart from the organ, the instruments which are tolerated are: stringed instru-
ments and "fagotti." Those which are forbidden are: "timpani" (kettledrums), hunting 
horns, trumpets, oboes, flutes, "Salter," mandolins, and, in general, all instruments which 
are theatrical in character. 

7. Instrumental accompaniment of the singing must not overpower the voices, 
but must serve to intensify the expression of the words "and increase the love of God." 

DECLARATION OF CARDINAL GASPARE CARPEGNA, VICAR OF ROME. 
(August 20, 1692) 

R E S U M E 

1. It is the formal desire of the Holy Father (Innocent XII) that in no Church 
of Rome there should be sung Motets or any composition whatever, excepting, at Mass: 
the Introit, Gradual and Offertory of the day; and, at Vespers: the antiphons which 
belong to the psalms, before and after, "without the slightest alteration," and in this, 
musicians must submit strictly to the rules which apply to the choir. 

2. His Holiness permits, however, that during Mass (at the Elevation) and during 
the exposition of the Blessed Sacrament, and in order to stimulate the devotion of the 
faithful, certain Motets be sung, taken from the Roman Breviary or Missal in its office 
or Mass in honor of the Blessed Sacrament, but always on condition that the words be 
not changed. 

DECREE ON SACRED MUSIC BY THE SACRA VISITA APOSTOLICA. 
(July 30, 1665) 

R E S U M E 

1. All music for use at Mass or divine Office,—psalms, antiphons, motets, hymns, 
chants, etc.,—must be truly ecclesiastical in style, grave and devout in character. 

2. After the Epistle the only thing that may be sung is the Gradual or the Tract; 
after the Credo, no other words but those of the Offertory; after the "Sanctus," the 
"Benedictus," or else a Motet provided the words thereof are those which the Church 
uses in the Breviary or in the Missal in honor of the Blessed Sacrament. 

3. At Vespers, the only thing that may be sung, apart from the psalms and the 
hymn, are the Antiphons of the feast of that day as prescribed by the Breviary. The 
same rule applies to Compline. 

4. To sing with a solo voice, whether high or low, a hymn or a motet, in whole 
or in large part, is forbidden. But to vary the chant of the full chorus, the voices 
may be "alternated," taking sometimes a group of equal voices, sometimes the low 
voices alone, sometimes the high voices. 

5. The words of the Breviary and of the Missal, as well as those taken from Holy 
Scripture and from the writings of the Fathers must be put to music exactly as they 
are, without inverting their order, without alteration of any kind, nor the insertion of 
extraneous words. 

6. During Passiontide, it is forbidden to play the organ. 
7. Rectors of Churches are given a period of twenty days in which to provide 

for the construction of fine grills to surround their choirs, whether these choirs be sta-
tionary or moveable, which grills must be high enough to hide the singers completely 
from view, and this, under pain of suspension from office. 

— 36 — 



CONSTITUTION OF POPE ALEXANDER VII. 

(April 23, 1657) 

The honor and reverence due to the Churches and Chapels destined for prayer and 
divine worship in this august city of Rome, from which examples of good works are 
spread throughout the whole world, move Our piety and solicitude to cast out from them 
anything that in any way is "frivolous," and especially, "musical compositions which are 
indecorous, which are not in conformity with ecclesiastical rites, which offend the Divine 
Majesty, which are a scandal to the faithful, which impede devotion and prevent the 
uplifting of the heart to things divine." . . . 

We forbid, during the celebration of the divine Office or during the exposition of 
the Blessed Sacrament in the Church and Chapels, that anything be sung other than words 
contained in the Roman Breviary or Missal according to the proper or the common office 
of the day or of the feast; or else words taken from the Sacred Scriptures or from the 
writings of the Fathers provided that these have the formal approval of the Sacred Con-
gregation of Rites; "but always with the understanding that melodies are excluded which 
are modelled on dance or profane forms and which do not follow the true ecclesiastical 
model." . . . 

RULES FOR SACRED MUSIC BY THE COUNCIL OF TRENT. 

(December 13, 1545-December 4, 1563) 

1. The Bishops and Ordinaries must prevent the use in Church of any music 
which has a sensuous or impure character, and this, whether such music be for the 
organ or for the voice, in order that the House of God may appear and may be in 
truth, the House of Prayer. (Session XXII: September 22, 1562: Decree regarding the 
things to be done or to be avoided during the celebration of Holy Mass). 

2. In order to improve the education and ecclesiastical formation of students in 
the Seminaries, these students must receive the tonsure and wear the clerical habit; to 
their other studies they must add the study of literature, "The Chant," the computation 
of the ecclesiastical year, and the fine arts (Session XXIII: July 15, 1563: Chapter 18: 
Reform). 

3- All Canons are obliged to say the divine Office personally and not through a 
substitute; to assist the Bishop when he celebrates and pontificates; and to sing the praises 
of God in hymns and psalms in the Choir which has been organized for this purpose, 
and to do so with clearness and devotion. (Session XXIV: November 11, 1563: Chapter 
12: Reform). 

4. All other matters which concern the divine Office, the proper way of singing, 
the reunion of -choirs and their right order and discipline . . . will be settled by the 
provincial Synod, which will prescribe for each province regulations which meet local 
needs and customs. For the moment, the Bishop assisted by at least two Canons, one 
of whom will be named by the Bishop and the other, by the Chapter, will make the 
necessary decisions on matters that are most urgent. . . . 

EARLIER PAPAL DOCUMENTS 
CONSTITUTION OF POPE JOHN XXII (1316-1334) 

Beginning: Docta sanctorum Patrum 
The competent authority of the Fathers has decreed that, in singing the offices of 

divine praise through which we express the homage due to God, we must be careful 
to avoid doing violence to the words, but must sing with modesty and gravity, melodies 
of a "calm and peaceful character." For it is written: "from their lips came sweet 
sounds." Now, sounds are truly sweet when the singer, while speaking to God in 
words, speaks to Him also with his heart, and thus, through his song arouses the de-
votion of the faithful, that the singing of psalms is prescribed in the Church of God; 
and for this same reason, the day and night offices, as well as the celebration of the 
Mass, are sung by the clergy and by the people to melodies which are grave yet varied, 
and thus, while we are pleased by such diversity, we are charmed by their gravity. 

But certain exponents of a new school, who think only of the laws of strictly 
measured time, are composing new melodies of their own creation with a new system 

— 37 — 



of notes, and these they prefer to the ancient, traditional music; the melodies of the 
Church are sung in "semibreves" and "mínimas" and with grace notes of repercussion. 
By some, the melodies are broken up by "hochetis," or robbed of their virility by "dis-
canti" (2 parts), "triplis" (3 parts), "motecds" (motets), with a dangerous element 
produced by certain parts sung on texts in the vernacular; all these abuses have brought 
into disrepute the basic melodies of Antiphonal and Gradual; these composers, knowing 
nothing of the true foundation upon which they must build, are ignorant of the Modes, 
incapable of distinguishing between them, and cause great confusion. The mere number 
of the notes, in these compositions, conceal from us the plain-chant melody, with its 
simple well regulated rises and falls which indicate the character of the Mode. These 
musicians run without pausing, they intoxicate the ear without satisfying it, they 
dramatize the text with gestures and, instead of promoting devotion, they prevent it by 
creating a sensuous and indecent atmosphere. Thus, it was not without good reason that 
Boetius said: "A person who is intrinsically sensuous will delight in hearing these in-
decent melodies, and one who listens to them frequently will be weakened thereby and 
lose his virility of soul." 

Consequently We and Our Brethren (the Cardinals) have realized for a long time 
that this state of things required correction; and now We are prepared to take effective 
action to prohibit, cast out, and banish such things from the Church of God. 

Therefore, after consultation with these same Brethren (the Cardinals) We prohibit 
absolutely for the future that anyone should do such things, or others of like nature, 
during the divine Office and especially during the Canonical Hours or during the Holy 
Sacrifice of the Mass. Should anyone disobey, by the authority of this law he will 
be punished by suspension from his office during eight days, this punishment to be applied 
by the local Ordinary in authority in the place where the fault will have been com-
mitted, or by his delegate, in the case of persons who are not exempt from the authority 
of the local Ordinary; for those who are exempt, the punishment will be applied by 
their Prelate or Religious Superior whose duty it is to correct abuses, to punish faults 
and excesses, or by his delegate. 

However, we do not intend to forbid the occasional use—principally on solemn 
feasts at Mass and at divine office—of certain consonant intervals superposed upon the 
simple ecclesiastical chant, provided these harmonies are in the spirit and character of 
the melodies themselves, as, for instance, the consonance of the octave, the fifth, the 
fourth, and others of this nature; but always on condition that the melodies them-
selves remain intact in the pure integrity of their form, and that no innovation take 
place against true musical discipline; for such consonances are pleasing to the ear and 
arouse devotion, and they prevent torpor among those who sing in honor of God. 

Made and promulgated at Avignon in the Ninth Year of Our Pontificate (1324-132J). 



MASSES, PLAIN CHANT 

PART 1 

H I G H MASS 

Section 1—ORDINARY OF THE MASS 

A. PLAIN CHANT1 

BAS, JULIUS VOIC' °R8A" PUBU 
All Gregorian Masses, Credos & Requiem 
(Only accompaniment, no special voice part) ( 0 ( 3 ) 

BENEDICTINE FATHERS 
The most simple Mass in Gregorian chant 
Vatican version 

BOTTAZZO, LUIGI \ 
Credo III in Gregoriano—Cantus, T. B 24 ( 3 ) 

BRAGERS, ACHILLE 
Missa in Festis B. Mariae Vlrginis (I & II) 30 .80 3 
The Ordinary Chants of the Mass 3-00 3 

DELECTUS MISSARUM E GRADUALI ROMANO 
Contains besides the Proper, also the various 
Plain Chant Masses and Requiem 2.00 1 

KYRIALE SEU ORDINARIUM MISSAE, MISSA PRO 
DEFUNCTIS ET TONI COMMUNES MISSAE 40 

(With rhythmical signs supplied by the Monks of Solesmes. 
Also contains Plain Chant hymns in honor of Bl. Sacrament) 

KYRIALE SEU ORDINARIUM MISSAE, MISSA PRO DE-
FUNCTIS TONI COMMUNES MISSAE ET VARII 
CANTUS USITATI AD PROCESSIONEM ET BEN-
EDICTIONEM SS. SACRAMENTI. 

Vatican version 
Gregorian notation with rhythmical signs SO 1 
Modern notation with rhythmical signs 60 1 

KYRIALE SIVE ORDINARIUM MISSAE 
Modern notation with rhythmical signs (cloth) 40 1 
Gregorian notation with rhythmical signs (cloth) 40 1 

LIBELLUS CANTICORUM 6 0 1 

Contains: Select Chants from the Graduale and Antiphonale; 
Masses (3) ; Vespers (2) ; Mass of the Dead and Abso-
lution; Compline; Miscellaneous Hymns; Vatican Edi-
tion; Gregorian notation with rhythmical signs. 

LIBER USUALIS (with English Rubrics, or Latin if desired) 
Contains besides the Proper, also the various Plain Chant 

Masses and Requiem (3 ) (1 ) 
MANZETTI, L. 

Credo I (taken from Kyriale) 
Modern notation 
Credo III (taken from Kyriale) 
Modern notation _ " 
Organ accompaniment to Kyriale, including the Requiem 3.00 

MATHIAS, FR. X. 
Kyriale seu Ordinarium Missae 
Vatican Edition 6 0 2 > 7 J 2 

1. Any accompaniment to the Ordinarium Missae listed in Part I Sec. 1 A. may be used 
for any Plain Chant Masses, Credo and Requiem. 
Plain Chant Asperges and Vidi Aquam are found in all volumes which contain the 
Plain Chant Ordinary of the Mass. For abbreviations cf. p. 14. 

— 39 — 



MASSES, UNISON 

ROSSINI, CARLO Voice Organ Pubi. 
Credo V & VI .50 1 
Missa in Festis B.V.M. (1) Cum Jubilo 15 .80 1 
Miss» in Festis B.V.M. (2) Alme Pater 15 .80 1 
Missa "Lux et Origo" (Tempore Paschali) .15 .80 1 
Missa "Orbis Factor" (In Dom. infra Annum) 15 .80 1 
Accompaniment to the various "Ite Missa Est" & "Bene-

dicamus Domino" .50 1 

VRANKEN, P. J. J. 
Missa Duplicibus (de Angelis) Asperges me, Vidi Aquam 

& Te Deum (simplex) 15 .80 1 
WAGNER, DR. P. 

All Gregorian Masses, Credos & Requiem 
(Only accompaniment, no special voice part) ( 1 ) ( 3 ) 

B. N O N - P L A I N C H A N T 

a. UNISON 
G r a d e S core Voice Pubi. 

BECKER, RENE L. 
em Mass in G. in honor of St. Francis Xavier 60 .20 3 
ve Mass in honor of St. Angela 60 .30 1 

BELTJENS, J. 
ve Missa Quarta—Op. 130 60 .15 1 

BERCHTAL, H. von. 
e Easy Mass—Op. I .60 .15 1 

BIEDERMANN, E. J. 
em Mass in honor B.V.M.—Op. 30 16 .15 1 

BILL, J. 
e Missa "Auxilium Christianorum"—Op. 14 60 .30 2 
e Missa "Refugium Peccatorum"—Op. 16 60 .90 2 

BOTTAZZO, L. 
m Mass in honor of St. Cecilia—Op. 157 60 .15 1 

BOTTIGLIERO, E. 
m Mass in honor of St. Ciro—Op. 105 60 .15 J. 
em Mass in honor of B.V.M.—Op. 108 .60 .15 1 

CORNELL, J. H. 
e Mass in E-flat 60 .15 1 

DOBICI, C. 
m Mass in honor of St. Aloysius (D) 50 1 

DRESS, A. 
e The High Mass liturgically correct and complete 60 .16 1 

DUMLER, MARTIN G. 
e Missa "Cantate Pueri" „ 60 .20 3 

DUMONT-MULLER 
e Royal Mass (Missa Regia) (Gregorian style) 60 .15 1,3 

DUMONT-TOZER 
e Mass of the Angels 60 1 

EDENHOFER, A. 
d Mass in D 35 .16 14(1) (3) 

FABRIZI, G. M. 
m Missa "Gratia Plena" 80 .30 5 

GREY NUNS OF THE SACRED HEART 
ve In honor. St. Therese 80 1 5 

GRIESBACHER, P. 
e Missa "Janua Coeli" 80 .20 3 

— 40 — 



MASSES, UNISON 

Grade Score Voice Pubi. 

em 
md 

GROISS, JOSEPH 
Mass in C 
Mass in hon. St. Patris Joseph 

HAMMA, FR. 
Missa "Maria Clara"—Op. 6 Out of print 

HERRMANN, S. 
Mass in D (A. 

KARL, JAN 

MANDL, J. 
Missa Brevis et fac. in hon. S. Joannis 
Evan—Op. 16 
Mass in D —Op. 11 

MAGRI, P. 
Missa Brevis—Op. 38 
Mass in Unison (D) 

MARSH, WILLIAM J. 

MATEJU, T. 
Missa in hon. Im. Concept. 

MEUERER, J. 
Missa "Regina Angelorum"-

MOLITOR, J. B, 
-Op. 61. 

Missa "Rorate Coeli"—Op. 14 
MONTANI, N. A. 

Missa "Regina Pacis" 
Mass in honor of St. Catherine of Siena—Op. 32.. 
Mass in honor of St. Ambrose 

O'CONNOR, JOHN J. 
Mass in honor of St. Michael 

PREDMORE, G. V. 
Mass of the Good Shepherd (Without Credo) 

RENNER, J . 
Seconda Messa—Op. 52 

ROSSINI, CARLO 
Missa "Orbis Factor" 
Missa Brevis 

RHEINBERGER, J. 
Missa Puerorum—Op. 62b 

SCHALLER, F. 
Missa "de Beata"—Op. 23 

SCHEHL, J. 

SCHOEPF, F. 
Easy Mass in  

SINGENBERGER, J. 
Mass in D  
Mass in hon. of the Holy Ghost (A. & B. ad lib.).... 
Mass in honor of St. Anthony (Credo formerly not of 

the Vatican Version but corrected edition now 
pub., 1937) 

Mass of St. Francis 
SMITH, R. C. 

Missa Mater Dei 
TEBALDINI, JOANNES 

Missa Brevis in honorem S. Ambrosii 

.60 .20 

.60 .15 

.60 

.50 .25 

• JO .25 

.60 .25 

.60 .20 

.60 .25 

.60 .15 

.60 .15 

.60 .25 

.60 .15 

.5 5 .20 

.40 .10 

.55 .20 

.80 .30 

.80 .40 

.80 .40 

.60 .50 

.40 

.80 .15 

.60 .15 

.60 .15 

.80 .15 

.3 5 .15 

.80 .30 

.35 .15 

.35 
.35 

.35 

.60 .25 

.60 .20 

.90 12(1) (3) 

— 41 — 



MASSES, TWO EQUAL VOICES 

Grade 

em 
e 

.30 

.80 

. J O 

.10 13(3) 

Score "Voice Publ. 
WILTBERGER, A. 

Easy Mass in G 
WITT, F. X. 

Missa Augustini—Op. 18a 
Missa "Octavi Toni" Out of print 

YON, P. A. 
Pastorale J 

1.00 
1.00 

b . T w o E Q U A L V O I C E S 

(S- A. or T. B. unless otherwise mentioned) 

BERN, FRANC 
Missa Mater Misericordiae 60 

BIGGS, RICHARD KEYS 
em Missa "Fray Junípero Serra" S. A  .80 .3 J 1 

BILL, J. 
.80 .3 J 

em Missa "Consolatrix Afflictorum"—Op. 12 S. A 
Out of 

BISCHOFF, J. C. 
print .65 .40 

em Mass in honor of the Holy Innocents .50 .25 1 
BLASEL, H . 

.50 .25 

e Mass in D Minor .60 .25 3 
BOTTIGLIERO, E. 

.60 .25 

m Mass in honor of St. Rose of Lima—Op. 60. T. 
CARNEVALI, VITO 

B .60 .35 1 

m Missa "Stella Matutina"  .80 .35 1 
CAPOCCI, F. 

.80 .35 

md Mass in G .60 
1.40 

• 30 
.40 

I 
em Regina Angelorum 

.60 
1.40 

• 30 
.40 12(1) 

DORE, M. 

.60 
1.40 

• 30 
.40 12(1) 

e Easy Mass in G. S. A .60 .25 Ï 
EBNER, L. 

.60 .25 

m Mass in hon. Sacratissimi Cordis Jesu—Op. 20 .8 J •40 
FABRIZI, G. M. 

•40 

m Missa "Gratia Plena" .80 .30 J 
FERRATA, G. 

.80 .30 

m Missa in hon. SS. Rosarii B. V. M.—Op. 18- T. 
FLORENTINE, SR. M. 

B .80 .35 1 

m Missa "Regina Angelorum" S. A .80 .30 J 
GISELA, SR. M. 

.80 .30 

e Missa "Puer Natus est Nobis" .80 .35 1 
GOLLER, V. 

.80 .35 

em In hon. S. Laurentia T. B .80 

.80 

.3 5 J 

ve 
GREY NUNS OF THE SACRED HEART 

In hon. St. Theresa S. A 

.80 

.80 

.3 5 

1 3 
GRIESBACHER, P. 

.80 

.80 

m Missa—Op. JO. S. A. 1.00 
1.00 

.40 
m Missa in hon. S. Ambrosii—Op. 88. 

1.00 
1.00 

.40 
11(3) 

GRUBER, J. 

1.00 
1.00 11(3) 

e Missa in hon. St. Angelorum Custodum—Op. 
S. A. (T. B. ad lib.) 

78. 
.80 .25 1 

GRUENDER, H. 
.80 .25 

em Missa Festiva "Salve Regina"  .60 
.60 

.20 

.20 
X 

em Missa Eucharistica "Lauda Sion"  
.60 
.60 

.20 

.20 
J 

T 

HALLER, M. 

.60 

.60 
.20 
.20 J 

e Missa Tertia—Op. 7a 1-00 
.60 

1.00 

.40 
.15 
.40 

2 
1, 3 
2 

e Missa Tertia—OD. 7a 
1-00 

.60 
1.00 

.40 
.15 
.40 

2 
1, 3 
2 em Missa Decima—Op. 23 Out of print 

1-00 
.60 

1.00 

.40 
.15 
.40 

2 
1, 3 
2 

— 42 — 



MASSES, TWO EQUAL VOICES 

Grade 

em 
em 

em 
md 

Missa Quart»—Op. 8a. 
Missa Quintadecima—Op. 55 S- A 
Missa XXI—Op. 67 

HAMMA, B. 
Mass in honor of St. Dominic S. A. (ad lib.). 

HERRMANN, S. 
Mass in D S. A. (B. ad lib.) 

HILLEBRAND, J. 
Missa "Mater Dolorosa" S. A 

HUBER, H. 
Missa "Salve Regina Pacis" 

JASPERS, C 
Mass in honor of St. Cecilia—Op. 9. S. A. 

JAWELAK, A N T H O N Y 
Mass in honor of Our Lady of Mt. Carmel 

KARL, JAN 

T. B. .. 
S. A. .. 

MARSH, W. J. 
Mass in honor of the Holy Angels S. A 

MEYER, J. J. 
Mass in honor St. Theresa of the Child Jesus S. A, 
Missa S Mauritti—Op. 1 

MITTERER, IGN. 
Missa in hon. S. Nominis Mariae—Op. 141a. 
Missa in hon. S. Nominis Mariae—Op. 141c. 
Missa Nominis Jesu—Op. 18a 

MOLITOR, P. G. 
Mass in hon. S. Caroli Borromaei 

MONTANI, NICOLA A. 
Missa "Regina Pacis" S. A 
Mass in honor St. Catherine of Siena—Op. 32. 
Mass in honor St. Ambrose 
Ave Maris Stella Mass—Op. 28. 5] 

PEROSI, L. 
Te Deum Laudamus T. B 
Missa in hon. B. Caroli T . B 

RAVANELLO, O. 
Missa in hon. St. Joseph! Calasantii 

RENNER, J. 
Mass in hon. St. Petri Apostoli—Op. 2 

RINGEISSEN, J. 
"Victimae Paschali" Missa T. B 

ROSSINI, CARLO 
Missa "Orbis Factor" 

A. 

S. A. 

SCHILDKNECHT, JOS. 
Missa in hon- S. Patris Josephi—Op. 14. 

SCHOEPF, P. 
Easy Mass in G S. A 

SCHWEITZER, J. 

T . B. 

SINGENBERGER, J. 
Missa "Adoro Te" S. A... 

Missa in hon. Purissimi Cordis B 
Mariae Virg S. A Out of print 

Missa in hon. -S. Joannis Baptistae S. A 
Missa in hon. S. Galli S. A 
Mass in honor St. Aloysius S. A 50 

Score Voice Pubi. 

.80 .40 2 

.85 .40 2 
1.00 .40 2 

.60 .25 1 

.50 .25 1 

.80 .35 1 

.30 .15 14(1) 

• 80 .20 1 

.80 .15 1 

.60 .25 3 

.60 .25 3 

.60 .15 3 
1.00 .40 

.60 .35 1 
•60 .35 1 
.80 .40 

.80 •40 

.80 .30 1 

.80 .40 1 

.80 .40 1 
.80 .30 

.80 .40 5 
.8$ .40 2 

1.00 .20 12(1 

.80 •40 2 

20(3 

.80 .40 1 

.80- .35 1 

.85 .40 2 

.35 .15 1 

.50 .15 1 

.60 •40 2 

.75 .80 2 

.60 •60 2 
.55 .60 2 
.55 •60 2 
.50 1 

— 43 — 



MASSES, TWO MIXED, THREE FEMALE VOICES 

Grade 
e Easy Mass in D. S. A-
ve Mass in D. S. A. (B. ad lib.) 
ve Mass in hon. St. Anthony 
ve Mass in hon. Holy Ghost S. A. (B. ad lib.) 
ve ( Mass in hon. St. Francis S. A. (B. ad lib.) 
e Mass in honor of the Holy Family 

SINGENBERGER, O T T O 
em Missa "Ex ore Infantium" S. A 

STEHLE, J. G. ED. 
em Prize Mass "Salve Regina" S. A. with T. B. ad lib., 
em Prize Mass "Salve Regina" S. A. with T. B. ad lib., 
m Missa "Alma Redemptoris Mater"—Op. SI, S. A.... 
m Missa "Regina Coeli"—Op. 56 S. A 

SURZYNSKI, J. 
em Missa in hon. S. Teresiae—Op. 15- S. A 

TAPPERT, H. 
em Mass of St. Rose of Lima S. A 
em Mass of the Guardian Angels S. A 

WHEELER, V. B. 
e Liturgical Mass in D Major 

WILKENS, IGN. 
e Mass in honor St. Anthony 
ve Mass in honor of Holy Child Jesus S. A. 

WITT, F. X. 
em Missa "Exultet"—Op. 9a 
m Missa in hon. S- Ambrosii—Op. 29c 

YON, PIETRO A. 
md Missa "Dilectus Meus Mihi, et Ego Illi" 

(Cut in Gloria not approved.) T. B  

Score Voice Pubi. 

.50 1,3 

.35 3 

.3 5 3 
.60 .25 3 
.60 .25 3 
.60 .25 3 

.60 •25 3 

1.00 .80 2 
.60 • 25 1,3 
.90 .80 2 
.85 .80 2 

.60 .40 2 

.60 .25 3 

.60 .25 3 

.60 .25 3 

.80 .25 ï ' 

.60 .25 1 

.65 .25 1,3 

.65 .40 2 

.65 .30 1 
.80 .40 1 

c. T w o MIXED VOICES 
DOBICI, c . 

m Mass in honor of Bl. James S. B 60 I 
EDER, P. V. 

e Mass in honor of St. Michael—Op. 17. S. B 60 .25 1 
EBNER, L. 

m Missa in hon. S. Josephi—Op. 14. S. B 1.00 .40 2 
e Missa "Laudate Dominum"- ;-Op. 7. S. B 80 .1$ 14(1) (3 ) 

GRIESBACHER, P. 
em Missa "Salus Infirmorum"—Op. 16. S. B 80 .25 14(1) (3) 

PEROSI, L. 
m Missa in hon. B. Ambrosii S. B 1.00 .40 2 

WILTBERGER, H. 
e Mass in honor of St. Margaretha—Op. 15. S. B 40 .15 14(1) (3) 

QUADFLIEG, J. 
m Missa de Imm. Conception B. V. M.—Op. 3. S. B. .40 .15 14(1) (3) 

d . THREE FEMALE VOICES 

BECKER, RENE L. 
em Mass in honor of St. Catherine—Op. 55a 80 .25 1 

CHERUBIM, SR. M. 
m Mass in honor of St. Alfons 25 3 

DOWNEY, MARY ¡E. 
m Missa in honor SS. Sacramenti 80 .40 1 

GISELA, SR. M. 
m Mass in honor of Our Lady 60 .30 3 

— 44 — 



MASSES, THREE MALE VOICES 

Graie 

md 

em 
em 

GRIESBACHER, P. 
Missa S. Raphaelis Archangeli—Op. 41 

HALLER, M. 
New Mass—Op. 108 
Missa in hon. S. Angelae Mericiae Virg.—Op. 110 
Missa Sexta—Op. 8 

KOENIG, CARL 
* Messe Soiemnelle  

MONTANI, N. A. 
Mass in honor of St. Catherine of Siena—Op. 32. .. 
Mass in honor of St. Ambrose 

PIEL, P. 
Mass in honor of the Blessed Sacrament 
Mass in honor of the B. V. M 
Mass in honor of the Sacred Heart 

REAN, GERALD 
Missa "Deo Gratias"  

RHEINBERGER, J. 
Missa—Op. 126 

ROSSINI, CARLO 
Missa "Orbis Factor" • ••» 

SCHAEFERS, PETER 
Missa in hon. Sanctae Juliae Billiart 

SINGENBERGER, J-
Missa S. Famiiiae Edition B 

SMITH, JOSEPH 
Mass of the Sacred Heart of Jesus 

STEHLE, J. G. ED. 
Missa in hon. B. Magdalenae Sophiae Barat 
Missa in hon. B. Juliae Billiart 

WITT, F. X. 
Missa "Secundi Toni" Out of print .50 

e. THREE MALE VOICES 

ALLMENDINGER, C. 
* Missa de Ss. Trinitate—Op. 13 

-ARNFELSER, FR. 
Missa Regina Coeli—Op. 151 
Missa Regina Coeli—Op. 161 

BECKER, RENE L. 
Mass in honor of St. Catherine—Op. 5 5b 

BIGGS, RICHARD KEYS 
Mass "Fray Junipero Serra"  
Mass in honor of St. Francis 

BRANCHINA, P. 
Mass in honor of St. Agatha—Op. 40 

CARNEVALI, V. 
Missa "Rosa Mystica" 
Missa "Ave Verum" in honor St. Augustine 
with Unison Chorus. (Congregation ad lib.) 

Unison parts 
CHERUBIM, SISTER M. 

Mass in honor of St. Alfons 35 
DUMLER, MARTIN G. 

Missa "Dei Amoris"—Op. 36. 
Cantus, Tenor and Bass 80 

GRUBER, J. 
Mass in honor of St. Joan of Arc.—Op. 311 80 

Score 

1.00 

.75 
1.00 
.40 

.60 

.80 

.80 

.40 

.80 

.60 

.50 

1.00 

.80 

.60 

.85 

• 8 0 

1.20 
1.60 

.55 

80 

80 

Voice Pubi. 

.60 2 

.60 2 

.60 2 

.25 12(1) (3) 

.30 

.40 

.40 

3 

.20 14(1) (3) 

.20 14(1) (3) 

.20 14(1) (3) 

15 

.50 12(1) (3) 

.40 

.60 

.3 5 

.80 

.80 

.15 

.60 

•60 

.25 

.40 

.3 5 

.40 
.40 

.15 

.25 

•40 

— 45 — 



MASSES, THREE MIXED VOICES 

Grade Score Voice Pubi. 
HALLER, M. 

em Missa S. Othiliae—Op. 93 1.00 .60 2 
em Missa XVIII—Op." 69b »... 1.20 .60 2 

HOHNERLEIN, M-
em Mass in honor of St. Augustine—Op. 40a. 80 .20 1 

MONTANI, N. A. 
m Mass in honor of St. Ambrose 80 .40 1 
md Mass in honor of St. Catherine of Siena—Op. 32. . . .80 .40 1 

RAVANELLO, O. 
md Messa Solemne (No. 17a.)—Op. 83 .80 .25 1 

REFICE, L. 
m Missa Choralis (T. T. B. & Congregation) 80 .30 1 

ROSSINI, CARLO 
e Missa "Orbis Factor" .80 .40 1 

SCHILDKNECHT, J. 
m Missa Ss. Cordis Jesu—Op. 5 1.20 .60 2 

SINGENBERGER, J. 
e Missa in hon. S. Aloysii 60 .60 2 
ve Missa brevis in hon. S. Stanislai 60 .60 2 
em Mass in honor of the Holy Family 80 .20 2 ,3 
em Missa Familiae Edition A .85 .80 2 3 

STEIN, JOS 
m Missa XI—Op. 40 .85 60 2 

VAN DURME, O. 
m Missa Octave 23(1) (3) 

f . THREE MIXED VOICES 
BECKER, RENE L. 

em Mass in honor of St. Catherine—Op. 55c. S.A.B. .80 .25 1 
CAPOCCI, F. 

d Missa "Mater Amabilis" S.T.B .75 30 22(1) (3) 
DORÈ, M. 

m Mass of Christ the King S.A.B 60 3 
DUMLER, M. G. 

m Missa Dei Amoris S.A.B .60 .25 3 
FABRIZI, G. M. 

m Missa "Gratia Piena" S.A.T 80 .30 5 
GRUBER, J. 

em Missa in hon. Ss. Trinitatis—Op. 87a. A.T.B 65 .20 3 
em »Missa Ignatii de Loyola—Op. 69a. S.A.B 80 .60 2 
em Missa "Auxilium Christianorum"—Op. 317. S.A.B. .80 .30 1 

HALLER, M. 
m »Missa Prima—Op. 4. S.A.B 65 .60 2 
m »Missa Secunda—Op. 5. S.A.B 1.00 60 2 

HERRMANN, S. 
e " Mass in D S.A.B j0 .25 1 

HOHNERLEIN, M. 
em Mass in honor of St. Augustine—Op. 40b. A.T.B 80 .20 1 

McGRATH, J. J. 
md Missa Lyrica S.T.B 80 .25 3 

MONTANI, N. A. 
em »Missa "Regina Pacis" S.A.B 80 .20 1 

MOLITOR, F. B. 
m »Missa "Redemisti Nos"—Op. 6. S.A.B 95 .20 2 

PEDROSS, J. 
em Missa "Jesu Redemptor" S.A.B Out of print 1.00 .50 1 

REFICE, L. 
em Missa "Gratia Piena" S.A.B Out of print 1.20 .60 2 
m Missa "Regina Martyrum" S.A.B 1.20 .60 2 

— 46 — 



MASSES, FOUR FEMALE, FOUR MALE VOICES 

OraJe Score Voice Puhl. 
ROSSINI, CARLO 

m Miss» "Orbis Factor" S.T.B 80 .40 1 
SINGENBERGER, J. 

e Missa in hon. St. Francis S.A.B 60 .25 3 
ve Easy Mass in D S.A.B J0 3 

ve / Mass in honor of St. Aloysius S.A.B 50 
em Missa Cordis B.V.M. S.A.B 60 .60 2 
em Missa in hon. Ss. Angel. Custodum S.A.B 85 .80 2 
e Missa in hon. S. Galli S.A.B 60 .65 2 
e Missa in hon. S. Spiritus S.A.B 75 .80 2 
e Missa in hon. S. Familiae S.A.B 60 .25 3 
em Mass of St. Anthony S.A.B -35 

STEHLE, J. G. 
m Missa "Salve Regina" S.A.B 60 .25 1,3 

VRANKEN, P. J. 
md Missa Festiva—Op. 36 S.T.B 80 .25 1 

YENN, S. M. 
m Missa in hon. B.V.M. sine labe Conceptae S.T-B 80 .40 1 

YON, P. A. 
m Missa Melodica S.T.B 80 .25 1 
m Missa Solemnis S.T.B 80 .30 1 
m d Missa "Hosanna Filio David" S.T.B. 10 

g . FOUR FEMALE VOICES 

DUMLER, M. G. 
md Missa Devota—Op. 17 -80 1 

' HALLER, M. 
md Missa "Assumpta est"—Op. 6b 1-00 .80 2 

RAFAEL, SR. M. 
m Mass of Christ the King 60 3 

WITT, F. X. 
md Missa in mem. Cone. Oecum. Vatican—Op. 19b 1.00 .80 2 

h . FOUR MALE VOICES 
AHLE, J. N. 

m »Missa "Sanctae Crucis" 80 .80 2 
BAUERLE, H. 

m »Missa Cordis Jesu—Op. 9 '85 .80 2 
DESCHERMEIER, JOS. 

e Missa "Domine, Amorem Tuum Laudabo"—Op. 12 80 1 
DIETRICH, J. H. , ! 

d In hon. St. Joseph—Op. 19 22 (1 ) (3) 
• DUMLER, M. G. 

md Missa Laudis—Op. 19 80 .30 1 
em Missa Petens 80 1 

EBNER, L. 
m Missa "Cantantibus Organis"—Op. 59 60 .25 1 
m »Missa in hon. S. Antonii de Padua—Op. 54 80 .80 2 

EDENHOFER, A. 
m Missa in hon. S. Luciae • •• 1.00 .80 2 

ENGLER, A. J. 
m »Missa IV in hon. S. Caeciliae—Op. 20 80 .80 2 

GRIESBACHER, P. 
m »Missa S. Josephi—Op. 34 80 .80 2 

GRUBER, J. 
em Mass in honor of Imm. Conception—Op. 173 -80 .25 1 

— 47 — 



MASSES, FOUR MIXED VOICES 

Grade Score Voice Pubi. 
GRUENDER, H. 

m Missa Eucharistica "Lauda Sion"  .60 .20 3 
m Missa Festiva "Salve Regina"  .60 3 
em Missa cum Jubilo (Boys and T.T.B.B.)  .80 .20 3 
md Missa Liturgica  .80 .20 3 

HALLER, M. 
md Missa Assumpta Est—Op. 6a  uii .80 2 
m Missa in hon. S. Cassiani—Op. 95 1.10 .80 2 

HAMM, C. 
m *Missa in hon. S. Arbogast!—Op. 6 .60 .80 2 

HAMMA, FR. 
e Missa "Sursum Corda"—Op. 8 .60 .25 1 

HUBER, H. 
md Missa "Salve Regina Pacis"  22(1) 

KAIM, A. 
em Mass in honor of St. Cecilia  .60 .25 1 

MARXER, P.Th. 
em * Missa Tertia—Op. 3 .85 .80 2 

MEURERS, J. 
em *Missa Secunda (Without Credo)—Op. 8 .65 .80 2 

MOLITOR, J. B. 
e *Mass of St. John Baptist—Op. 32 • SO 3 
e 'Mass of St. John the Baptist—Op. 32 (Out of print) .65 .80 2 

MULLER, JOS. 
md Mass in honor of St. Benedict  .80 •25 1 
m Missa "Ecce Panis" ^  .80 .30 1 

SCHEHL, J. A. 
md Mass in honor of St. Lawrence 

(T. II. ad lib.) • 8fr .30 1 
SCHOEPF, F. 

em Mass in A—Op. 39 .80 .25 1 
SCHWEITZER, J. 

em Mass in C  .50 3 
SINGENBERGER, J. 

m Missa in hon. Ss. Cordis Jesu  .65 .80 2 
m Missa S. Gregorii—Edition A (Out of print) 1.15 .80 2 
e Missa in hon. S. Petri .75 .80 2 
e Missa in hon. St. Petri .60 3 

SINGENBERGER, OTTO 
m Mass of St. Maria ad Lucum  .40 3 

STEFFEN, ELMER, A. 
md Missa Eucharistica  .80 .30 1 

STEHLE, J. G. ED. 
em * Missa Coronata "Salve Regina"  1.00 .80 2 

STEIN, J. 
e Short and Easy Mass—Op. 4 •60 .25 1 

TAPPERT, H. 
m Missa B. Matris Dei  .80 .30 1 

TERRY, R. R. 
m Mass of St. Dominic .60 .20 3 

TEVES, REV. B. 
m Mass of St. Bernard (No Credo)  .50 3 

WILTBERGER, H. 
e Missa—Op. 23 .60 .80 2 

WITT, F. X. 
m Missa Francisci Xaverii—Op. 8a  1.15 .80 1, 2 
em Missa in hon. St. Luciae—Op. 11c  1.00 .80 2 

YON, P- A. 
cm Missa Solemnis  .80 .30 1 

— 48 — 



MASSES, FOUR MIXED VOICES 

i . FOUR MIXED VOICES 
Grade Score Voice Publ. 

ANERIO, J. F. 
md »Miwa Brevis 4f .80 2 

ARENSBERG, P. E. 
em Missa "Victimae Paschali" 60 3 
em Missa "Mater Salvatoris" 60 3 

ARNES, F. X. 
em Missa "Exultate Deo" 1-00 .2 J 1 

ASOLA, J. M. 
d »Missa "Octavi Toni" ' 65 2 

BALOGH, L. L. 
m Missa in hon. S. Michaelis Arch 80 1 

BARTSCH, J. 
em "'Missa Secunda—Op. 4 1.00 . .80 2 

BARTSCHMID, A. 
m Mass in honor of the Holy Cross 50 1 

BECKER, RENE L. 
m Mass in honor of St. Francis Xavier 60 .20 3 
em Mass in honor of St. Angela 80 .30 1 
m Mass in honor of St. Barbara 80 .30 1 
m Missa "Salvator Noster" 80 .30 1 

BELTJENS, J-
m »Missa "Toni Phrygii—Op. 125 1.00 1.00 . 2 

BERNABEI, G. A. 
d »Missa "Ad Regias Agni Dapes" 40 
m »Missa in G 1.15 32 (33) 
m Missa "Veni Creator Spiritus" 90 32 (33) 

BIGGS, RICHARD KEYS 
em Mass in honor of St. Anthony 60 3 
e Missa "Fray Junipero Serra" 80 .3 5 1 

BILL, J. 
em Missa "Refugium Peccatorum"—Op. 16 -80 .80 2 

BLASEL, H. 
m Mass in D Minor 60 .25 3 

BLIED, J. 
m Missa "Secundi Toni"—Op. 44 65 1.00 2 

BONVIN, LUDWIG 
e Festive Mass 90 3 

BORDONEL, F. J. 
m »Missa in F in honor of St. Nicholas 90 32(33) 

CANNICIARI, POMPEO-BAUERLE 
m Missa Phrygia 1-15 32 (33) 

CARNEVALI, V. 
md Missa Maria Auxilium Christianorum in hon. 

of S. Giovanni Bosco 80 .35 1 
m Missa "Stella Matutina" 80 .30 1 

CASINI, G. 
m »Missa i n . 75 32 (33) 

CHERION, A. 
m Mass in honor of St. Cecilia 60 3 

DESCHERMEIER, JOS. 
m Missa in hon. S. Cordis B.V.M.—Op. 153 1.00 .80 2 
m Missa "Jesus, Rex Pacis"—Op. 160 80 .30 1 

DIEBOLD, J. 
m Missa Brevis in D—Op. 104 80 .80 2 
m Missa "Te Deum Laudamus"—Op. 6a. (Out of print) .60 .80 2 

DOBICI, C. 
d Missa Solemnis (D) 80 1 

— 49 — 



MASSES, FOUR MIXED VOICES 

Grade 

md 
md 

m 
m 

m 

em 

e 

md 

m 

em 
md 
md 

md 

DOWNEY, MARY E. 
Mass in honor. Nat. B.V.M. 
Mass in honor. SS. Sacramenti  

DUMLER, M. G. 
Missa Latreutica (Adoration) 

DUMONT-TOZER 
Chant-Mass on the Sixth Tone 

EBNER, L. 
*Missa "Ave Mater Amabilis"—Op. 26 
* Missa "Laetentur Coeli"—Op. 55 
*Missa Solemnis—Op. 23 

ELSENHEIMER, N. J. 
Mass in honor of the B-V.M 

FABRIZI, G. M. 
Missa "Gratia Plena" 

FILKE, M. 
* Missa Brevis—Op. 11 

FURMANIK, J. 
Missa Brevis 

GABRIELE, ANDR. 
*Missa Brevis 

GAROFALO, C. G. 
Mass in honor of Imm. Conception 
Mass in honor of Most Holy Trinity 

GOLLER, V. 
Missa Brevis Secunda in honor. S. Gerardi 
Majella—Op. 53 

GRIESBACHER, P. 
Missa Solemnis—Op. 68 
Missa "Stella Maria" 
Missa "Mater Admirabilis" 

GRUBER, J. 
Jubilee Mass—Op. 150 
Mass in honor of St. Joan of Arc—Op. 311b 
Missa in hon. St. Angelorum Custodum—Op. 78. 
(T. B. ad lib.) 
Mass in honor of St. Peter—Op. 14 

GRUENDER, REV. H. 
Missa Festiva  

S. & A. pts @ 
T. & B. pts @ 

HALLER, M. 
*Missa in hon. S. Gabrielis Arch.—Op. 109 
* Missa XX—Op. 86 
•Missa Sept ima—Op. 19 
•Missa Octava—Op. 20 
* Missa Nona—Op. 22 
*Missa Duodecima Edition A.—Op. 27a 
"Missa Duodecima Edition B.—Op. 27b 
Missa Tertia Edition B.—Op. 7b 
Missa Tertia Edition B.—Op. 7b 
Missa Quarta Edition B—Op. 8b 

HAMM, K. 
•Missa Richards—Op. 10 

HAMMA, FR. 
Missa "Maria Clara"—Op. 6 (Out of print) 

HARRINGTON, J. 
Missa "Virginis Immaculatae" 

Score Voice Pubi 

.80 .30 1 

.80 .30 1 

.80 .30 1 

.60 1 

.85 .80 2 
1.05 1.00 2 
1.00 .80 2 

.75 1 

.80 .30 5 

.85 .80 2 

.40 3 

.SS .80 2 

.60 1 
".75 1 

1.00 .80 2 

1.20 .80 2 
2.00 .25 22 (1 
2.00 .25 22 (i; 

.80 .30 1 

.80, .30 1 

.80 .25 1 

.80 .25 

.60 3 
.25 
.25 

1.00 .80 2 
.85 1.00 2 
.85 .80 2 
.85 .80 2 
.65 .80 2 
.85 .80 2 
.60 .80 2 
.80 .20 1, 3 
.85 .80 2 
.85 .80 2 

.85 .80 2 

.60 1 

.80 .30 1 

— 50 — 



MASSES, FOUR MIXED VOICES 

Graie Score Voice Pu 
HASSLER, HANS LEO 

m •Miss» Secunda  .85 .20 
m *Missa "Quatuor Vocum"  .60 2 

HOHN, W. 
m Missa Sexta in hon. S. Walburgae—Op. 18 .80 .40 2 

JASPERS, G. 
ve Mass in honor of St. Cecilia—Op. 9 .80 25 1 

JOHNSON, m SPENCER 
m Mass of St. Francis  .75 3 

KAGERER, CHR. 
m Missa in hon. S. Ludovici—Op. 18. 

(Organ ad lib.) 1.20 80 2 

KAIM, A. 
em *Missa "Jesu Redemptor"—Op. 1 .65 .80 2 

em * Missa "Jesu Redemptor"—Op. 5 .60 3 

e "•Missa in hon. S. Henrici—Op. 9 1.00 .25 1 

e * Missa in hon. S. Henrici—Op. 9 .65 .80 

em 1.00 .25 1 

m. Missa in hon. of St. Paulina—Op. 7 1.00 .25 1 

KLEIN, BRUNO OSCAR 
m Missa de Nati vitate Domini—Op. 44b ... .80 .30 1 

KRECKEL, PHILIP G. 
m Missa "Pater Noster"—Op. 33 .80 .30 1 

em Missa "Iste Confessor" in hon. of St. Thomas 
.80 .30 1 

em Missa Brevis et Melodica in. hon. of St. Boniface .80 .30 1 

KUNIN, J. D. 
em .80 3 

LASSO, ORLANDO DI 
md *Missa "Quinti Toni"  .45 .80 2 

md *Missa "Laudate Dominum de Coelis"  .60 .80 2 

m •Missa Vil i Toni  .85 .80 2 
LOHLE, A. 

m * Missa Solemnis S. Augustini  .85 .80 2 
em *Missa Caeciliae—Op. 4 .85 .80 2 

LOTTI, ANTONIO-BAUERLE 
m Missa in C  .75 32 

MARSH, W. J. 
md Choral Mass in honor of the Infant Jesus .60 .25 3 

McGRATH, J. J. 
em Missa Brevis in hon. St. Josephi .80 .30 1 
d Missa Ponti£calis .80 3 

METTENLEITER, B. 
em * Missa Angel, et Archangel.—Op. 74 .65 .80 2 

MEUERER, J. 
em Missa Kiliani—Op. 25 1.20 .80 2 

MITTERER, IGN. 
em Missa Nominis Jesu—Op. 18b 1.05 .80 2 
m Missa in hon. S. Caroli Borromaei 1.00 .80 2 
md * Missa VIII Toni  .95 .80 2 
e Mass in honor of the Sacred Heart of Jesus—Op. 70 .80 .30 1 
m Mass in honor of the Holy Name of Mary— 

Op. 141b .60 .30 1 
MONTANI, N. A. 

em Missa "Regina Pacis" .80 .30 1 
md Missa Festiva  1.00 .30 1 
m Mass in honor of St. Ambrose .80 .40 1 

-51-



MASSES, FOUR MIXED VOICES 

Graie Score Voice Pubi. 
MOLITOR, J. B-

m Mass in honor of St. Benedict 80 .25 1 
e »Missa "Tota Pulchra es, Maria"—Op. 11 60 .80 2 
e »Missa in hon. S. Fidelis a Sigm.—Op. 12 N 60 .80 2 
e Missa in hon. St. Angel. Custodum—Op. 13 60 .80 2 

PALESTRINA, G. P. DA 
d »Missa Papae Marcelli 1.00 1 
md * Missa Brevi» 80 .80 1 
md »Missa Brevis 1.20 .80 2 
md »Missa "Iste Confessor" 1.05 -.80 2 
d »Missa "Jesu Nostra Redemptio" 80 .80 2 
md »Missa "Aeterna Christi Munera" 1.20 .80. 2 ,3 
m »Missa "Lauda Sion" 1.15 32 (33) 
m • »Missa "De Beata Virgine" 1.15 32 (33) 

PEDROSS, J. 
em Missa "Jesu Redemptor" (Out of print) 1.00 .50 1 

PERRUCHOT, L. L. 
m Missa in B fiat 60 1 

PREDMORE, G. V. 
em Mass of Christ the King 60 3 

QUADFLIEG, J. 
m Missa S. Jacobi—Op. 4 1.15 .80 2 

RAVANELLO, O. 
m In hon. S. Joseph—Op. 41 1.00 .40 12 (1) (3) 

REFICE, L. 
m Missa Choralis 80 .30 1 

RENNER, JOS. 
m Zweite Festmesse—Op. 86 2.00 1.3 5 2 
d Mass in honor of St. Joseph 22(1) (3) 

ROSSINI, CARLO 
md Missa Solemnis "Justus Florebit" 80 -40 1 
d Missa "Salve Regina" 80 .35 1 

SCHAEFERS, PETER 
m ' Mass in honor of the Holy Ghost 80 3 

SCHEHL, J. ALFRED 
md Mass in honor of St. Lawrence—Op. 21 80 .30 1 

SCHILDKNECHT, J. 
m Missa "Sub Tuum Praesidium"—Op. 21 1.00 .80 2 
em »Missa in Dominicis Adventus et Quadragesimae— 

Op. 22 -60 .80 2 
SCHWEITZER, J. 

em Mass in B fiat 80 .25 1 
em Mass in honor of St. Joseph—Op. 23 80 .25 1 
e Mass in honor of the Child Jesus—Op. 26 -50 .15 1 
em Mass in honor of St. John Baptist—Op. 18 60 3 

SENN, KARL 
m Mass in F.—Op. 421 1.65 .25 2 

SINGENBERGER, J. 
em Missa Angel. Custodum 85 .80 2 
em Missa in hon. S. Caeciliae 85 .80 2,3 
em Missa in hon. Puriss. Cordis B-V.M 1.20 .80 2 
md Missa in hon. S. Gregorii Edition B 1.15 .20 3 
em Mass of the Holy Family 80 .25 3 
e Mass of St. Francis 60 .25 3 
e Mass of the Holy Ghost 60 .25 3 
e »Missa "Stabat Mater" 60 .20 2 

STEFFEN, E. A. 
m Missa Eucharistica 80 .30 1 

— 52 — 



MASSES, FIVE MIXED VOICES 

2 
2 
2 

1.3 
2 
2 
2 

2 
2 

2 

2 

Graie Score Voice Pubi 
STEHLE, J. G. ED. 

em Missa "Alma Redemptoris Mater"—Op. 51 1.00 .20 
md Missa "Esultate Deo"—Op. 38 1.20 .20 
em Missa in hon. B. Juliae Billiart 1.65 .20 
em Prize Mass "Salve Regina" 60 .25 
em Prize Mass "Salve Regina" 1.00 .80 
em Missa "Regina Coeli"—Op. 56 8 5 .20 
md Missa Solemnis—Op. 67 1.65 .20 

STEIN, B. 
m Missa XIV—Op. 48 85 .80 
m Missa XV—Op. 55 85 .80 

SURYZNSKI, J. 
md * Missa in hon. Imm_. Concept. B.V.M.—Op. 21 1.20 .80 
m * Missa in Adorationem Sacratissimi Cords Jesu— 

Op. 26 80 .80 
TAPPERT, H. 

m Mass of St. Rose 60 .25 
TERRY, R. R. 

m Mass of St. Gregory 60 
TOZER, A. EDMONDS 

em Missa " O Quanta Qualia" 85 .25 
e Missa in hon. St. Wilfred 80 .30 

TURTON, R. A. 
em Missa Solemnis 80 .30 
em Missa in hon. Ss. Cordis Jesu 80 .30 

VIADANA, L. 
m' Missa "L'Hora Passa" 85 .80 
d *Missa "Cantabo Domino" 45 .80 
md *Missa "Sine Nomine" 85 .80 

VITTORIA, T. L. 
m *Missa "Quarti Toni" 65 .80 
m * Missa "O Magnum Mysterium" 1-15 
m *Missa " O Quam Gloriosum" 90 

WALTER, F. T. 
em Mass in honor of St. Gali 80 

WITT, F. X. 
em Missa "Exultet"—Op. 9b 80 .25 
m Mass in honor of St. Lucy—Op. I l a 80 .25 
m Mass in G.—Op. 12 80 -25 
m Mass in honor of St. Francis Xavier—Op. 8b 80 .30 
m Mass in honor of St. Francis Xavier—Op. 8b 1.00 .80 
md »Missa "Salve Regina"—Op. 3b 80 .80 
m * Missa in hon. S. Augustini—Op. 18a 80 .80 
md * Missa "Septem Dolorium"—Op. 41 1.00 1.30 

YON, P. A. 
md Missa "Jesu, Fortitudo Martyrum" in honor of St. 

George, Mart 80 .35 
em Missa Solemnis 80 .30 

ZANGL, J. G. 
em Mass in honor of St. Louis—Op. 59 1.00 .25 
em Pope Leo Mass—Op. 79 75 .60 

j . FIVE MIXED VOICES 

BYRD, G. 
d Missa 2.25 

HALLER, M. 
m * Missa XIX 5 voc.—Op. 71 85 1.00 

MITTERER, IGN. 
m *Missa Brevis de Ss. Apostolis 65 .80 

1, 2 
2 
2 

2 
32 (33) 
32 (33) 

5 

1, 3 
1 ' 
1 

2 
2 
2 
2 

32 (33) 

2 

2 

— 53 — 



MASSES, SIX MIXED VOICES—PROPER, PLAIN CHANT 

Grade Score Voice Pubi 
SCHACHTL, G. 

m *Missa Solemnis in hon. B.V.M.—Op. 3 1.35 1.20 2 
WITT, F. X. 

md *Missa "Tertii Toni"—Op. 46a 6$ 1.00 2 

k . S i x M I X E D VOICES 

EBNER, L. 
m *Missa Festiva 6 voc.—Op. 47 1.3 S 1.20 2 

HALLER, M. 
md *Missa "Ave Maria" 6 voc.—Op. 101 1.20 1.J0 2 

MITTERER, IGN. 
md *Missa de Nativitate 1.00 1.J0 2 

PALESTRINA, G. P. DA 
md "'Missa "Ecce Ego Joannes" 1.00 32 (33) 
md *Missa "Tu es Petrus" 1.00 2 

Section 2—PROPER OF THE MASS 
A. PLAIN CHANT 

a. FOR ENTIRE YEAR 
Voice 

BAS, JULIUS (Organ accompaniment to) 
Proprium de Tempore 

Vol. I. Advent to Easter Saturday (incl) 
Vol. II. Easter Sunday to Advent 

Proprium Sanctorum 
Commune Sanctorum 
Missae Votivae de S. Maria 

EPITOME E GRADUALI S.R.E. de Tempore et de Sanctis 
Gregorian notation 2.00 

GRADUALE SACROSANCTAE ROMANAE Ecclesiae de 
Tempore et de Sanctis 2.75 

LIBER USUALIS (with English Rubrics, or Latin if desired) 
Contains ail Masses, Requiems, Vespers etc. (for ordin-
ary feasts) 

MATHIAS, FR. X. 
Epitome ex Editione Vaticana Gradualis Romani  
Modern notation 

MATHIAS, FR. X. (Organ accompaniment to) 
Proprium de Tempore 

Vol. I. Advent to 6th Sunday after Epiphany.... 
Vol. II. Septuagésima to Friday after the Octave 

of the Ascension 
Vol. III. From the Vigil of Pentecost to the 24th 

Sunday after Pentecost 
Proprium Sanctorum 
Commune Sanctorum 

WAGNER, DR. P. (Organ accompaniment to) 
Proprium de Tempore 

Vol. I. Advent to 6th Sunday after Epiphany 
Vol. II. Septuagésima to Easter 
Vol. III. Easter to Advent 

Commune Sanctorum 
Proprium Sanctorum, 2 vols. 
Missae Votivae ( 1 ) 0 ) 

Organ Pubi. 

(1) O) 

(3)(1> 

2.7J 

3.00 

2*75 

— 54 — 



PROPER, PLAIN GHANT AND NON-PLAIN CHANT 

Voice Organ 

b. FOR ALL SUNDAYS AND MORE COMMON FEASTS 

Pubi. 

DELECTUS MISSARUM E GRADUALI ROMANO 
Contains all Plain Chant Masses and Requiems. 
Also contains the Proper of the Mass for all Sundays of 
the year, for nine special feasts, for three Votive Masses 
and for the Commune Sanctorum. 
Modern notation with rhythmical signs. 

2.00 

c. FOR SPECIAL FEASTS AND SPECIAL SERVICES 

MULLER, JOS. L. 
Proper for Easter Sunday -JO 
Proper for Pentecost 50 

OFFICIUM MAJORIS HEBDOMADAE ET OCTAVAE 
PASCHAE. 

Cum Cantu, Juxta Ordinem Breviarii, Missalis et 
Pontificalis Romani. 
Gregorian notation 2.JO 

ROSSINI, CARLO 
Proper for the feast "Christ the King" 1.50 

B. NON-PLAIN CHANT 
a. FOR ENTIRE YEAR 

ROSSINI, CARLO 
Proper of the Mass 1-25 
(For all Sundays and principal feasts of the year. Set 
to Gregorian Psalmodic formulae, with organ accom-
paniment.) 

TOZER, A. EDMONDS 
Proper of the Mass 
Vol. I. Proprium de Tempore 1-50 
Vol. II. Commune Sanctorum, Missae Votivae and 

Proprium Sanctorum 1.50 

b. FOR SPECIAL FEASTS 

(Introits, Graduals, Sequences, Tracts, Offertories, Communions) 

Grade Text .Voices Composer Price Publ. 

ADVENT—First Sunday 
Offertory 

em Ad te levavi—Op. 34 Cantus, A. 
ADVENT—Second Sunday 

Communion 
ind Jerusalem Surge T.T.B.B. 

ASCENSION 
Offertory 

m * Ascendit Deus S.A.T.B. 
(Contained in XVIII Motetta by 
Haller—Op. 15) 

md Ascendit Deus S.A.T.B. 
(Contained in Offertorienwerk by Jo-
chum, Op. 15) 

e Ascendit Deus S-A.T.B. 
md * Ascendit Deus S.A.T.T.B. 

Ebner, L. 

Yon, P. A. 

.20 

.20 

Haller, M 1.65 

Jochum, Otto 

Turner, J. E. . 
Palestrina, G. P.. 

.90 

.15 

.10 
3 

34 

— 55 — 



PROPER, NON-PLAIN CHANT 

Grade Text Voices 

ASSUMPTION 
Offertory 

m Assumpta Est , S.A.T.B. 
em Assumpta Est S.A. or T-B. 

(Also contains Tantum Ergo, S.A.T-B. 
by Quadflieg; Bone Pastor, S.A.T.B. 
by Kornmueller; Two English Hymns 
to B.V.M., by Haller; English Hymn 
to Precious Blood, S.A.T.B. by Mit-
terer.) 

e Assumpta Est S.A. 

CHRIST THE KING 
Gradual 

md Dominabitur—Op. 33 S.A.T.B. 
Offertory 

md Postula a me S.A.T.B. 
em Postula a me S-A.T.B. 

CHRISTMAS—First Mass 
Offertory 

e Laetentur Coeli S.A. or T.B. 
e Laetentur Coeli S.A.T.B. 
m Laetentur Coel S.A.T.B. 

(Contained in XVIII Motetta by Hal-
ler—Op. IS) 

e Laetentur Coeli S.A. 
em Laetentur Coeli T.T.B.B. 
d »Laetentur Coeli S.A.T.B. 

(Also contains Tut Sunt Coeli, 
S-A.T.B.) 

e Laetentur Coeli S.A. 
e Laetentur Coeli S.A.T.B. 

Third Mass 
Introit 

em Puer Natus Est S.A.T.B. 
Gradual 

m Dies Sanctificatus S.A.T.B. 
d *Dies Sanctificatus S.A.T.B. 

Offertory 
m Tui Sunt Coeli S.A. 

(B. ad lib.) 
(Also contains English Christmas 
Hymn, T.T.B, or S.S.A. by Wiltberg-
er.)~ 

em Tui Sunt Coeli S-A.T.B. 
e Tui Sunt Coeli S.A.T.B. 
em Tui Sunt Coeli S-A.T.B. 
em Tui Sunt Coeli S.A.B. 
m Tui Sunt Coeli S.A.T.B. 
m Tui Sunt Coeli—Op. 28 S.A.T.B-

(Also contains English Hymn for 
Christmas, S.A.T.B. by Eder.) 

em Tui Sunt Coeli T.T.B.B. 

DEDICATION OF A CHURCH 
Gradual 

em Locus Iste S.S.A-

Composer 

Diebold, J. 
Koenen, Fr. 

Price Pubi. 

Singenberger, J. 
Singenberger, J. 

Wiltberger, R. 

Griesbacher, P. 

.15 
.3 5 

Wiltberger, A 15 

Kagerer, C. L 80 

Kagerer, C. L 80 
Brach, H 1J 

Gruender H 1J 
Gruender H 15 
Haller, M 1.65 

Koenen, Fr 15 
Mitterer, J 15 
Reyl, Emile .20 

.15 

.15 

Capocci, G 20 

Palestrina, G. P. 12 
Palestrina, G. P 12 

Ebner, L 15 

Gruender, Fr 15 
McDonough, F. J. .15 
Singenberger, J 15 
Singenberger, J 15 
Stehle, J. G. E .15 
Stein, J. 15 

.15 

.15 

— 56 — 



PROPER, NON-PLAIN CHANT 

Grade Text Voices 

Offertory 
m Domine Deus S.A.T.B. 

(Contained in XVIII Motetta by Hal-
ler—Op. 15.) 

d Domine Deus S.A.T.B. 
EASTER 

Introit 
em Resurrexi S.A.T.B. 

Gradual 
em Haec Dies T.B. 
e Haec Dies S.A.T.B. 
m Haec Dies S.S.A. 

(Also contains Haec Dies, S.A.T.B-
by Stehle; Two English Easter Hymns, 
S.A.T.B. & T.T.B.B. by Tappert; and 
English Hymn to St. Joseph, S.A. or 
T.B. by Piel.) 

d Haec Dies S.A.T.B. 
(Contained in Gradualienwerk, by Jo-
chum—Op. 15.). 

m Haec Dies S.A.T.B. 
em Haec Dies S.A.B. 

(Also contains Terra Tremuit, T.T. 
B.B. by Nekes, English Hymn to 
B.V.M., T.T.B.B. by Singenberger; 
Two Benediction Hymns, S.A. and 
S.S.A. by Kuntz; and English Hymn 
to B.V.M., S.A. or T.B. by Greith.) 

md Haec Dies S.A.T.B. 
(Also contains Haec Dies, S.S.A. by 
Griesbacber; Two English Hymns for 
Easter, S.A.T.B. & T.T.B.B. by Tap-
pert; and English Hymn to St. Jo-
seph, S.A. or T.B. by Piel.) 

d Haec Dies S.A.T.B. 
m Haec Dies S.A.T.B. 
md Haec Dies A.T.B-B. 

(Also contains English Hymn for 
Easter, S.A.T.B, by Greith; and Vidi 
Aquam, T.T.B.B. by Singenberger.) 

Offertory 
d Terra Tremuit—Op. 48 S.A.T.B-
d Terra Tremuit T.T.B.B. 
md Terra Tremuit S.A.T.B. 
em Terra Tremuit T.B. 
em Terra Tremuit S.A. 
em Terra Tremuit T.T.B.B. 
d Terra Tremuit S.A.T.B. 
em Terra Tremuit S.A.T-B. 
m *Terra Tremuit S.A.T.B. 

(Contained in XVIII Motetta by Hal-
ler—Op. 1J.) 

md * Terra Tremuit S.A.T.B. 
(Contained in Offertorienwerk, by Jo-
chum—Op. 15.) 

e Terra Tremuit S.A-B. 
m *Terra Tremuit T.T.B.B. 
m "'Terra Tremuit S.A.T.B. 
e Terra Tremuit S.A.T.B. 

Composer Price Publ. 

Haller, M 1.65 2 

Stehle, G -15 1 

Falkenstein, J 12 3 

Dress, A 15 1 
Ett, C 12 3 
Griesbacher, P 20 3 

Jochum, Otto 1.50 

Rees, W. H. 
Schweitzer, J-

Stehle, J. G. E.. 

.15 

.20 

.20 

Tappert, H .20 
Wilkens, Ign 15 
Zettel, F 15 

Becker, Rene L 15 
Becker, Rene L 15 
Casimiri, R 15 
Dress, A 15 
Ebner, L 15 
Engel, V. 15 
Greith, Carl 20 
Greith-Marsh 15 
Haller, M 1.Ä5 

Jochum, Otto 90 

McDonough, F. J... .12 
Nekes, Fr 15 
Dumler, M. G 15 
Singenberger, J -15 

— 57 — 



PROPER, NON-PLAIN CHANT 

Grade Text Voices Composer Price Pubi. 

e Terra Tremuit S.S.A.A. Singenberger, J.  •15 3 
e Terra Tremuit S.A. Singenberger, J  •IS 3 
m Terra Tremuit S.A.T.B. Stein, J  .20 3 m 

(Also contains Terra Tremuit, T.B. by 
Wiltberger; Kegina Coeli, S.A.T.B. by 
Mitterer and T.T-B.B. by Tappert.) 

m Terra Tremuit ...T.B. Wiltberger  .20 3 m 
(Also contains Terra Tremuit, S.A.T.B. 

3 

by Stein; Regina Coeli, S.A.T.B. by 
Mitterer and T.T.B.B. by Tappert.) 

Sequence 
em Victimae Paschali S.A.T.B. Haller, M  • l i 3 
d Victimae Paschali S.A.T.B. Yon, P. A  .1$ 1 

EASTER MONDAY 
Offertory 

em Angelus Domini S.A.T.B. Anerio, F  .12 1 
(Organ ad lib.) 

e Angelus Domini S.A. Hengesbach, F  .1$ 3 
(Also contains O Salutaris & Tantum 
Ergo, S.A. by Kuntz.) 

md ""Angelus Domini S.A.T.B. Jochum, Otto  .90 2 
(Contained in Offertorienwerh, by Jo-
chum—Op. 15.) 

md Angelus Domini—Op. 55 S.A.T.B. Schwanderla, A  • l i 3 

FOURTH SUNDAY AFTER EASTER 
Introit 

md *Cantate Domino T.T.B.B. Hassler, Hans  .15 34 
m *Cantate Domino S.A.T.B. Hassler, Hans  .16 34 
m Cantate Domino T.T.B, or S.S.A. Rossini, Carlo  • l i 1 

(Also contains Juravit Dominus S.S.A.) 
Gradual 

m Christus Resurrexit S.A.T.B. Mauro-Cottone  .1$ 3 
m Christus Resurrexit T.T.B.B. Mauro-Cottone  .1$ 3 

Offertöry 
Jubilate Deo—cf. Sunday within Oc-
tave of Epiphany. 

EPIPHANY 
Offertory 

m * Reges Tharsis S.A.T.B. Haller, M  1.65 2 m 
(Contained in XVIII Moietta by Hal-

1.65 

ler—Op. 15.) 

EPIPHANY, SUNDAY WITHIN OCTAVE OF 
Offertory 

md Jubilate Deo S.A.T.T.B. Aiblinger, C  .15 1 md 
(Organ ad lib.) 

.15 

md Jubilate Deo S.A.T.B. Aiblinger, J.  .15 3 
md 'Jubilate Deo T.T.A.B.B. Aichinger, G  24(9) 
m Jubilate Deo T.T.B.B. Barley, J. L  .15 3 
m Jubilate Deo S.S.A. Burke, T. F  .12 3 
e Jubilate Deo S.S.A. Cherubim, Sr  .15 3 
m Jubilate Deo—Op. 177a- S.A.B. Deschermeier, J  .15 1 
d * Jubilate Deo S.S.A.A.T.T.B.B. Gabrieli, G  .25 34 
a * Jubilate Deo T.T.B.B. Gabrieli, G  .25 9 
md Jubilate Deo S.A.T-B. Hamma, B  .15 1 
md Jubilate Deo (Organ ad lib.) S.A.T.B. Kornmueller, P. U. .15 3 
m Jubilate Deo (Organ ad lib.) S.A.T.B. McGrath, J. J  .15 3 
m Jubilate Deo T.T.B.B. Singenberger, J  .15 3 
m Jubilate Deo S.A.T.B. Singenberger, J  .15 3 

— 58 — 



PROPER, NON-PLAIN CHANT 

Grade Text Voices 

m Jubilate Deo S.S.A.A. 
d »Jubilate Deo S.A.T.B. 
md Jubilate Deo S-AT.B. 
em Jubilate Deo S.A.T.B. 

GOOD FRIDAY 
At the Adoration of the Cross 

m »Popule Meus S.A.T.B. 

HOLY ROSARY 
Offertory 

m *In Me Gratia Omnix Vitae ...T.T.B.B. 
(Also contains Asperges Me, S.A.T.B. 
by Griesbacher; and T.T.B.B. by Sing-
enberger.) 

em In Me Gratia Omnis Vitae T.T.B. 
or S.S.A. 

(Also contains English Hymn to Bl. 
Sacrament, SS.A. or T.T.B, by Koe-
nen.) 

HOLY SATURDAY 
Tract 

md »Confitemini quoniam T.T.B. 
or S.S.A. 

md »Confitemini quorum T.T.B.B. 
md »Sicut Cervus S.A.T.B. 

HOLY THURSDAY 
Gradual 

m Christus Factus Est T.T.B.B. 
d' Christus Factus Est S.A.T.B. 
d Christus Factus Est T.T-B.B. 
m »Christus Factus Est T.T.B.B. 

(Also contains Improperia, T. T. B. B. 
by Bernabei; O Vos Omnes, T.T.B-B.) 

d Christus Factus Est T.T.B.B. 
(Also contains Miserere and Benedict-
us.) 

IMMACULATE CONCEPTION 
Gradual 

e »Benedicta es tu T.T.B.B. 
(Also contains Alleluia Verse for Im-
maculate Concep. S.S.A. by Griesbach-
er and T.T.B.B. by Mitterer; Offertory 
for same feast S.A. by Ebner; Hymn 
for Advent, S.A.T.B, by Kothe.) . 

Offertory 

m »Ave Maria S.A.T.B. 
m Ave Maria S.A.T-B. 
m Ave Maria — T.T.B.B. 
em »Ave Maria S.A.T.B. 
em Ave Maria S.S.A. 
em Ave Maria S.A.T-B. 
em Ave Maria S.S.A. 
d Ave Maria S.A.T.B. 
m Ave Maria S.S.A-
m Ave Maria S.A.T.B. 
m Ave Maria—(Op. 177a No. 1) . S.A.B, 
m Ave Maria—(Op. 8. No. 1) ... S.A.T.B. 

Composer Price 
Singenberger, J IS 
Springer, M l ì 
Wilkens-Schehl IS 
Zangl, G 15 

Palestrina, G. P l i 

Ahle, J. N IS 

Piel, P IS 

Pubi. 
3 

Constantini, A. 

Palestrina, 
Palestrina, • IS 

Anerio, F IS 
Anerio, F IS 
Schlorder, J. H IS 
Witt, Fr IS 

Yon, P. A, 20 

Fröhlich, J. G. IS 

Arcadelt-Montani 1S 
Arcadelt-Reilly 12 
Arcadelt-Reilly 12 
Becker, C IS 
Biggs, R. K IS 
Brosig-Bonvin 12 
Brosig-Bonvin 12 
Cappelloni, V 12 
Clare, Sr. C 12 
Compagno, G- M... .1$ 
Deschermeier, J IS 
Dumler, M. G IS 

3 , 9 

21 

20 

9 

— 59 — 



PROPER, NON-PLAIN CHANT 

em 
em 
em 

d 
em 
em 

em 
d 
d 
vd 

Grade Text Voices 
em Ave Maria S.A.T.B. 

(Also contains Confirma Hoc, S.A.T.B. 
by Kornmueller; Vent Creator Spiritus, 
T.T.B.B, by Singenberger.) 

Ave Maria Nos. 1 and 2 S.A.T.B. 
Ave Maria (Organ ad lib.).. .S.S.A.A. 
Ave Maria S.A. 
Ave Maria—Op. 10 S.A.T.B. 
Ave Maria S.A.T.B. 
Ave Maria S.A.T.B. 
Ave Maria S.A.T.B. 
Ave Maria S.A.T.B. 
Ave Maria S.A.T.B. 
Ave Maria x S.S.A. 
Ave Maria T.T.B.B. 
Ave Maria S.T.B. 

"Ave Maria (No. 2 B flat) S.A.T.B. 
"Ave Maria A.T.T.B. 
"Ave Maria S.S.A.A. 
»Ave Maria S.S.A.T.B. 
Ave Maria S-A. 
Ave Maria T.T.B, or S.S.A. 
(Also contains Off. Ad te, Domine, 

Eder.) 
Ave Maria—Op. 51 T.B. 
(Also contains Off. Ad te, Domine, 
Cantus, A., by Ebner; Quid Ketribuam 
Domino, S-S.A. by Piel.) 
Ave Maria T.T.B.B. 
(Also contains Veni Creator, T.T.B.B. 
by Schweitzer.) 

»Ave Maria S.S.A. 
(Also contains Jesu Rex Admirabilis, 
S.S.A. by Palestrina.) 
Ave Maria S.S.A.A. 
Ave Maria T-T.B.B. 

»Ave Maria T.T.B.B. 
»Ave Maria S.A.T.B. 
»Ave Maria S.S.A. 

(Also contains Cantantibus Organis, 
S.S.A. by Ravanello.) 
Ave Maria S.A.T.B. 

»Ave Maria S.S.A. 
»Ave Maria S.A.T.B. 
Ave Maria S.A.T.B. 
Ave Maria S.T.B. 

—First Sunday 
Offertory 

Angelis Suis (Organ ad lib.) ...S.A.T.B. 
, FOURTH SUNDAY OF, 
Offertory 

Laudate Dominum S.S.A. 
Laudate Dominum S.A.T.B. 
Laudate Dominum S.A.T.B. 
Laudate Dominum S.S.A.A. 
Laudate Dominum S.A.T.B. 
Laudate Dominum S.A.T.B. 
Laudate Dominum ..." S.A.T.B. 
Laudate Dominum T.T.B.B. 

Composer 
Eder, P. V. 

Price Pubi. 
.15 3 

em 
d 
d 
d 

em 
d 
m 
m 

LENT-

d 
LENT 

Elaine, Sr. M 15 
Endres, O.P 15 
Farsworth, J 12 
Greith, C 12 
Grison, J 12 
Hanich, J 12 
Keller, W 15 
Liszt, Fr 12 
Marsh, W. J 12 
Mauro-Cottone 15 
Mauro-Cottone 15 
McGrath, J. 15 
Montani, N. A 10 
Palestrina, G. P. 10 
Palestrina, G. P 09 
Palestrina, G. P 16 
Perosi, L 15 
Piel, P 15 

Plag, J 20 

Reissiger, C. G 15 

Rossini, C. 15 

Wilkens, P. Ign.. 
Winter, F. V. .... 
Yon, P. A 
Rossini, C. 
Rossini, C. 

Rheinberger, J. 

Ett, Casper 
F.tt, Casper 
Hacker, J 
Singenberger, J.. 
Tappert, H 
Viadana, L 
Walter, F. T. ... 
Walter, F. T. ... 

15 
.20 
.15 
.15 
.15 

.15 

.15 

.15 

.12 

.15 
.15 
.15 
.15 
.15 

Singenberger, J .15 3 
Verdussen, Fr .15 1 
Vittoria-Bordes • 15 1 
Vittoria-Montani.... .15 1,3 
Witt, F. X .15 1, 3 

— 60 — 



PROPER, NON-PLAIN CHANT 

Grade Text Voices 

ORDINATION OR RECEPTION OF A PRIEST 
Gradual 

m *Juravit Dominum S.S.A. 
(Also contains Cantate Domino•) 

PALM SUNDAY 
Offertory 

em *Improperium S.S.A. or T.T.B. 
(Also contains In Monte Oliveti, 

S.S. A.) 
m Improperium T.T.B.B. 

(Also contains Miserere.) 
m * Improperi urn No. 20 S. A.T.B. 
PENTECOST 

Gradual 
md *Emitte Spiritum T.T.B.B. 

(Also contains In Monte Oliveti, 
T.T.B.B'. by Singenberger.) 

m * Emit te Spiritum A.T.T.B.B. 
m *Emitte Spiritum S.S.A-T.T.B.B. 

Offertory 
m *Confirma Hoc S.A.T.B. 

(Contained in XVlll Motetta by Hal-
ler—Op. 1J.) 

m Confirma Hoc S.A.T.B. 
(Organ ad lib.) 
(Also contains Ave Maria, S.A.T.B-
by Eder; Veni Creator Spiritus T.T.B.B. 
by Singenberger.) 

md Confirma Hoc S.A.T.B. 
Sequence 

e Veni Sancte Spiritus S.A.T.B. 
(Also contains Asperges Me and Vidi 
Aquam•) 

em Veni Sancte Spiritus S.A.T.B. 
e Veni Sancte Spiritus S.S.A. 

PENTECOST, FIFTEENTH SUNDAY AFTER, 
Gradual 

d *Bonum est Confiteli Domino S.A.T.T.B. 
PENTECOST, TWENTIETH SUNDAY AFTER, 

Offertory 
md *Super flumina S.A.T.B. 
PRECIOUS BLOOD 

Offertory 
em Calix Benedictionis S.A.T.B. 

RECEPTION OF A BISHOP 
Gradual 

e Ecce Sacerdos Unison 
e Ecce Sacerdos Unison or S.A. 
em Ecce Sacerdos S.A.T.B. 

(Also contains two Hymns for Bene-
diction, S.S.A.A. by Winter; Commun-
ion Hyrän, S.S.A. by Kuntz; Ave 
Maria, S.A. by Bonvin; Hymn to St. 
Michael, S.S.A. by Kuntz.) 

d Ecce Sacerdos S.A-T.B. 
m Ecce Sacerdos S.A.T.B. 
e Ecce Sacerdos S.A. or T.B. 

Composer Price Pubi. 

Rossini, Carlo -15 

Cherubim, Sr. M'. 15 

Dress, A 1J 

Witt, F. X. 15 

Schuetky, J l i 

Schuetky, F. J l ì 
Schuetky, F. J -IS 

Haller, M. 1.65 

Kornmueller, P. U. .15 

Stehle, J. G. E. 15 

Gruber, J 30 

Mitterer, J. „...,. 20 

Cherubim, Sr. M. 15 

Palestrina, G. P 15 

Palestrina, G. P 15 

Mitterer, Ign 15 

Becker, C 12 
Bonvin, L 15 Bonvin, L 20 

Browne, J- L 2 5 
Elgar, Ed 10 
Freed, J 12 

3 
1, 3 

3 
3, 34 
3 

— 61 — 



PROPER, NON-PLAIN CHANT 

Grade Text Voices Composer Price Pubi. 

m Ecce Sacerdos T.T.B.B. Korz, Chas AS ì 
(Also contains Twq. English Hymns to 
B.V.M., S.A.T.B. and S.S.A. by Jas-
pers; One English Hymn to B.V.M., 
Unison, by Bonvin.) 

d Ecce Sacerdoc S.A.T.B. Kreckel, P. G  AS 1 
S.A.T.B. .15 3 

e Ecce Sacerdos S.A.T.B. McDonough, F. J... .12 3 
md Ecce Sacerdos—Op. 22 .T.T.B.B. Reyl, Emil •IS 1 
m Ecce Saeerdos S.A.T.B. Singenberger, J AS 3 
md Ecce Sacerdos S.A.T.B. Tappert, H  .20 1 
e Ecce Sacerdos .S-A.T.B. Wilkens, Fr AS 3 

S.A.T.B. Witt, F. X AS 1 
d T.T.B.B. Yon, P. A .10 34 

SACRED HEART 

T.T.B.B. .10 34 

Gradual 
em Alleluia, Discite a me S.A.T.B. Haller, M  .2 S 3 

Eder, P. V... .20 

Haller, M 20 

Koenen, Fr 20 

Stehle, J. G. E.. .20 

Offertory 
e Benedic Anima S.A.T.B. 

(Also contains English Hymn to St. 
Aloysius, S.S.A. and English Hymn to 
Sacred Heart, S.A. by Auer.) 

em Benedic Anima S.A.T.B. 
(Also contains Gradual for Feast of 
Sacred Heart, Cantus, A., by Haller; 
Offertories for Feast of Sacred Heart, 
S.A. by Koenen, S.A.T.B. by Stehle.) 

em Benedic Anima S.A. 
(Also contains Offertories for Feast of 
Sacred Heart, S.A.T.B. by Stehle, 
S.A.T.B. by Haller; Gradual for Feast 
of Sacred Heart, Cantus, A. by Hal-
ler.) 

em *Benedic Anima S.A.T.B. 
(Also contains Offertories for-Feast of 
Sacred Heart, S.A. by Koenen, S.A.T.B. 
by Haller; Gradual for Feast of Sacred 
Heart, Cantus, A., by Haller.) 

SACRED HEART, SUNDAY WITHIN OCTAVE OF, 
Introit 

d Respice in me T.T.B.B. Gahagan, T 1$ 

ST. CECILIA 
Gradual 

em Audi Filia S-A. 
Offertory 

m * Afferentur Regi Cantus, A.T.B. 
(Contained in XVIII Motetta by Hal-
ler—Op. 1J.) 

m Afferentur Regi S.A. 
(Also contains Cor Jesu, S.A. by Per-
osi.) 

m Afferentur Regi .*. S.A.T.B. 
(Also contains two English Hymns to 
St. Francis, Unison by Piel.) 

m Afferentur Regi S.S.A. 
(Also contains two English Hymns to 
B.V.M., S.A. or T.B. by Singenberger 
and S.A.T.B. by Tappert.) 

Piel, P. 

Halle: M. 

J J 

1.65 

Piel, P IS 

Singenberger, J. 20 

Singenberger, J... .20 

— 62 — 



PROPER, NON-PLAIN CHANT 

Grade Text Voices 

ST. GREGORY 
Gradual 

m *Juravit Dominus .'. S.S.A. 
(Also contains Cantate Domino, T.T.B, 
or S.S.A.) 

Offertory-
em Veritas Mea S-A.T.B. 

(Also contains Ave Regina Coelorum, 
T.T.B.B. by Witt; English Hymns to 
St. Joseph, S.S.A. by Singenberger and 
T.T.B-B. by Schultz.) 

ST. JOSEPH 
Offertory 

md Lauda Jerusalem S-A.T.B. 
(Contained in Offertorienwerk, by Jo-
chum—Op. 15.) 

em Lauda Jerusalem S.A. or T.B. 
(Also contains Veni Sponsa Christi, 
S.A.) 

ST. MICHAEL 
Offertory 

m *Stetit Angelus T.T.B.B. 
e Stetit Angelus S.S-A. 

SS. PETER AND PAUL 
Offertory 

m *Constitues eos T.T.B.B. 
(Also contains Tantum Ergo, T.T.B.B. 
by Piel; Two Litanies of Sacred Heart, 
S.A. and T.T.B-B. by Singenberger.) 

m Constitues eos S.A.T.B. 
(Also contains O Sacrum Convivium 
and Tantum Ergo, Unison, by Becker.) 

e Constitues eos S.. S.A.T.B. 
Communion 

m *Tu es Petrus S.A.T.B. 
(Contained in XVIII Motetta, by Hal-
ler—Op. 15.) 

d *Tu es Petrus S.S.A.A.T.B. 

SS. PETER AND PAUL (Octave) 
Gradual 

d * Justorum animae S.S.A.T.B. 
m Justorum animae S.A.T.B. 
em * Justorum animae T.T.B.B. 
m Justorum animae S.A.T.B. 
md Justorum animae T.T.B. 
m Justorum animae S.A.T.B. 

SEPTUAGESIMA SUNDAY 
Offertory 

d *Bonum est Confiteri Domino 
S.A.T.T.B. 

SEVEN DOLORS OF B-V.M. 
Offertory 

m Recordate, Virgo Mater Dei 
S.A. or T.B. 

m Recordare, Virgo Mater Dei ...S.A.T.B. 
(Also contains Tantum Ergo, T.T.B.B. 
by Haller.) 

Composer Price Puhl. 

Rossini, Carlo 15 1 

Singenberger, J 20 J 

Jochum, Otto 90 2 

Koenen, Fr 1J J 

Deschermeier, J 15 3 
Koenen, Fr .15 3 

Koenen, Fr- .7. 20 3 

Stein, J 15 3 

Singenberger, J 15 3 

Haller, M 1.65 2 

Palestrina, G. P 18 9 

Byrd, W 16 9 
Dunn, J. P 15 3 
Eder, F. V 20 3 
Falkenstein »20 3 
Perosi, L 25 3 
Witt, F. X 15 3 

Palestrina-Rossini 15 1 

Gabert, A 10 34 
Witt, F. X 15 3 

— 63 — 



REQUIEM, NON-PLAIN CHANT 

Grade Text Voices 

m Recordare, Virgo Mater Dei S.A. 
Sequence 

em *Stabat Mater T.T.B, or S.S.A. 
em "Stabat Mater T.T.B.B. 
em "Stabat Mater S.A.T.B. 
em *Stabat Mater S.A.T.B. 
TRINITY SUNDAY 

Tract 
d *Te Deum Patrem T.T.B.B. 
d *Te Deum Patrem S.A.T.B. 

VIRGINS AND MARTYRS AND NON-VIRGINS 
•v Gradual 

em * Diffusa est gratia S.A.T.B. 
m * Diffusa est gratia S.S.A.A.T.T.B.B. 

(Contained in XVIII Moietta by Hal-
lei—Op. 16.) 

d Diffusa est gratia T.T.B.B. 

Composer Price 

Haller, M l ì 

Endres, G. P 12 
Nanini, G. M 15 
Nanini, G. M 15 
Singenberger, J 12 

Becker, C. 30 
Gabrieli, A -12 

Brosig 12 
Haller, M 1.65 

Nanini, G. M 16 

Pubi. 

Section 3—REQUIEM 
A. PLAIN CHANT 

Voice Organ Puhl. 
BAS, JULIUS 

All Gregorian Masses, Credos and Requiem (1) (3) 
(Only accompaniment, no special voice part) 

DELECTUS MISSARUM E GRADUALI ROMANO 
Contains besides the Proper, also the various Plain 
Chant Masses and Requiem 2-00 1 

DESROQUETTES 
All Gregorian Masses, Credos and Requiem (1) (3) 
(Only accompaniment, no special voice part) 

KYRIALE SEU ORDINARIUM MISSAE, MISSA PRO DE-
FUNCTIS ET TONI COMMUNES MISSAE -40 7 

(With rhythmical signs supplied by the Monks of Solesmes. 
Also contains Plain Chant hymns in honor of the Bl. 
Sacrament) 

KYRIALE SEU ORDINARIUM MISSAE, MISSA PRO DE-
FUNCTIS TONI COMMUNES MISSAE ET VARII 
CANTUS USITATI AD PROCESSIONEM ET BENE-
DICTIONEM SS. SACRAMENTI. 
Vatican version. 
Modern notation with rhythmical signs 60 1 
Gregorian notation with rhythmical signs 60 1 

KYRIALE SIVE ORDINARIUM MISSAE 
Modern notation with rhythmical signs (cloth) 40 1 
Gregorian notation with rhythmical signs (cloth) 40 1 

LIBELLUS CANTICORUM 60 1 
Contains: Select Chants from the Graduale and Antiphon-
ale; Masses (3) ; Vespers (2) ; Mass of the Dead and 
Absolution; Compline; Miscellaneous Hymns; Vatican Edi-
tion; Gregorian notation with rhythmical signs. 

LIBER USUALIS (with English Rubrics or Latin if desired) 
Contains, besides the Proper, also the various Plain Chant 
Masses and Requiem. (For voice only) (3 ) (1 ) 

MATHIAS, FR. X-
Organum Comitans ad Missam pro Defunctis absolutionem 
(Organ accompaniment) 

— 64 — 



REQUIEM, NON-PLAIN CHANT 

Voice Organ Publ. 
MULLER, IGN. 

Missa pro Defunctis !5 -6° * 
OFFICIUM ET MISSA PRO DEFUNCTIS 

Gregorian notation 60 1 
ROSSINI, CARLO 

Missa pro Defunctis (For Low Voice) -80 1 
Missa pro Defunctis (For High Voice) -80 1 

VRANKEN, P. J. 
Requiem, Libera and the prescribed chants 
Gregorian or modern notation 15 -60 1 

B. NON-PLAIN CHANT 
a . U N I S O N 

Grade Score Voice Vubl. 
BAUER, J. 

e Requiem and Libera 60 .25 1 
BOTTIGLIERO, E. 

m Requiem and Libera '••• -60 .20 1 
DIEBOLD, J. 

em Missa pro Defunctis—Op. 37 60 .30 2 
TERESIUS, P.a S. MARIA 

e Requiem and Libera—Op. 7 45 .15 2 
WITT, F. X. 

e Missa pro Defunctis—Op. 35b 65 .30 2 
em Missa pro Defunctis—Op. 42a 40 .15 2 

b. TWO EQUAL VOICES 
BOTTIGLIERO, E. 

m Requiem and Libera 60 .20 1 
ENGLER, J. 

e Requiem—Op. 21 60 .30 2 
ETT, CASPER 

e Requiem and Libera 60 .25 1 
ETT-HAMMA 

e Requiem and Libera 60 .25 1 
GRIESBACHER, P. 

e Missa pro Defunctis—Op. 54 - 55 90 .60 2 
HALLER, M. 

m Missa pro Defunctis—Op. 55 -65 .60 2 
m Requiem—Op. 9 40 .30 2 
m Resp. "Libera me Domine" Suppl. ad—Op. 9 30 .30 2 
m Sequentia "Dies irae, dies ilia" Suppl. II ad—Op. 9 45 .30 2 

ZOLLER, G. 
e Missa pro Defunctis 65 .30 2 

c. THREE MIXED VOICES 
MITTERER, IGN. 

m Missa pro Defunctis—Op. 20. A.T.B 65 .45 2 
ROSSINI, CARLO 

m Requiem and Libera T.T.B 80 .40 1 
SINGENBERGER, J. 

e Requiem S.A.B 60 .60 2,3 
YON, PIETRO A. 

m Missa et Absolutio pro Defunctis T.T.B 80 .40 1 

d. FOUR MIXED VOICES 
ANERIO, J. F. 

d Missa pro Defunctis „ 60 .45 2 

— 65 — 



REQUIEM, NON-PLAIN CHANT 

Grade Score Voice Publ. 
BONVIN, L. 

e Requiem—Op. 70 .30 2 
CASCIOLINI, CL. 

em Missa pro Defunctis 45 1.00 2 
EDER, P. V. 

em Requiem—Op. 16 45 .60 2 
HALLER, M. 

m Missa pro Defunctis—Op. 55 65 .60 2 
JOOS, o. 

e Requiem and Libera 60 .25 1 
LOHLE, A. 

em Requiem 45 .60 2 
MITTERER, IGN. 

m Missa pro Defunctis -75 1.00 2 
PEROSI, L. 

d Missa pro Defunctis cum Libera 90 1.00 2 
RENNER, J. JUN. 

m Requiem—Op. 10 60 .60 2 
SCARLATTI, A. 

d Missa pro Defunctis 30 2 
SCHILDKNECHT, J. 

m Requiem—Op. 26 90 1.00 2 
WITT, F. X. 

m Missa pro Defunctis—Op. 3 5 65 .60 2 

e. FOUR MALE VOICES 
ZOLLER, G. 

em Missa pro Defunctis 90 .60 2 

— 66 — 



VESPERS, PLAIN CHANT AND NON-PLAIN CHANT 

PART II 

Section 1—VESPERS 

A. PLAIN CHANT 
Voice Organ Publ. 

ANTIPHONALE SACROSANCTAE ROMANAE ECCLESIAE 
PRO DIURNIS HORIS, SS. D.N.Pii X. PONTIFICIS 
MAXIMI JUSSU RESTITUTUM ET EDITUM. 

Printed at the Vatican Press. Gregorian notation 2.00 1 

BAS, JULIUS 
Vesperale: Proper Vespers for Ecclesiastical year. 3 vols. ( 1 ) 0 ) 
(Contains also Completorium de Dominica.) 

DETHIER, E. 
Psalmi in Notis. Vesper Psalter for the entire year. Mod-
ern notation 80 1 

LIBELLUS CANTICORUM 
Contains: Select Chants from the Graduale and Antiphon-
ale; Masses (3) ; Mass of the Dead and Absolution; Vespers 
(2) ; Compline; Miscellaneous Hymns; Gregorian notation 
with rhythmical signs; Vatican Edition. 

LIBER USUALIS (with English Rubrics, or Latin if desired) 
Contains all Masses, Requiems, Vespers, etc. (for ordinary 
feasts.) 
Desclee Edition (3 ) (1 ) 

MATHIAS, FR. X. 
Organum comitans ad Vesperale Romanum 2 

MULLER, IGNACE 
Organ accompaniment to Vespers in honor of B-V.M. 
(complete with antiphons and psalms) .60 1 

SINGENBERGER, J. 
Vesperae de Ss. Eucharistiae Sacramento .3 5 3 
(Vatican chant with falsobordoni for two, three or four 
mixed voices.) 

VESPERALE ROMANUM EXCERPTUM EX ANTIPHONALI 
S.R.E. IUSSU SS. D.N. Pii X 3.00 2 

VRANKEN, P. J. J. . 
Vespers in honor of the B.V.M 15 .60 1 
Vespers of the Sunday 15 -SO 1 
Vesper Hymns for the Principal Feasts 15 .60 1 

WAGNER, DR. P. 
Vesperale Romanum, Organum ad 
Vol. I. Proprium de Tempore 
Vol. II. Commune Sanctorum 
Vol. III. Proprium Sanctorum (1 ) (3 ) 

B. NON-PLAIN CHANT 
Score Voice Publ. 

GOODRICH, FRED W. 
Vespers in honor of the B.V.M 60 1 
(Falsobordoni for S.A.T.B.) 

MAYER, J. G. 
Vesper-Psalms and Magnificat for Christmas, Easter and 
Pentecost T-T.B.B «0 1.00 2 

— 67 — 



COMPLINE 

Score Voice Pubi 
NIKEL, E. 

Vesper hymns—Op. 16. 
(For 2, 3 and 4 voices) Vz leather 3.25 4.00 2 

RAVANELLO, O. 
Vespers in honor of the B.V.M.—Op. 84 60 1 
(Falsobordoni for T.T.B.) 

SINGENBERGER, J. 
Easy and Complete Vespers in honor of B.V.M. 
T.T.B.B. or S.S.A.A 35 3 

Section 2—COMPLINE 
PLAIN CHANT 

Voice Publ. 
ANTIPHONALE SACROSANCTAE ROMANAE ECCLESIAE PRO 1 

DIURNIS HORIS, SS. D.N.Pii X. PONTIFICIS MAXIMI 
JUSSU RESTITUTUM ET EDITUM. 

Gregorian notation 2.00 1 

BAS, JULIUS 
Vesperae et Completorium de Dominica (Organ accompaniment) 1 

LIBELLUS CANTICORUM 
Select Chants from the Graduale and Antiphonale; Vatican 
Edition; Masses (3) ; Mass of the Dead and Absolution; Vespers 
(2) ; Compline; Miscellaneous Hymns. 
Gregorian notation with rhythmical signs ,60 1 

LIBER USUALIS 
Contains besides the proper - and Ordinary, the Compline for 
every day of the week (voice only) (1) (3) 

— 68 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

PART III 
ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS1 

Grade Title Voices' Price Pubi. 

ADESTE FIDELES 
e Baldwin, Ralph L S.A-T.B. .15 1 
e Elsenheimer, N. J S.A.T.B. .15 1 
m Greith, S.A.T-B. .15 3 
em Hammerei, V T.T.B.B. .20 1 
e Koenen, Fr. S.S.A.A. .15 3 
m Kreckel, Philip G S.A.T.B. .15 1 
e Narello-Barlon T.T.B.B. .15 1 

ADORAMUS TE CHRISTE 
em Bischoff S.S.A.T.B-B. .15 3 
m Constantine, G- C S.A.T.B. .15 3 
md Corse-Harthan S.A.T.B. .15 1 
m * Jacques, Clement S.A.T.B. .12 34 
m »Lasso, Orlando di S.S.A. .12 9 
d Lasso, Orlando di T.T.B. .16 9 
m Mauro-Cottone ....S.S.A. .15 3 
d »Palestrina, G. P. da T.T.B.B. .15 1 
d Palestrina, G. P. da T.T.B.B. .16 9 
d Palestrina, G. P. da S.A.T.B. .12 3 

»Pitoni, G. O T.T.B.B. .15 20 (1) (3) 
md »Rosselli, Fr S.A.T.B. .16 9 
em »Ruffo, V T.T.B.B. 20(1) (3) 
md »Stehle, J. G. E S.A.T.B. .15 1 
d »Waters, Walter N T.T.B.B. .15 10 

ADOREMUS IN AETERNUM 
em Cherubim, Sister M S.S.A. -12 3 

(Also contains Adoro Te, S.S.A.) 
em Singenberger, J S.A.T.B. .15 3 

Yon, P. A S.A.T.B. .15 1 
Yon, P. A T.T.B.B. .15 1 

ADORO TE DEVOTE 
em Biggs, Richard Keys S.S.A. .15 3 
em Cherubim, Sister M. S.S.A. .12 3 

(Also contains Adoremus in Aeternum, S.S.A-) 
em Deprez-Burton ! S.A.T.B. .15 1 
e Frey, E S.A. .15- 3 

(Also contains Tantum Ergo, S.A.T.B. by Mitterer.) 
em Hamma, S.A.T.B. .10 1 

(A collection of Antiphons, Hymns and Motets.) 
e Schehl, J. A S.A. or T.B. .15 1 
em Short, F. T T.T.B.B. -15 3 
em Singenberger, J S.A.T.B. .15 3 

(Also contains Tantum Ergo, S.A.T.B. by Haller; 
Anima Christi, S.S.A. by Auer.) 

em Stehle, G- E S.A.T.B. .15 3 
(Also contains Hymnus Temp. Pasch, 
T.T.B.B. by Tappert; English Hymn to 
B.V.M-, S.S.A. by Tappert.) 

m Tappert, H S.A.T.B. .15 1 
(Also contains O Salutaris, S.A.T.B.; Laudate 
Dominum VI mode.) 

1. All the Antiphons, Responsories, Hymns and Motets listed in Part III will also be 

found listed in Part V where the use of each is indicated. 
2. The column under Voices indicates for what voices each piece is intended. 

For abbreviations cf. p. 14. 

— 69 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

Grade Title Voices Price Publ. 

em Tappert, H- T.T.B.B. .25 1,3 
d Waters, Walter N T.T.B.B. .15 

A L L E L U I A 

md »Anerio, F S.A.T.B. 51. 
md Raffaelli, M. C- S.A.T.B. .10 

ALMA REDEMPTORIS 
md Montani, Nicola S.A.T.B. .12 
e »Nekes, Fr. S.S.A. or T.T.B. .20 

(Also contains Ave Maria, S.S.A.) 
m "Palestrina, G. P. da S.A.T.B. .12 1,3 
m Palestrina, G. P. da S.A.T.B. .12 1,34 
e Singenberger, J S.A.B- .15 
em * Soriano, Fr S.A.T.B. .20 

(Also contains two Hymns for Benediction, T. B. 
by Mitterer; Ave Verum, S.A.T.B. by Witt.) 

em Witt, F. X. S.A. .15 
ANIMA CHRISTI 

em Auer, J S.S.A. .15 
(Also contains Adoro Te, S.A.T.B. by Singenberger; 
Tantum Ergo, S.A.T.B. by Haller.) 

md "Dunn, James P S.A.T.B. .16 
em Griesbacher, P S.S.A. .15 
em Schrembs, Bishop S.A.T.B. .15 
em Schrembs, Bishop T.T.B.B. .15 

APPARUIT 
m Lasso, Orlando di T.T.B, or S.S.A. .15 

ARBOR DECORA 
d Palestrina, G. P. da S.S.A. .15 

(Following the Gregorian Melody.) 
ASPERGES ME 

em Brosig, M S.A.T.B. .15 
em Erst, S. A S.A.T.B. .15 
em Griesbacher, P. S.A. .12 
em *Griesbacher, P. S.A.T.B. .15 

(Also contains Asperges Me, T . T . B . B . by Singenberger; 
Offertory for Feast of Holy Rosary, T . T . B . B . by Ahle.) 

em Hamma, B S.A. .15 
em Kempter, C S.A.T.B. .12 
e Marsh, W- J Unison .12 
m Mitterer, J. S.A.T.B. .12 
e O'Brien, F. J S.A.T.B. .15 
m Schoepf, F S.A.T.B. .15 

(Also contains Vidi Aquam, S.A.T.B.) 
em Singenberger, J S . A . T . B . . 1 5 
em Singenberger, J T.T.B.B. .15 
e Singenberger, J. S.A.B. .12 
e Singenberger, Otto S.A.T.B. .15 

(Also contains Ecce Sacerdos, T-T.B. by Schildknecht; 
Two Hymns for Benediction, T.T.B.B. by Tappert.) 

em Smith, T. S S-A.T.B. .12 
em Stehle, J. G. E S.A.T.B. .12 
em Tappert, H S.A. or T.B. .15 

(Also contains O Deus Ego Arno Te, T.T.B.B. by Witt.) 
m Tozer, A. E S.A.T.B. .12 
m Witt, F. X. S.A.T.B. .15 
e Yon, P. A. (Organ ad lib.) S.A.T-B. .15 

ATTENDE DOMINE 
em Hammond, W. M.—Op. 3 T.T.B.B. .15 
em Yon, P. A S.A.T.B. .15 

— 70 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

em 
em 

m 
em 

.1$ 

.12 

Grade Title Voices Price Pubi. 

AVE MARIS STELLA 
d 'Anerio-Harthan S.A.T.B. .15 
em Farrant, R « S.A.T-B. .12 
e Liszt, Fr ,. S.A.T.B. .15 
m Perosi, L S.A. .15 
m Wrightson, H. W S-A.T.B. .15 

AVE REGINA COELORUM 
Becker, C T.T.B.B. .15 
Biggs, Richard Keys (Organ ad lib.) S.S.A. .15 
(Also contains Ave Maria, S.S-A.) 
Gahagan, T. J S.A.T.B. 
McDonough, F. J S.A.T.B. 
Predmore, G. V S.A.T.B. .15 
Singenberger, J S-A.T.B. .15 

d »Soriano, F S.A.T.B. .12 
em »Witt, F. X T.T.B.B. .20 

(Also contains Offertory for Feast of St. Joseph, S.A.T.B. 
by Singenberger; English Hymns to St. Joseph, T.T.B.B. 
by Schultz & Unison by Moll.) 

AVE VERUM 
m Bach-Browne S.A.T.B. .15 3 
m Carissimi, G S.A.T.B. .15 3 
m Des Pres, Josquin T.T.B.B. .15 34 
m Deschermeier, J S.A.B. .15 1 
md Dunn, J. P- S.A.T.B. .15 3 
e Erst, S. A S.A.T.B. .15 3 
em Falkenstein, J. S.A.T.B. .12 3 

Farnworth J S.A.T.B. .12 3 
e Gounod, Ch. (E flat) S.A-T.B. .15 1,3 
e Gounod, Ch T.T.B.B. .15 1 

Marsh, W. J S.A.T.B. .12 3 
e McDonough, F. J S.A.T.B. .12 3 

Moore, E. C S.A.T.B. .15 3 
e Mozart, W. A S.A.T.B. .15 1,3 
m Nancrede, H. W S.A.T.B. .10 34 
m Ravanello, G.-Montani S.A. or T.B. .10 3 ,34 
md Saint-Saens S.A.T.B. .08 34 
m Springer, M- S.A.T.B. .15 1 

Tappert, H T.T.BB. .25 1 
em Witt , F. X : S.A.T.B. .20 3 

(Also contains Two Benediction Hymns, T.B. by 
Mitterer; Alma Redemptoris, S-A.T.B. by Soriano.) 

md Wilkens, Ign. (E flat) S.A.T.B. .15 1 
d Wilkens, Ign T.T.B.B. .15 1 
md Willan H Tenor Solo, Chorus & Organ .15 18(17) 
md Yon, P. A S.A.T.B. .15 1 

BEATI E R i n S 
m »Croce, G.-Tozer S.A.T.B. .12 1 

BENEDICTUS (CANTICLE) 
Guidetti S.A.T.B. .15 1 
(Also contains Benedictus, S.A.T.B. by Tresch; Miserere, 
S.A.T.B. by Pedrell & Viadana.) 

Neubauer T.T.B.B. .12 3 
Spoth, E T-T.B.B. .15 1 

m Tresch, J. B S.A.T.B. .15 1 
(Also contains Benedictus, S.A.T.B. by Guidetti; 
Miserere, S.A.T.B. by Pedrell & Viadana.) 

— 71 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

Grade 

d 

em 
em 

e 

md 

d 

md 

Title Voices 

Yon, P. A T.T.B.B. 
(Also contains Christus Factus Est, T.T.B.B.) 

BONE PASTOR 
Kornmueller, P. O. S.A.T.B. 
(Also contains Tantum Ergo, S.A.T.B. by Quadflieg; 
Offertory for Assumption, S.A. or T. B., by Koenen; 
Two English Hymns to B.V.M., by Haller; One Eng-
lish Hymn to Precious Blood, S.A.T.B. by Mitterer.) 

CANTANTIBUS ORGANIS 
*RavanelIo-Rossini S.S. A. 
(Also contains Ave Mafia, S.S.A. by Witt.) 

CHRISTUS FACTUS EST 
Anerio, F S.A.T.B. 
Anerio, F T.T.B.B. 
Schloeder, J. H. T.T.B.B. 

»Witt, F. X. T.T.B.B. 
(Also contains Improperia by Bernabei; O Vos Omnes, 
T.T.B.B. by Witt.) 
Yon, P. A T.T.B.B. 
(Also contains Miserere & Benedictus.) 

COELESTIS URBS JERUSALEM 
Schrembs, Bishop S.A.T.B. 
Schrembs, Bishop T.T.B.B. 

COENANTIBUS ILLIS 
* Haller, M T.T.B.B.B. 
(Also contains Protector Noster, S.A. or T-B. by Koenen.) 

COR JESU 
Brant, C. (Organ ad lib.) S.A.T.B. 
McGrath, J. J S.A.T.B. 
(Also contains Jesu Dulcis Memoria, S.A.T.B.) 

Terry, R. R S.A.T.B. 
CREDO 

Bottazzo, L Cantus, T.B. 
(Credo III in Gregoriano.) 

McGrath, J. J S.A.T.B-
Credo III 
Montani, N. A T.T.B. 
Credo III (De Angelis) 

CRUCIFIXUS 
•Lotti, Antonio S.S.A.A.T.T.B.B. 
*Lotti, Antonio T.T.B.B. 

CRUX FIDELIS 
Mauro-Cottone (Organ ad lib.) S.A.T.B. 

DIXIT MARIA 
•Hassler, Hans von S.A.T.B. 

DOMINI EST TERRA 
Haller, M S.A.T.B. 

ECCE DOMINUS VENIET 
*Kothe S.A.T.B. 

(Also contains Offertory for Feast of Immaculate 
Conception, S.A.T.B. by Ebner; Gradual for same 
feast, T.T.B.B. by Fröhlich.) 

ECCE PANIS ANGELORUM 
Deschermeier, J S.A.B. 
DuBois, T T.T.B.B. 
Gilbert, E S.A. or T.B. 
Marzo ,Ed. (F.) S.A.T.B. 
Meier, R S.S-A.A. 

Price 

.20 

.3$ 

.1$ 

.15 

.15 

.1$ 

.15 

.20 

.1$ 
AS 

.IS 

AS 
AS 

.1$ 

Puhl. 

1 

.2 S 

AS 

AS 
AS' 

AS 

.20 

AS 

AS 
• 12 

.12 

.15 

.1S 

( 1 ) 0 ) 

34 

— 72 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

Grade Title Voices Price Pubi. 

ECCE QUOMODO MORITUR 
em »Palestrina, G. P. da T.T.B.B. .15 9 

EXULTATE DEO 
d »Palestrina-Clough-Leighter S.A.A.T.B. .18 9 

FILIAE JERUSALEM 
md Gabrieli, A S.A.T.B. .15 3 

FULGEBUNT JUSTI 
md »Lasso, Orlando di S.A. .15 20 (1) (3) 

HODIE CHRISTUS NATUS EST 
m Klein, B. O S.A.T.B. .20 1 
m Mitterer, J T.T.B.B- .20 3 
m Nanini, G. M T-T.B.B. .06 1 
md »Nanni, G. M T.T.B.B. .12 1 
d »Nanini, G. M S.A.T.B. .12 34 
d »Pillestrina S.S.A.A.T.T.B.B. 12 34 

HOSANNA FILIO DAVID 
em Wilkens, Ign S.A.T.B. .20 3 

IN MONTE OLIVETI 
em »Cherubim, Sister M S.S.A. or T.T.B. .15 3 

(Also contains Improperium, S.S-A.) 
m »Singenberger, Otto T.T.B.B. .15 1 

(Also contains Emitte Spiritum, T.T.B.B. by Schuetky.) 
INGREDIENTE DOMINO 

em »Hurley, Ed S.A.T.B. .15 3 
em Singenberger, Otto T.T.B.B. .35 3 
e Wilkens, Ign S.A.T.B. .20 3 

ISTORUM EST 
md »Casciolini, CI S.A.T.B. .16 9 

JESUM CHRISTUM REGEM 
em Yon, P. A S.A.T.B. .15 1 

JESU DECUS ANGELICUM 
em Mitterer, J S.A.T.B. .15 3 

(Also contains Tantum Ergo, S.A.T.B.) 
JESU DULCIS MEMORIA 

em Biggs, Richard Keys S.S.A. .15 3 
em Compagno, G. M S.A.T.B. .15 3 
m Greith, Carl S.A.T.B. .15 1 
em Kothe, B S.A.T.B. .15 3 

(Also contains same by Singenberger.) 
em Kothe, B T.T.B.B. .15 3 
e Marsh, W. J S.A.T.B. .15 3 
m McGrath, J. J S-A.T.B. .15 3 

(Also contains Cor Jesu, S.A.T.B.) 
m Mediaeval-Bonvin S.A.T.B. .15 3 
em Mitterer, Ign S.S.A. .15 3 

(Also contains Tantum Ergo, S.S.A. by Kuntz.) 
md Mitterer, Ign.—Op. 164 T.T.B. .20 1 

(Also contains Tantum Ergo, T.T.B.B.) 
m Rheinberger, J.-Montani (Organ ad lib.) S.A.T.B. .12 34 
em Singenberger, J - S.A.T.B. .15 3 

(Also contains same by Kothe.) 
em Singenberger, J S.A.T.B. .15 3 

(Also contains Tantum Ergo, S.A.T.B.) 
m »Springer, M S.A.T.B. .15 1 
m »Vittoria, T. L S.A.T.B. .10 9 

JESU REX ADMIRABILIS 
m Cherubim, Sister M .. S.S.A. .15 3 

(Also contains Tantum Ergo—Op. 20, No. 2.) 

— 73 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

Grade Title - Voices Price Publ. 

d »Palestrina, G. P. da S.S.A. .1$ 1 
(Also contains Ave Maria, S.S.A. by Rossini.) 

KYRIE & AGNUS DEI 
m »Oberhoffer-Dress T.T.B.B. .12 21 
m »Viadana, L T.T.B.B. .12 21 

LAETARE, LAETARE 
m Dress, A Unison or T.T.B.B. .10 21 

. LAMENTATIONS 
md »Palestrina, G. P. da S.A.T.T.B. .16 34 
rid »Stehle, J. G. Ed. T.T.B.B .60 1 

LAUDA SION 
em Winter, P. V. (Organ ad lib.) S.A. .20 3 

(Also contains Tantum Ergo, S.S-A.; Communion 
Hymn, S.S.A. by Kuntz; Ave Maria, S.A. by Bon-
vin; Hymn in honor of Precious Blood, T.T.B.B. 
by Singenberger.) 

LYRA ANGELICA 
em Vranken, Joseph S.A. or T.B. .80 1 

(Motets in honor of Bl< Sacrament and B.V.M.) 
MAGNIFICAT 

md »Palestrina, G. P. da S.A.T.B. .12 9 
em »Singenberger, J S.A.T.B. or T.T.B.B. .1$ 
m Lasso, Orlando di S.S.A-T.T.B. .16 

MISERERE (PSALM) 
d »Allegri, G.-Manzetti T.T.B.B. .1$ 
m »Dress, A T.T.B.B. ,1J 

(Also contains Improperium, T.T.B.B.) 
m »Hammerei, V T.T.B.B. .15 
m »Pedrell S.A. T.B. .15 

(Also contains Miserere by Viadana; Benedictus by 
Tresch & Guidetti.) 

d »Rheinberger, J S.A.T.B. .20 
d »Spoth, E T.T.B.B. .15 
m »Viadana, L S.A.T.B. .15 

(Also contains Miserere by Pedrell; Benedictus by 
Tresch & Guidetti, S.A.T.B.) 

d »Yon, P. A T.T.B.B. .20 
(Also contains Christus Factus Est, T.T.B.B.) 

NUNC DIMITTIS 
m Schnecker, P. A S-A.T.B. .15 

O BONE JESU 
em Becker, Rene L S.A.T.B. .15 
em McDonough, F S.A.B.B. .15 
em McDonough, F T-T.B.B. .15 
m »Palestrina, G. P. da S.A.T.B. .15 

(Also contains Panis Angelicus, S.A.T.B. by Baini.) 
em Singenberger, J S.S.A. .15 

O COR JESU 
e McDonough, F S.A.T.B. .15 
m Perosi, L S.A. .15 

(Also contains Afferentur Regi, S.A. by Piel.) 
O CRUX AVE 

m Palestrina, G. P. da S.A.T.B. .15 
O DEUS EGO AMO TE 

e Adapted 1695 T.T.B.B. .15 
(Also contains Pange Lingua, T.T-B.B. by Schweitzer.) 

em Singenberger, J S.A.T.B. .12 
(Also contains Stabat Mater, S.A.T.B.) 

— 74 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

em 
em 
em 
em 

Grade Title Voices Price Pubi. 

em Witt, F. X T.T.B.B. .1* 3 
(Also contains Asperges Me, S.A. or T.B. by Tappert.) 

O DOCTOR OPTIME 
md Mitterer, Ign T.T.B. .15 1 

O DOMINE JESU CHRISTE 
m »Palestrina, G. P. da S.A.T.B. .06 16 

O ESCA VIATORUM 
em Hammond, W. M S.T.B. .15 3 

(Also contains Tantum Ergo, S.T.B.) 
m Mitterer, J S.A.T.B- .15 3 

p¡el, p S.A.T.B. .30 3 
Singenberger, J S.S.A. -3 5 3 
Singenberger, J S.A.T.B. .20 3 
Tappert, H T.T.B.B- .25 1 

O FILII ET FILIAE 
md »Brant, Cyr De S.A.T.B. .15 1 
d »Brant, Cyr De T.T.B.B. .15 1 
md »Leisring, V • S.S.A.A.T.T.B.B. .16 9 
m Liszt, Franz S-A. .10 34 

O GLORIOSA VIRGINUM 
md Deschermeier, J S.S.A.A.T.T.B.B. .15 1 
em Kuntz, P. E S.S.A- .3 5 3 

(Also contains Tantum Ergo, S.A.T.B. by Quadflieg; 
Assumpta Est, S.A. by Koenen; Bone Pastor, S.A.T.B. 
by Kornmuller; English Hymn to Precious Blood, 
S-A.T.B. by Mitterer; Two English Hymns to 
B.V-M. by Haller.) 

d Mediaeval-Bonvin S.A.T.B. .15 3 
O MAGNUM MYSTERIUM 

d »Vittoria, T. L : .Ì1..S.A.T.B. .18 9,34 
O MARIA, SINE LABE 

em McGrath, J. J S.A.T.B. .15 3 
O MARIA VIRGO PIA 

md »Parise, E S.A.T.B. .10 34 
O QUAM AMABILIS 

em Singenberger, J. S.S.A-A. .15 3 
O QUAM SUA VIS EST 

em Johnson, Wm. S. T.T.B. .1$ 3 
e Turner, J. E S.S.A. -15 3 
md Yon, P. A S.A.T.B. .15 1 

OREMUS PRO PONTIFICE 
e Singenberger, J S.A.T.B. .15 3 
em Singenberger, J T.T.B.B. .15 3 
em Singenberger, J S.S.A.A. .15 3 

O REX GLORIAE 
m »Marenzio-Tozer S.A.T.B. .12 1 

O SACRUM CONVTVIUM 
m Becker, C. S.A.T.B. .15 3 

(Also contains Tantum Ergo, Unison; Offertory 
for Feast of SS. Peter & Paul, S.A.T.B. by Stein.) 

md »Bernabei, G. A S.A.T.B. .12 1 
d »Croce, G S.A.T.B. .15 3 
em Farrant S.A.T.B. .15 3 
m »Remondi S.S.A. .15 3 
md Short, F. J S.A.T.B. .15 1 
e Turner, J. E S.S.A. .15 3 
m »Viadana-Taylor S.A.T.B. .15 1 
m Yon, P. A T.T.B.B. .12 34 

— 75 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

.15 

.15 

.15 

.15 

.60 

.20 

.10 

.15 
•H 
.20 

Grade Title Voices Price Publ. 

O SACRUM COR JESU 
em Schweitzer, J S-A.T.B. .15 3 

O SALUTARIS 
m Anerio-Rowlands S.A.T.B. 
e - Auber-Browne S.A.T.B. 
e Becker, Rene L T.T.B-B. 

(Also contains Tantum Ergo, T.T.B.B. & Veni 
Creator T.T.B.B.) 

e Biedermann, E. J.—Op. 32 No- 2 S.A. 
(Also contains Tantum Ergo S.A. Sc Panis 
Angelicus, S.A.) 

m Bonvin, L.—Op. 38 S.A.T.B. 
(Contained in Hymns for Benediction•) 

md Carnevali, V S.A.T.B. 
em Compagno, G S.A.T.B. 
em Constantine, C S.A.T.B. 
e Dooner, A. J S.A.T.B. 
m Elgar, Ed S.A.T.B. 
d Gallus, Jacobus S.S.A.A. 
m Hamma, B. (E flat) - S.A.T.B. 
e Hamma, B. (G) S.A.T.B. 
e Hammerei, V. (G) S.A.T.B-
m Klein, Bruno Oscar (G) S.A.T.B. 
em Kothe, B T.T.B.B. 
e Hunt/, P. E S.A. 

(Also contains Terra Tremuit, T.T.B.B. by Nekes; 
Haec Dies, S-A.B. by Schweitzer; English Hymns 
to B.V.M., S.A. by Greith, T.T.B.B. by Sing-
enbergcr.) 

•d Liszt, F. S.S.A.A. 
ve Marzo, Ed.—Op. 145. No. 1. (E flat) S.A.T.B. 
em McDonough, F T.T.B.B. 
em Mitterer, J.—Op. 127 T.B. 

(Also contains Alma Redemptoris, S.A.T.B. by 
Soriano; Ave Verum, S.A.T.B. by Witt.) 

d »Palestrina, G. P. da T.T.B.B. 
em Pierron, J. J. S.A.T.B. 
em »Pirari, P T.T.B, or S . S . A . 
m Ravanello, G.-Montani S.A. or T.B. 
e Sears, H S-A.T.B. 
e Singenberger, J S.A. 
em Singenberger, J S.S.A. 
m Tappert, H S.A.T.B-
em Waters, W. N. (Organ ad lib.) S.A.T.B. 
em »Yenn, S. M S.A.T.B. 
e Yon, P. A T.B.B. 
m Yon, P. A S.A.T.B. 
m Zadra, R S.A.T.B. 

O SANCTISSIMA 
m Greith, C S.A.T.B. .15 

O VOS OMNES 
d *Handl,-Mitterer 6 voc. .30 
em »Singenberger, J S.A.T.B. .15 
d »Vittoria, L S.A.T.B. .16 
d »Vittoria, L S.A.T.B. .60 
m »Witt, F. X S S.A.T.B. .15 

1 
3 
3 
1 

34 
1 
1 
1 
1 
1 
3 
3 

3, 34 
1 
3 
3 

1 
3 

20(1) (3) 
34 
3 
3 
3 
1 
1 

34 
34 

3 

1. 3 

32 (33) 
3 
3 ,9 

32(32) 
3 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

Grade Title Voices Price Pubi. 

PANGE LINGUA 
em Bogatto, S S.T-B. .15 10 
em Eder, P. V S.A.T.B- .15 3 
e Gregorian Unison .15 3 
e Ravanello, O S.A. or T.B. .10 34 
e Schweitzer, J T.T.B.B. .15 1 

(Also" contains O Deus Ego, T.T.B.B. Adapted.) 
em Tappe«, H T-T.B.B. .25 1 

PANIS ANGELICUS 
m »Baini-Greith S.A.T.B. .15 1 

(Also contains O Bone Jesu, S.A.T.B. by Palestrina.) 
e Biederman, E. J.—Op. 32- No. 1 S.A. .15 1 

(Also contains O Salutaris & Tantum Ergo,S.A.) 
d Cappeloni, V T.T.B.B. .12 3 
em Casciolini, Cl S.S.A* .15 3 
md »Casciolini, CI S.A.T.B. .15 1 

(Also contains Adoro Te, S.A.T.B. by Stehle.) 
em Dethier, E S.A.T.B. .15 3 
e Dooner, A. J S.A.T.B. .20 I 

(Also contains Tantum Ergo) 
e Franck, C S.A.T.B. .15 1,3 
e Franck-Reilly T.T.B.B. .15 3 
e Franck-Browne S.A. ..15 3 
e Hamma, B. ....'.. S.A.T.B. .15 1 

(Also contains Tantum Ergo, S.A.T.B.) 
md »Palestrina, G. P. da S.A.T.B. .15 1 
em »Stehle, J. G. E S.A.T.B. .15 1 
em Titcomb, Everett (Organ ad lib.) S.A.T.B. .15 3 
m Yon, P. A. (G) S.A.T.B.B. .15 1 

PASSION, CHORUSES FROM T H E 
m F.tt, C T.T.B.B. .20 1 

PATER NOSTER 
em Biggs, Richard Keys T.T.B.B. .12 1 
m »Elsenheimer, N. J. S.A.T.B. .15 1 
d »Handl, J.-Mitterer 8 voc. .60 32 (33) 
em Ivanoff-Reilly S.A. .15 3 
vd »Palesrtina, G. P. da S.A.T.B. .12 34 

PATRES NOSTRI PECCAVF.RUNT 
d »Palestrina, G. P. da S-S.A. .15 1 

(Also contains Adoramus Te, T.T.B-B.) 
PUERI HEBRAEORUM 

m Mauro-Cottone S.S.A. or T-T.B. .15 1,3 
QUID RETRIBUAM DOMINO 

em Piel, P.—Op. 92 S.S.A. .20 3 
(Also contains Ad Te, Domine, Cant us, A. by 
Ebner; Ave Maria, T.B. by Plag.) 

REGINA COELI 
md »Aichinger-Montani S.A.T.B. .12 34 
e Ett , Casper S-A.T.B. .12 3 
m Hamma, B. (E flat) S.A.T.B. .15 1 
em Jaspers, C S.S.A. .15 3 
em Kempter, C S.A.T-B. .15 1 
e Koenen, Fr S.A. .12 3 
em Lotti, A S-A.T.B. .12 1 
m McDonough, F. J S.A.T.B. .12 3 
em Miller, P. J. I S.A.T.B. .12 3 
e , Montani, N. (Organ ad lib.) S.A.T.B. .10 34 
md »Porta, Costanza , S.A.T.B. .15 3 

— 77 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

Grade Title Voices Price Publ. 

em Predmore, G. V. S.A.T.B. .15 
md Yon, P. A S.A.T.B. .15 

REGNAVIT DOMINUS 
e Huegle, Dom S.A. .15 

RESONET IN LAUDIBUS 
e Schuberger, Huegle S.A. .15 

RESPONSES FOR HIGH MASS 
e Gregorian (without organ) r.. Unison .12 
em Terry, R. R S.A.T.B. .12 
em Tozer, A. E T.T.B.B. .12 
e Singenberger, J S.A.T.B. .15 

SACRIS SOLEMNIIS 
em Jung, J. B S.A.T.B. .15 

SALVE REGINA 
em Aichinger, G. (Organ ad lib.) S.A.T.B. .09 34 
m Haydn, M S.A.T.B. .12 
em Keller, W S-A.T.B. .15 
em Koenen, Fr S.A. .12 
em Koenen, Fr. (Organ ad lib.) S.A.T.B. .12 
md "Lotti, Antonio S.A.T.B. .15 
em Marzo, Eduardo (F) S.A.T.B. .15 
e Piel, P Unison .15 

(Also contains English hymn to B*V.M.; Unison 
by Piel; Salve Regina by Greith; Hymn to Our 
Lady of Perpetual Help, S.A. by Jaspers.) 

em Singenberger, J S.A. .15 
m Singenberger, J S.A.B. .15 

SALVE REGINA COELITUM 
em Bonvin, L S.A. .15 

(Also contains Hail Mary, S.S.A. by Tappert.) 
e Greith, G S.S.A. .15 

(Also contains English Hymn to B.V.M., Unison, 
by Piel; Salve Regina, Unison by Piel; Hymn to 
Our Lady of Perpetual Help, S-A. by Jaspers.) 

SANCTA MARIA 
em Schweitzer, J T.T.B.B. .15 1 

(Also contains Ave Maria, T.T.B.B.; Veni Creator, 
T.T.B.B. by Reissiger.) 

SANCTUS & BENEDICTUS 
m Florentini T.T.B. .15 1 
vd "Gabrieli, G S.S.A.A.T.T.B.B. .16 34 
m "Rossini, (1792-1864) T.T.B.B. .12 21 
m Rossini, Carlo S.A.T.B. .12 3 
m "Viadana, L T.T.B.B. .12 21 

SIC SACRIFICIUM 
em Antcliffe, H S. A.T.B. .12 3 

SUB TUUM PRAESIDIUM 
e Auer, J.—Op. 42 S.S.A. or T.T-B. .15 3 

(Also contains Litany of Holy Name S.A.T.B. by Bonvin.) 
d "Palestrina, G. P. da-Taylor S.S.A.A. .15 1 

SURGE ILLUMINARE 
d Palestrina, G. P. da S.S.A.A. or T.T.B.B. .16 3 

SURREXIT PASTOR BONUS 
vd "Lasso, Orlando di S.S.A.T.B. .15 34 
em Piel, P Boys & T.T.B.B. .15 3 

(Also contains Three English Hymns for Easter, 
S.A. or T.B. by Greith; S.S.A. by Tappert; & 
S.S.A.A. by Stollenwerk.) 

md Schwanderla, A.—Op. 3 5. No. 1 S.A.T.B. .15 3 

— 78 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

Grade Title Voices Price Publ. 
TANTUM ERGO 

e Abt, F S.A.T.B- .15 5 
m Balogh, L. L S.A.T.B. .15 1 
e Bartschmid, Alois S.A.T.B- .10 34 
em Becker, C Unison .15 3 

(Also contains O Sacrum Convivium S.A.T.B.; 
Offertory for Feast of SS. Peter & Paul, S.A.T.B. 
by Stein.) 

e Becker, Rene L T.T.B.B. .15 1 
(Also contains O Saintaris, T.T.B.B.) 

m »Beobide, Jose Maria S.A.T.B. .16 9 
e Biedermann, E. J.—Op. 32. No. 3 S.A. .15 1 

(Also contains O Salutaris, S.A. & Panis Angelicus, S.A.) 
m Boex, A. J S.A.T.B. .06 16 
m Bonvin, L.—Op. 38 S.A.T.B. .60 1 

(Contained in Hymns for Benediction) 
m Browne, J. L. (No. 2) .'. S.A.T.B. .15 1 
md Browne, J. L. (No. 3) T.T.B.B. .15 1 
m Cherubim, Sister M S.S.A. .15 3 

(Also contains Jesu Rex Admirabilis, S.S.A.) 
em Constantine, G S.A.T.B. -15 3 
m Dethier, E. (D flat) S.A.T.B. .15 1 
m »Dethier, E. (D flat) S.A.T.B. .15 1 
e Dooner, A. J S.A.T.B. .20 1 

(Also contains O Salutaris; Panis Angelicus.) 
m Dress, A. (2) S.A.T.B. .15 1 
em Dubois, T T.T.B.B. .15 3 
d Dubois, T. (E flat) No. 2 S.A.T.B. .15 1 
em »Eder, P. V. S.S.A. or T.T.B. .20 3 

(Also contains Two English Hymns to B.V.M-, 
Unison by Singenberger & S.A.T.B. by Nekes.) 

em Falkenstein, J S.A.T.B. .12 3 
em »Gruber, J T.T.H.B. .20 1 
e Glasson, T.—Op. 7 (Organ ad lib.) T.T.B.B. .12 1 
e Guttler, J S.A.T.B. .3 5 1 
em Haller, M. (Organ ad lib.) S.A.T.B. .15 3 

(Also contains Anima C.bristi, S.S.A. by Auer; 
Adoro Te, S.A.T.B. by Singenberger.) 

m »Haller, M T.T.B.B.B. .15 3 
(Also contains Offertory for Feast of Seven Dolors, 
S-A.T.B. by Witt.) 

em Hamma, B. (E flat) S.A.T.B. .10 1 
e Hamma, B. (G) S.A.T.B. .15 1 
e Hammerei, B. (F) S.A-T.B. .15 1 
em Hammond, W. M S.T.B. .15 3 

(Also contains O Esca Viatorum, S.T.B.) 
m Klein, Bruno Oscar (E flat) A.T.T.B-B. .20 1 
md Klein, Bruno Oscar (G) A.T.T.B.B. .15 1 
em Koenen, Fr S.S.A. .15 3 
em Kuntz, E S.S.A. .15 3 

(Also contains Jesu Dnlcis Memoria, S.S.A. by 
Mitterer.) 

md Liszt, F S.S.A.A. .15 3 
em Mitterer, Ign.—Op. 127 T.B. _ 2 0 3 

(Also contains Alma Redemptoris, S.A.T. B. by Soriano; 
Ave Verum, S.A.T.B. by Witt.) 

em Mitterer, Ign.—Op. 44 S.A.T.B. .15 3 
(Also contains Adoro Te, S.A. by Frey.) 

— 79 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

Grade Title "Voices Price Publ. 

em Mitterer, Ign.—Op. 164 T.T.B. .20 1 
md Palestrina, G. P. da S.A.T-B. .15 3 
e »Päd, P * T.T.B.B. .20 3 

(Also contains two Litanies of Sacred Heart, S.A. 
& T.T.B.B. by Singenberger; Tantum Ergo, T.T.B.B. 
by Singenberger.) 

m Pierron, F. J S.A.T.B. .15 3 
m Quadfiieg, J S.A.T.B. .35 3 

(Also contains Offertory for Feast of Assumption, 
S.A. or T.B. by Koenen; Bone Pastor, S.A.T.B. by 
Kornmueller; English Hymn to Precious Blood, 
S.A.T.B. by Mitterer & Two English Hymns to 
B.V.M., by Haller.) 

e Ravanello, O. (E flat) S.A. or T.B. .10 34 
e Schehl, J. A S.A. or T.B. .15 

(Also contains Adoro Te, S.A. or T.B.) 
em Sears, Helen S.A.T.B. .15 
em Singenberger, J. (A) S.A.T.B. .15 
em Singenberger, J. (B flat) S.A.T.B. .15 
em Singenberger, J. (A flat-B flat) S.A.T.B. .20 
e Singenberger, J. (C-E flat-B flat) S.S.A. -35 
em Singenberger, J. (C) S.A.T.B. .15 
m Steiner, R S.A.T.B. .15 
m Steiner, R T.T.B.B. .15 
em Tappert, H. (F-E flat-D) S.A. .40 
e Tappert, H T.T.B.B. .15 
d *Traditional-Schehl—Op. 15 (E flat). S.A.T.B. .15 
e Wilkens, Ing S-A.T.B. .15 

(Also contains O Salutaris, S.A.T.B.) 
m "Waters, W. N S.A.T.B. .15 10 
m White, John (F) S.A.T.B. .12 34 
d Widor, Ch. M. (E flat) S.A.T.B. .10 34 
m Yenn, S. M S.A.T.B. .15 1 
md Yenn, S. M T.T.B.B. .15 1 
m Yon, P. A. No. 1 S.A.T.B. .15 i , 
m Yon, P. A. No. 1 T.B.B. .12 34 
m Yon, P. A. No. 2 T.T.B.B. .10 34 

TE DEUM LAUDAMUS 
m Dom S. Gregory Ould, O-S.B... .Unison, T. B. or S.A.T.B. .10 18 
d Singenberger, J. S.A. or T.B. .60 2 

(Also contains Tantum Ergo, S.A. or T.B.) 
TE ERGO QUAESUMUS 

m Mauro-Cottone S.A.T.B- .15 3 
TENEBRAE FACTAE SUNT 

e *CascioIini, CI T.T.B.B. .08 21 
m *Haydn, Michael S.A.T.B. .10 9, 
d "Palsetrina, G. P. da S.S.A.A. .10 9 
d 'Palestrina, G. P. da S.A.T.B. .15 9 

TIBI LAUS 
d •Lasso, Orlando di T.T.B.B. .12 1 

TOTA PULCHRA ES 
m Griesbacher, P .15 3 

(Also contains Ave Maria, S.A. or T.B. by Ebner; 
Gradual for Feast of Immaculate Conception, 
T.T.B.B. by Fröhlich; Hymn for Advent, S.A.T.B. 
by Kothe.) 

em Mitterer, J T.T.B.B. .15 3 
TOLLITE HOSTIAS 

m Saint-Saens, C S.A.T.B. .12 1 

— 80 — 



ANTIPHONS, RESPONSORIES, HYMNS AND MOTETS 

Grade Title Voices Price Pubi. 

T U E S S A C E R D O S 

e Cherubim, Sister M S.A. .15 3 
md Griesbacher, P S.A.T.B. .15 3 
e Huegle, Dom ,....S.A. .15 3 

VENI CREATOR 
em Attwood, T. S.A.T.B. .12 3 
e Becker, Rene L S.A.T.B. .15 3 
e Becker, Rene L T.T.B.B. .15 1 

(Also contains O Salutaris & Tantum Ergo, T.T.B.B.) 
em Cremer, C — S.A.T.B. .15 1 
e Dorè, M S.A.T.B. .15 3 
e Hamma, B S.A.T.B. .15 1 
e McDonough, F. J S.A. .12 3 
em Molitor, J. P S.A.T.B. .15 1 

(Also contains Ecce Sacerdos, S-A.T.B.) 
em *Rampis, P S.A.T.B. .15 1 

(Also contains Ecce Sacerdos, S.A.T.B.) 
em »Schweitzer, J T.T.B.B. .15 1 

(Also contains Ave Maria, T.T.B.B. by Reissiger; 
Saneta Maria, T.T.B.B. by Schweitzer.) 

em Singenberger, J S.A.T.B. .15 1,3 
em Singenberger, J S.S.A. .15 3 
em Singenberger, J T.T.B.B. .15 3 

VERBUM CARO 
e Chassang, P S.A. .12 3 
e Gilana, Sister M S.A. .15 3 
em Griesbacher, P S.S.A. .15 3 
md "Vittoria, T. L :. S.A.T. .20 20 (1) (3) 

VENI SPONSA CHRISTI 
m Koenen, Fr.—Op. 36 S.A. ,15 3 

(Also contains Offertory for Feast of St. Joseph.) 
VERE LANGUORES NOSTROS 

md *Lotti-Harthan T.T.B. .15 1 
VEXILLA REGIS 

e Gregorian Unison .15 3 
e Sears, Helen S.A.T.B. ,12 3 

VIDI AQUAM 
e Duraler, Martin G S.A.T.B. .15 1 
era Griesbacher, P .'. S.A. .15 3 
m Gruber, J T.T.B.B. .15 1 
e Gruber, J S.A.T.B. .30 1 

(Also contains Asperges Me & Veni Sancte Spiritus, 
S.A.T.B.) 

e Hacker, Fr Unison .10 3 
em Hamma, B S.A. .15 1 

(Also contains Asperges Me, S.A.) 
m Kempter, C S.A.T.B. .15 1 
e Marsh, W. J Unison .12 3 
em Piel, P- S.A. .15 3 
em * Singenberger, J T.T.B.B. .15 3 
em Singenberger, J S.A. .30 3 
em Singenberger, J S-A.B. .10 3 
e Smith, J S.A.T.B. .12 3 
em Tappert, H S.A. .15 3 
m Tappert, H S.A.T.B. .15 3 
m Witt, F. X S.A.T.B. .15 1 
em Yon, P. A S.A.T-B. .15 1 
m Yon, P. A : T.T.B.B. .15 1 

— 81-



HYMN BOOKS, COLLECTIONS, THREE VOICES 

' PART IV 
HYMN BOOKS, COLLECTIONS and WEDDING MUSIC 

A. UNISON 
Grade Voice Organ Publ. 

BONVIN, LUDWIG 
m Hosanna: Catholic Hymn Book with an Appendix of 

Prayers and Devotions 60 3-00 4 
(Containing 196 Latin and English Hymns for the 
Ecclesiastical Year) 9th Edition. 

COLONEL, P. M. 
m Manual of Select Catholic Hymns and Devotions.... 1.00 3.00 1 

(For the use of Schools, Colleges, Academies, and 
Congregations. Revised and edited by Francis Auth, 
C.SS.R. 

e "CONGREGATIONAL HYMNS" (Cards) 3.00 per 100 1.25 30 
(Contains twenty-four hymns for general use, in-
cluding hymns for Low Mass) 

DRESS, ALPHONSUS 
m Hymns for the Ecclesiastical Year 50 1.25 2 

(Containing 75 English and Latin Hymns) 
m EUCHARISTIC HYMNAL (Compiled under the direction 

of the Permanent Committee for Eucharistic Con-
gresses) 25 1*25 1 
(Contains 45 English and Latin Eucharistic Hymns, 
three Masses and Vatican Chants) 

HACKER, REV. JOHN C., S.J. 
m Catholic- Hymnal 8 

(A collection of 246 Standard Catholic Hymns in-
tended chiefly for the use of Catholic Colleges, 
Academies and Schools) 

MONTANI, N. A. 
e Six Processional Hymns. Unison, two or four voices .15 1 
m St. Gregory Hymnal and Catholic Choir Book. 

(A collection of 284 Approved English and Latin 
Hymns, Motets, Masses and Liturgical Music for the 
various seasons of the year) 

Complete edition for S-A.T.B. and Organ 2.00 
Melody edition for Unison and S.A. or T.B 1.00 
Edition with words only 40 5 

O'CONNELL, CARDINAL 
m The Holy Cross Hymnal 15 1.00 15 

(Contains twenty-two English Hymns) 
OTTEN, JOSEPH 

m The Parish Hymnal 50 2.50 4 
(Containing 5 Plain Chant Masses; Requiem and 
106 Latin and English Hymns for the Ecclesiastical 
Year) 

PRIEST OF THE DIOCESE OF FORT WAYNE 
m Hymnal and Prayerbook 3 5 2.50 4 

(Contains a collection of 135 Hymns and Prayers 
for Congregational use. Contains no melodies but 
refers to Hellebusch, Tozer, and Singenberger Cantate. 

ROESLER, ALEXANDER 
m Psallite: Catholic English Hymns 60 2.00 4 

(Contains 138 Hymns for the Seasons and Festivals 
of the Ecclesiastical Year. With an Appendix of 
Prayers and Devotions) 15th Edition-

— 82 — 



HYMN BOOKS, COLLECTIONS, THREE VOICES 

Grade > Voice Organ Publ. 

ROSSINI, CARLO " 
m Laudate Pueri Dominum 80 2.00 1 

(A collection of 100 Hymns and Motets and an 
Easy Mass for Unisonous Chorus) 

m The Parochial Hymnal 1.00 2.50 1 
(A select collection of 184 Approved English and 
Latin Hymns including a Mass and Requiem. For 
Congregational use and Children's choir) 

Edition with words only 40 

ROTHENSTEINER, JOHN 
m The Garland of Praise 50 4 

(Spiritual songs for use in the Catholic Church 
with Prayers for Mass and Latin Hymns) 

SCHEHL, J. A. 
m The St. Cecilia Hymnal 60 4.00 2 

(Containing a collection of 244 Hymns, Motets, An-
tiphons, Psalms, etc., for the seasons of the Ecclesi-
astical Year; with an Appendix containing the 
Asperges and Vidi Aquam. Two Settings of the 
Ordinary of the Mass, the Mass for the Dead and 
Responses at High Mass) 

SCHREMBS, RT. REV. JOSEPH D.D. 
m Diocesan Hymnal 

Part I. Communion and Confirmation Hymns .30 1.50 1 
Part II. Hymns for May, June, July, October 

and November Devotions 60 2.00 1 

SINGENBERGER, J. 
m Cantate 50 6.25 2 

(A collection of English and Latin Hymns, six 
Gregorian Masses, including the Requiem, the Re-
sponses at High Mass, Benediction Service, Te Deum) 
Has preludes, interludes and postludes for every 
hymn. -

m Collection of liturgical Benediction Music 25 3 
(For Unison, Two, or Four part singing) 

TOZER, EDMONDS 
m Catholic Church Hymnal 80 1.75 1 

(Collection of 269 Hymns for the Ecclesiastical Year) 
Edition with words only 50 

VRANKEN, JOSEPH 
e Twenty-five Offertories for the Principal Feasts of 

the Year 25 .80 1 

YON, PIETRO A. 
m Hymns for Three Hours' Agony Service 15 . 1 

ZITTEL, CHRISTIAN A. 
m St. Mary's Manual 75 3.50 6 

(Prayer-and Hymn-Book) 
m St. Mary's Hymnal 60 6 

(Part II of St. Mary's Manual) 

B. TWO EQUAL OR MIXED VOICES 

BAS, JULIUS 
m Four Eucharistic Chants T.B 25 1 

(Contains Oculi Omnium; Dens, Dew Mens; Adoro 
Te; Panis Angelicus) 

— 83 — 



HYMN BOOKS, COLLECTIONS, THREE VOICES 

Grade Voice Organ Publ. 

BONVIN, LUDWIG 
m Cantemus Domino 50 2.00 4 

(Catholic Hymnal with English and Latin words 
ior two, and three equal voices) 

CHERUBIM, SISTER M. 
em Praise to Jesus—Op. 39. (Two, three or four voices) .20 3 

(A collection of 5 hymns for Communion and Sacred 
Heart) 

HOFFMANN, J. B. 
em Cantiones Selectae S.A. or T. B 50 1-00 1 

(A collection of Offertories, Motets, Hymns for 
Benediction and Antiphons to B.V.M.) 

MONTANI, N. A. 
e Six Processional Hymns, Unison, two or four voices.. .15 1 
m St. Gregory Hymnal and Catholic Choir Book. 

(A collection of 284 Approved English and Latin 
Hymns, Motets, Masses and liturgical Music for the 
various seasons of the year) 

Complete edition for S.A.T-B. and Organ 2.00 
Melody edition for Unison and S.A. or T.B 1.00 
Edition with words only 40 

ROSSINI, CARLO 
m Canticum Novum 1-00 2.00 1 

(A collection of 115 Motets and Hymns and an Easy 
Mass for two equal voices) 

SINGENBERGER, J. 
e Cantus Sacri S.A -60 2 

(Contains eight hymns to Blessed Sacrament) 
m Collection of Liturgical Benediction Music 25 3 

(For Unison, two or four part singing) 
VRANKEN, JOSEPH 

em Lyra Angelica S.A. or T. B 40 .80 1 
(Motets in honor of the Bl. Sacrament and B.V.M.) 

c. THREE EQUAL OR MIXED VOICES 
AUER, J. 

em XII Cantiones Ecclesiasticae—Op. 43 60 .90 2 
(For three equal voices) 

BONVIN, LUDWIG 
m Cantemus Domino 50 2-00 4 

(Catholic Hymnal with English and Latin words for 
two and three equal voices) 

CHERUBIM, SISTER M. 
em Praise to Jesus—Op. 39. (Two, three or four 

voices) 20 3 
(A collection of 5 hymns for Communion and Sacred 
Heart) 

ELAINE, SISTER M. 
m Benediction Service S.S.A 20 3 

(Contains O Salutarli; Tantum Ergo; Adoro Te; Bone 
Jesu) 

HALLER, M. 
m V Motetta for Feast of Nativity—Op. 98. S.S-A. .85 2 

KRECKEL, PHILIP G. 
m Regina Caeli 75 1 

(A collection of Latin and English Hymns for S.S.A. 
or T.T.B.) 

— 84 — 



HYMN BOOKS, COLLECTIONS, THREE VOICES 

Grade Voice Organ Publ. 
MAURO-COTTONE 

md Melodiae Sacrae Bk. 3 (Three equal or Mixed voices) .50 . 3 
(A collection of Hymns for Benediction, Palm Sun-
day, Christmas, Good Friday, Feast of St. Vincent de 
Paul, Blessed Virgin Mary) 

ROSSINI, CARLO 
m Cantate Domino ...» 1.50 1 

(Containing 145 sacred Latin chants for T.T-B. or 
S.S.A. without organ) 

D. F O U R E Q U A L O R M I X E D V O I C E S 

BONVIN, LUDWIG 
m Hymns for Benediction—Op. 38. S.A.T.B 60 1 

(Contains 7 O Salutaris and 7 Tantum Ergo) 

BURTON, G. 
em Carmina Sacra S.A.T.B 80 1 

(A collection of Motets, Hymns for Benediction and 
Antiphons to the B.V.M.) 

CHERUBIM, SISTER M. 
em Praise to Jesus—Op. 39. (Two, Three or Four 

voices) 20 1 
(A collection of '5 hymns for Communion and Sacred 
Heart) 

GUBING, G. 
m The Principal Offertories of the Ecclesiastical Year. 

S-A.T.B 1.75 1 
HALLER, M. 

m XVIII Motetta—Op. 15. S.A-T.B 1.65 2 
(Contains eighteen offertories for Sundays and prin-
cipal feasts of the year) 

HAMMA, B. 
em Adoro Te Devote 1.50 1 

(A collection of Antiphons, Hymns and Motets for 
S.A.T.B. Ten of the selections are for T.T.B.B.) 

HARRINGTON, JOSEPH 
e Eight Easy Latin Hymns for Benediction 50 1 

(For chorus of mixed voices, organ ad lib.) 

JOCHUM, OTTO 
d Gradualienwerk—Op. 14. S.A.T.B 1.50 2 

(Contains Graduals for Easter Sunday, Easter Mon-
day, 1st, 2nd, 3rd, 4th, and 5th Sundays after Easter 
and Feast of St. Joseph) 

d Offertorienwerk—Op. 15. S.A.T.B 90 2 
(Contains Offertories for Easter Sunday, Easter Mon-
day, 1st, 2nd, 3rd, 4th, 5th, Sundays after Easter 
and Feast of St. Joseph) 

MITTERER, IGN. 
e VIII Responsories for Feast of Nativity S.A.T.B 1.50 2 
m IV Cantiones in honorem Ssmi Sacramenti—Op. 32. 

Cantus, A.T.B. with 4 wind instruments 60 2 
(Contains O Quam Suavis; O Sacrum Convivium; 
Ego Sum Panis Vitae Caro Mea) 

MONTANI, N. A. 
e Six Processional Hymns. Unison, two or four voices .15 1 

— 85 — 



HYMN BOOKS, COLLECTIONS, THREE VOICES 

Grade Voice Organ Publ. 

m St. Gregory Hymnal and Catholic Choir Book. 
(A collection of 284 Approved English and Latin 
Hymns, Motets, Masses and Liturgical Music for the 
various seasons of the year) 

Complete edition for S.A.T.B. and Organ 2.00 
Melody edition for Unison and S.A. or T.B.... 1.00 
Edition with words only 40 

PHILLE, J. E. 
m Melodies Gregoriennes 15 

(A collection of Plain Chant Masses, Vespers, 
Motets etc. for four voices) 

ROSSINI, CARLO 
em Wedding Music 1.25 1 

(Containing processionals and numerous pieces for 
organ; Offertories, Motets and Hymns for four male 
or mixed voices) 

S. A. E. 
em Benediction Hymns in honor of the Sacred Heart 

of Jesus .• 10 16 
(Contains a collection of Benediction Hymns for 
S.A.T.B.) 

m 13 Benediction Hymns in honor of the Most Holy 
Name of Jesus and of Our Heavenly Queen. S.A.T.B. .20 16 

SINGENBERGER, JOHN 
m Collections of Liturgical Benediction Music 25 3 

(For Unison, two, or four part singing) 
m Nine Hymns for Benediction S.A-T.B 35 1 

TAPPERT, HENRY 
em Hymns for Benediction (Latin) T.T.B.B. 25 1 

(Contains Adoro Te; Ave Verum; O Esca Viatorum; 
O Sacrum Convivium; Pange Lingua; Tantum Ergo) 

VADE MECUM 
(A collection of Motets, Offertories, Hymns for 
Benediction, etc. for T.T.B.B.) 

m Vol. I. Compiled and edited by A. M. Knabel 1.00 1 
m Vol. II. Compiled by J. B. Hoffmann 1.00 1 
m Vol. III. Compiled by J. B. Hoffmann 1.00 1 

YON, PIETRO A. 
m Motets for Three Hours' Agony Service S-A.T.B. .80 I 

— 86 — 



FEASTS AND SEASONS 

PART V 
MATERIAL FOR THE VARIOUS FEASTS AND SEASONS OF THE YEAR1 

Grade Voices Price Publ. 
ADVENT 

Antiphon for Advent cf. Part III under heading Ecce 
Dominus Veniet. 
Communion for Second Sunday of Advent cf. Part I 
page J J. 
Offertory for First Sunday of Advent cf. Part I 
page 55. 

APOSTLES, COMMON OF 
Antiphon for Common of Apostles cf. Part III under 
heading Fulgebunt fusti. 

ASCENSION 
Alleluia Verse for Sunday within Octave of Ascension 
cf. Part III under heading Regnavit Dominus. 
Antiphon for Feast of Ascension cf. Part III under 
heading O Rex Gloriae. 
Offertory for Feast of Ascension cf. Part I page 55. 

BLESSED SACRAMENT 
PLAIN CHANT 

Cantus ad processiones et Benedictiones SSmi Sacramenti. 
Gregorian notation * 
Modern notation I 
Organ accompaniment 3-00 1 

Kyriale seu Ordinarium Missae 
Contains besides the Ordinary of the Mass also 
Plain Chant Hymns in honor of the Blessed 
Sacrament ^ 

Kyriale seu Ordinarium Missae, Missa pro Defunctis 
Toni Communes Missae et Varii Cantus usitati 
ad Processionem et Benedictionem SS. Sacramenti 
Vatican version 
Modern notation with rhythmical signs .40 I 
Gregorian notation with rhythmical signs .40 1 

Latin Liturgical Hymns in honor Bl. Sacrament con-
tained in Delectus Missarum e Graduali Romano 2.00 1 
Select Liturgical Chants -!5 1 

Contains Litany of the Saints, Te Deum, Veni 
Creator, Vexilla Regis, Pange Lingua. 

NON-PLAIN CHANT 
Latin Hymns in honor of the Blessed Sacrament cf. 
Part III under headings Adoramus Te Christe, Ador-
emus in Aeternum, Anima Christi, Ave Verum, Bone 
Pastor, Coenantibus Ulis, Cor Jesu, Ecce Panis Angeli-
cus, Jesu Decus Angelicum, Jesu Dulcis Memoria, 
Lauda Sion, Lyra Angelica, O Bone Jesu, O Cor Jesu, 
O Deus Ego Amo Te, O Esca Viatorum, O. Quam 
Suavis Est, Panis Angelicas, Sacris Solemnis, O Salu-
taris, Tantum Ergo, Verbum Caro. Also cf. Part V 
under heading Corpus Christi and Part IV, Bas, Four 
Eucharistie Chants; Burton G., Cdrmina Sacra; Har-
rington, Joseph, Eight Easy Latin Hymns for Bene-
diction; Tappert, H., Hymns for Benediction. 

1. Feast-days are listed in alphabetical order. English Hymns are included for 
convenience. These are not to be used at High Mass but may be used at Low Mass 
and at extra-liturgical services. 



FEASTS AND SEASONS 

Grade Voices Price Publ. 

BLESSED VIRGIN MARY 
Alleluia Verse for Feast of Immaculate Conception 
cf. Part III under heading Tola Pulchra es. 
Antiphons of Blessed Virgin cf. Part III under head-
ings Alma Redemptoris, Ave Regina, Ave Maris Stella, 
Regina Coeli, O Sanctissima, Salve Regina, Sancta 
Maria, Sub Tuum Praesidium. 
Ave Maria cf. Part I page 59. 
Gradual for Feast of Immaculate Conception cf. Part 
I page 59. 
Latin Hymn for Feast of Immaculate Conception cf. 
Part III under heading O Gloriosa Virginum. 
O Maria Sine Labe, O Maria Virgo Pia, cf. Part III 
under same headings. 
Offertory for Feast of Assumption cf. Part I page 56. 
Offertory for Feast of Immaculate Conception cf. 
Part I page 59. 
Offertory for Feast of Our Lady of the Most Holy 
Rosary cf. Part I page 59. 
Offertory for Feast of Seven Dolors cf. Part I page 63. 

AIBLINGER, C. 
e *Of Our Earth the Fairest Beauty S.A.T.B. .15 3 

(Also contains English Hymns to B.V.M., S.A.T.B. 
by Singenberger; S.S.A. by Kuntz; & S.A. with T.B. 
ad lib. by Moll.) 

BONVIN, LUDWIG 
e Hail Holy Queen Unison .15 3 

(Also contains English Hymns to B.V.M., S.A.T.B. 
& S-S.A. or T.T.B. by Jaspers; Ecce Sacerdos, T.T.B.B. 
by Korz.) 

CHERUBIM, SISTER M. 
em Four Favorite Hymns to Our Lady—Op. 3 8 S.A.T.B. .20 2 

(Contains Mother Dear O Pray for Me; Daily 
Daily; Hail Mother Merciful, On This Day.) 

em Praise to Mary—Op. 38 S.A.T.B. 
(A collection of 5 hymns to B.V.M.) 

GREITH, C. 
e Be Joyful Mary S.A. or T.B. 

(Also contains Offertory for Easter, T.TB.B. by 
Nekes; Gradual for Easter, S.A.B. by Schweitzer; 
Benediction Hymns, S.S.A. by Kuntz.) 

HALLER, M. 
e O Heart of Mary, Queen of Heaven and S.A.T.B. 
e O Star of the Ocean - S . A . T . B 

(Also contains Tantum Ergo, S.A.T.B. by Quadflieg, 
Offertory for Feast of Assumption, S.A. or T.B. by 
Koenen; Bone Pastor, S.A.T.B. by Kornmueller; Eng-
lish Hymn to Precious Blood, S.A.T.B. by Mitterer.) 

m Litaniae Lauretanae B.V.M.—Op. 100 T.T.B.B. .85 2 
m O Queen of Peerless Majesty S.A.T.B. 

(Also contains English Hymns to B.V.M., Unison 
by Lohmann; T.T.B.B. by Hiermer; English Hymn 
for Religious Profession, S.A. by Bonvin.) 

HIERMER, MARTIN 
m *Haily Holy Queen Entron'd Above T.T.B.B. 

(Also contains English Hymn for Religious Pro-
fession, S.A. by Bonvin; English Hymns to B.V.M., 
Unison by Lohmann, S.A.T.B. by Haller.) 

.20 

.20 

.35 

.20 3 

.20 

— 88 — 



FEASTS AND SEASONS 

Grade Voices Price tubl. 
JASPERS, C 

e O Mary, Fount of Graces S.A.T.B. .15 3 
(Also contains English Hymns to B.V.M., S.A.T.B. 
by Singenberger and Aiblinger, S.A. with T.B. ad 
lib., by Eder & Offertory for Feasts of Saints, 
T.T-B.B. by Eder.) 

LOHMANN, ALBERT 
e We Come to Thee, Sweet Lady Unison .20 3 

(Also contains English Hymns to B.V.M., S.A.T.B. 
by Haller, T.T.B.B. by Hiermer; & English Hymn 
for Religious Profession, S.A. by Bonvin.) 

MOLL, FR. 
em Hail Holy Queen S.A. .15 3 

(Also contains English Hymns to B.V.M., S.A.T.B. 
by Singenberger and Aiblinger, S.S.A. by Kuntz; 
Offertory for Feasts of Saints, T.T.B.B. by Eder.) 

NEKES, F. 
em All Hail to Thee, Our Queen of Heaven S.A.T.B. .20 3 

(Also contains Tantum Ergo, T.T-B. or S.S.A. by 
Eder; English Hymn to Our Lady of Perpetual Help, 
Unison, by Singenberger.) 

NUFFEL, J. V. 
m Cantus in honorem Beatae Mariae Virginis S.A.T.B. 23(3) 

PIEL, P. 
em Of All Virgins, Thou Art Fairest and Unison .15 3 
em ' Salve Regina Unison 

(Also contains Salve Regina Coelitum, S-S.A. by 
Greith & Hymn to Our Lady of Perpetual Help, 
S.A. or T.B. by Jaspers.) 

PIERRON, J. J , 
em As the Dewy Shades and Unison .20 3 
era Mary, Dearest Mother Unison 

(Also contains Hymns to H o l y Ghost, S.A.T.B. by 
Pearsall and Blied.) 

SINGENBERGER, J. 
e Be Joyful Mary T.T.B.B. .20 3 

(Also contains two Benediction Hymns, S.A. & 
S.S.A. by Kuntz; English Hymn to B.V.M., S.A. or 
T.B. by Greith; Offertory for Easter, T.T.B.B. by 
Nekes..) 

e To Thee, O Holy Virgin, Our Voices We Raise and S.S.A. .15 3 
e Mother Mary Dearest Lady and S.S.A. 
e O Mystic Rose the Fairest Unison 

(Also contains Offertory for Easter, S.S.A.A. or 
T.T.B.B.) 

TAPPERT, H. 
e Now Raise Your Joyful Voices S.A.T.B. .20 3 

(Also contains Offertory for Feast of St. Cecilia, 
S.S.A. by Singenberger; English Hymn for B.V.M-, 
S.A. or T.B. by Singenberger.) 

em Hail Mary, Blessed Virgin S.S.A. .15 3 
(Also contains Salve Regina Coelitum, S.A. by Bon-
vin.) 

em Hail Mary, Blessed Virgin S.S.A. .20 3 
(Also contains Hymnus Temp. Pascb, T.T-B.B. by 
Tappert; Offertory for Feast of St. Joseph, S.A. or 
T.B. by Stehle & Adoro Te, S.A.T.B. by Stehle.) 

— 89 — 



FEASTS AND SEASONS 

.1$ 

.15 

.15 

.15 

Grade Voices Price Publ. 
CHRIST THE KING 

Gradual for Feast of Christ the King cf. Part I page 
56 Latin Hymns in honor of Christ the King ef-
Part IV under headings Jesum Christum Regem; Jesu 
Rex Admirabilis. Offertory for Feast of Christ the 
King cf. Part I page 56. 

GRUENDER, H. 
e Christ Our King Unison 

CHRISTMAS 
Alleluia' Verse for Christmas cf. Part III under 
heading Dies Sanctificatus. 
Latin Hymns for Christmas cf. Part III under head-
ings O Magnum Mysterium, Cantate Domino, Adeste 
Fideles, Tollite Hostias. 
Motets for Christmas cf. Part III under heading 
Hodie Cbristus Nat us Est, Resonet in Laudibus. 
Gradual for Christmas cf. Part I page 56. 
Offertory for Christmas cf. Part I page 56. 

BIGGS, R. K. 
m Let the Heavens With Joy Resound S.A.TB 

EDER, P. V. 
e The Angels at the Crib S.A.T.B. 

(Also contains Tui Sunt Coeli, S.A.T.B- by Stehle.) 
m Dearest Jesus S.A.T.B. 

(Also contains one other English Hymn for Christ-
mas S.A.T.B. by Koenen.) ' 

KOENEN, FR. 
em Holiest Night—Op. 61 and S.S.A. .20 3 
em Holiest Night and S.A.T.B. 
e Welcome to the World's Salvation s.A. 

(Also contains English Hymn for Christmas, S.S.A.A. 
by Singenberger & T.T.B.B. by Mitterer.) 

em O Sing a Joyous Carol S.S.A. .12 3 
em ^Holiest Night S.A.T.B. 

(Also contains English Hymn for Christmas, S.A.T.B. 
by Eder.) 

MITTERER, J. 
e O Tidings Sweet T.T.B.B. 

(Also contains English Hymn for Christmas, T.T.B.B. 
by Tappert, T.T.B. by Singenberger.) 

e Christmas Hymn T.T.B.B. 
(Also contains Motet for Christmas, Mitterer, three 
English Christmas hymns, S.S.A.A. or T.T.B.B., 
S.A.T.B., and S.A. by Koenen; and one English 
Christmas hymn T.T.B.B. or S.S.A.A. by Singen-
berger) 

PIEL, P. 
e Salvation's Night S A or T B 

(Also contains English Hymn for Christmas, S A 
or T.B. by Wiltberger.) 

SINGENBERGER, J. 
e An Angel Fair T.T.B.B. or S.S.A.A. 

(Also contains English Hymn for Christmas, T.T.B.B. 
by Tappert and Mitterer T.T.B.B.) 

e Christmas Hymns T.T.B.B. or S.S.A.A. .20 
(Also contains English Christmas Hymn,T.T.B.B. 
by Mitterer; Christmas Motet T.T.B.B. by Mitterer, 
and Three English Christmas hymns, S.S.A.A. or 
T.T.B.B., S.A.T.B., and S.A. by Koenen.) 

.15 3 

.15 

.15 

.15 

— 90 — 



FEASTS AND SEASONS 

Grade Voices Price Publ. 
TAPPERT, H. 

t Hail, Holy Night T.T.B.B, .15 3 
(Also contains English hymn for Christmas by Sin-
genberger, T.T.B.B. or S.S.A.A., and Mitterer 
T.T.B.B.) 

WILTBERGER, A. 
e Ye Shepherds, Arise S.A. or T.B. .15 3 

(Also contains English Hymn for Christmas, S.A. or 
T.B. by Piel.) 

e Hymn to the Infant Jesus T.T.B. or S.S.A. .15 3 
(Also contains Offertory for Christmas, S.A. with B. 
ad lib. by Ebner.) 

COMMUNION HYMNS 
Cherubim, Sister M. cf. Praise to Jesus in Part IV 
page 84. 

KUNTZ, P. E. 
e O Bread Divine S.S.A. .20 3 

(Also contains English Hymn to St. Michael, S.S.A. 
by Kuntz; Ecce Sacerdos, by Bonvin; Two Hymns for 
Benediction, S.S.A.A. by Winter & Ave Maria by 
Bonvin.) 

em A COLLECTION OF ENGLISH COMMUNION HYMNS 
BY VARIOUS COMPOSERS .20 3 
O Bread of Heaven by Sisters of Mercy Unison • 
Hail, Thou Living Bread by Sisters of Mercy Unison 
Aspirations to the Most Holy Sacrament by Sisters 
of Mercy Unison 
O Sacrament Most Holy, by Singenberger Unison 
Come to Me, by Zulueta Unison 
Sweet Sacrament, by Zulueta Unison 

CONFESSOR BISHOP, COMMON OF 
Alleluia Verse for Feast of Confessor Bishop cf. Part 
III under heading Tu es Sacerdos. 

CORPUS CHRISTI 
Antiphon for Feast of Corpus Christi cf. Part III 
inder headings O Quarn Snails Est, O Sacrum Con-

vivium. Latin Hymn for Corpus Christi cf. Part III 
under heading Pange Lingua, Lauda Sion. Also cf. 
Part V under heading Blessed Sacrament. 

DEDICATION OF A CHURCH 
Gradual for Dedication of a Church cf. Part I 
page 56. 
Latin Hymns for Dedication of a Church cf. Part III 
under heading Coelestis Urbs Jerusalem. 
Offertory for Dedication of a Church cf. Part I 
page 57. 

DOCTORS, COMMON OF 
Antiphon for Common of Doctors cf. Part III under 
heading O Doctor Optime. 

DUBUQUE, ARCHDIOCESE OF 
(Special Hymns for) 

DRESS, ALPHONSUS 
Dedication Ode T.T.B.B. 36 
Hymn to Archangel Raphael S.A.T.B. 36 
Centennial Hymn Unison 36 

SCHULTE, B. W. 
Hymn in honor of Bishop Loras S.S.A.A. 

T.T.B.B. or 
S.A.T.B. or 

Unison 3 6 

— 91 — 



FEASTS AND SEASONS 

Grade Voices Price Publ. 
EASTER 

Alleluia Verse for Easter cf. Part III under heading 
Alleluia. 
Gradual for Easter cf. Part I page 57. 
Latin Hymns for Easter cf. Part III under headings 
O Filii et Filiae, Angelus Autem Domini. 
Sequence for Easter cf. Part I page 58. 
Motet for Easter cf. Part III under heading Snrrexit 
Pastor Bonus. 
Offertory for Easter cf. Part I page 57. 

GREITH, C. 
e Be Joyful Mary S.A. or T.B. .15 3 

(Also contains English Hymns for Easter, S.S.A. by 
Tappert; S.S.A. by Stollwcrk and Motet for Easter, 
S.A.T.B. by Piel.) 

em Be Joyful Mary S.A.T.B. .15 3 
(Also contains Vidi Aquam, T.T.B.B. by Singenberger 
& Haec Dies, A.T.B.B. by Zettel.) 

STOLLEWERK, J. 
m The Savior Lives S.S.A.A. .15 3 

(Also contains English Hymns for Easter, S.A. or 
T.B. by Greith; S.S.A. by Tappert & Motet for 
Easter, S.A.T.B. by Piel) 

em O Glorious Easter Vision S A T B 15 3 
(Also contains English Hymns for Easter, S.A. or T.B. 
by Greith; S.S.A.A. by Stollewerk; & Motet for 
Easter, S.A.T.B. by Piel.) 

e O Glorious Easter Vision and S.A.T.B. .20 3 
em * 0 Glorious Easter Vision T.T.B.B. 

(Also contains English Hymn to St. Joseph, S.A. or 
T.B. by Piel; Graduals for Easter, S.A.T.B. by Stehle 
and Griesbacher.) 

EPIPHANY 
Offertory for Feast of Epiphany cf. Part I page 58. 
Offertory for Sunday within the Octave of Epiphany 
cf. Part I page 58. 

FORTY HOURS' DEVOTION 
PLAIN CHANT. 

Litany of the Saints (Gregorian) Unison .15 1 
(Also contains Te Deum). 
Gregorian Chants of the entire liturgical service of 
the Forty Hours' Devotion by Bragers, Achille, voice .25 7 
The same, Accompaniment by Bragers, 
(With rhythmic signs of the Benedictine monks of 
Solesmes) ; $1.00 7 
Also cf. Part V under heading Blessed Sacrament, 
Plain Chant. 
For Non-Plain Chant Latin Hymns cf. Part V under 
heading Blessed Sacrament, Non-Plain Chant. 

GUARDIAN ANGELS 
Antiphons for Feast of Guardian Angels cf. Part III 
under heading Angelis Suis. 

HOLY FATHER 
Prayer for Our Holy Father cf. Part III under 
heading Oremus Pro Pontifice. 

HOLY NAME OF JESUS 
Latin Hymns in honor of the Holy Name of Jesus cf. 
Part III under heading Jesu Dulcis Memoria. 

— 92 — 



FEASTS AND SEASONS 

Grade Voic" Pri" 
BONV1N, L. 

e Litaniae SS. Nominis Jesu a.A.i .n. 
(Also contains Sub Tuurn Praesidium, S.S.A. by Auerj) 

O'CONNELL, WILLIAM 
e Hymn to the Holy Name Unison 

W I T T , F . X . 

m Litaniae Sanctissimi Nominis Jesu—Op. 13b S.A.T.B. 

HOLY WEEK 
Antiphon for Holy Thursday, Good Friday and Holy 
Saturday cf. Part III under heading Christus Factus 
Est. Gradual for Holy Thursday cf. Part I page 59. 
Latin Hymns for Good Friday cf. Mauro-Cottone 
Melodiae Sacrae in Part IV, and Part III under 
heading Crux Fidelis. 
Psalms for Holy Week cf. Part III under headings 
Miserere mei Deus' and Domini est Terra. 
Responsories for Holy Thursday cf. Part III under 
heading In Monte Oliveti. 

• Responsories for Good Friday cf. Part III under 
heading Tenebrae Factae Sunt. 
Responsories for Holy Saturday cf. Part III under 
heading Ecce Quomodo Moritur. 
Lamentations cf. Part III under same heading. 
Tract for Holy Saturday cf. Part I page 59. 

E T T , C. # T T R R 
m »Choruses from the Passion 

Pubi. 

MEIER, F. M. , 
»Passion according to St. Matthew (Turba Choruses). .T.T.B.B. 

.15 

10 15 

SELLEN, DENIS 
»Passion according to St. Matthew (Turba Choruses) ... T.T.B.B. 

SINGENBERGER, OTTO 
»Seven Last Words (English) S.A.I.B. 

YON, P. A. 
Hymns and Motets for the Services of the Three 
TT Unison 

S " For T.T.B.B. or S.A.T.B. 

LENT 
Latin Hymns for Lent cf. Part III under headings 
O Deus Ego Amo Te; O Domine Jesu Christe; Vere 
Languores Nostros, S tabat Mater. 
Motets for Lent cf. Part III under heading Attende 
Domine. 

Offertory for Fourth and First Sundays of Lent 
cf. Part I page 60. 

CHERUBIM, SISTER M. 
Hymns for Lent—Op. 37. Two, Three or Four Voices 

O'CONNELL, WILLIAM. 
Hymn to the Holy Cross Unison 

WALTER, F. T. 
Lenten Hymns T.T.B.B. 
(Contains O Faithful Cross; All Ye Who Seek a 
Sure Relief & Ecce Homo.) 

LITTLE FLOWER 
COMPAGNO, G. M. 

Hymns to the Little Flower of Jesus Unison 
(Contains Dear Little Flower of Jesus; Hail to 
Thee Flower of Jesus; On This Day We Greet Thee.) 

. 2 0 

. 2 0 

.21 

.25 

.15 

.80 

.20 

.10 

.15 

.15 

3 

15 

3 

— 93 — 



FEASTS AND SEASONS 

GraJe Voices Price Publ. 
OUR LADY OF PERPETUAL HELP 

HALLER, M. 
e Prayer to Our Lady of Perpetual Help S.A. 15 3 

JASPERS, C. 
em Hymn in honor of Our Lady of Perpetual Help S.A. .1 j j 

(Also contains Salve Regina, S.A.T.B. by Piel & Salve 
Regina, S.S.A. by Greith.) 

SINGENBERGER, J. 
e Hymn to Our Lady of Perpetual Help Unison .20 3 

(Also contains English Hymn to B.V.M., S.A.T.B. 
by Nekes & Tan turn Ergo, T.T.B. or S.S.A. by Eder.) 

PALM SUNDAY 
Antiphon for Palm Sunday cf. Part III under headings 
Hosanna Filio David, Pueri Hebraeorum. 
Hymns for Palm Sunday cf. Mauro-Cottone, MeloJiae 
Sacrae in Part IV. 
Offertory for Palm Sunday cf. Part I page 61. 
Responsory for Palm Sunday cf. Part III under head-
ings In Monte Oliveti, Ingrediente Domino. 

PASSION SUNDAY 
Latin Hymns for Passion Sunday cf. Part III under 
heading Vexilla Regis. 

PENTECOST 
Gradual, Sequence and Offertory for Mass of Pente-
cost cf. Part I page 61. 
Latin Hymns for Pentecost cf. Part III under head-
ings Veni Creator Spiritvs, Veni Sancte Spiritus. 

A COLLECTION OF ENGLISH HYMNS FOR PENTE-
COST BY VARIOUS COMPOSERS .20 3 

m Come Holy Ghost by Blied, J S.A.T.B. 
d Spirit Thou of Truth Eternal by Pearsall S.A.T.B. 
em »Holy Spirit Lord of Light by Piel Unison 
em »Holy Ghost, Thou Fount of Grace by Singenberger T.T.B B 

PRECIOUS BLOOD 
Offertory for Feast of Precious Blood cf. Part I paee 61 

MITTERER, J. 
em Hymn to Precious Blood S.A.T.B. 35 3 

(Also contains Tantum Ergo, S.A.T.B. by Quadflieg; 
Offertory for Feast of Assumption, S.A. or T.B. by 
Koenen; Bone Pastor, S.A.T.B. by Kornmueller; O 
Gloriosa Virginum, S.S.A. by Kuntz; Two English 
Hymns to B.V.M., by Haller.) 

SINGENBERGER, J. 
em »O Precious Blood Redeeming Flood T.T.B.B. .20 3 

(Also contains Two Hymns for Benediction, S.S.A.A. 
by Winter; Communion Hymn by Kuntz; Ave Maria, 
S.A. by Bonvin; English Hymn to St. Michael,S.S.A. 
by Kuntz.) 

PROFESSION, RELIGIOUS 
BONVIN, L. 

em Receive this Holocaust, O Father Dear and S.A. .20 3 
e Receive this Holocaust, O Father Dear Unison 

(Also contains English Hymns to B.V.M.., S.A.T.B. 
by Haller; T.T.B.B. by Hiermer & English Hymn -to 
Our Lady of Perpetual Help, Unison, by Lohmann.) 

KOENEN, FR. 
m Veni Sponsa Christi—Op. 36 S.A. .15 3 

(Also contains Offertory for Feast of St. Joseph.) 

— 94 — 



FEASTS AND SEASONS 

Grade Voice Organ Publ. 

RECEPTION OF A BISHOP 
Gradual for the Reception of a Bishop cf. Part I 
page 61. 

SACRED HEART 
Antiphon for Feast of Sacred Heart cf. Part III under 
heading Quid Retribuam Domino. 

. Gradual for Feast of Sacred Heart cf. Part I page 62. 
Latin Hymns to Sacred Heart cf. Part III under 
heading Cor Jesu. 
Offertory for Feast of Sacred Heart cf. Part I page 
62. 

AUER, J. 
em To Jesus' Heart All Burning..... .....S.A. .20 3 

(Also contains English Hymn to St. Aloysius, S.S.A. 
by Auer; Offertory for Feast of Sacred Heart, 
S.A.T.B. by Eder.) 

CHERUBIM, SISTER M. 
Praise to Jesus cf. Part IV page 84. 

GISELA, SISTER M. 
em I Place My Trust in Thee S.A.T.B. .15 3 

(Also contains English Hymn to Sacred Heart, 
S. A. T. B. by Meyer.) 

HALLER, M. 
m Litaniae de Sacro Corde Jesu—Op. 104 S.S.A.A. .85 2 
em Litany of the Sacred Heart S.A. or T.B. .15 3 

A COLLECTION OF ENGLISH HYMNS TO THE 
SACRED HEART BY VARIOUS COMPOSERS... .20 3 

e Lo, I Praise as Faith is Teaching, by Jaspers, C S.S.A.A. 
em To Jesus' Heart All Burning, by Mettenleiter, B S.S.A.A. 
m To Jesus' Heart All Burning, by Meurers, P. S.S.A. or 

T . T . B . 

em Upon the Altar Night and Day, by Mitterer, J S.A. or T.B. 

MEURERS, P. 
m Litaniae SS. Cordis Jesu—Op. 22 S.A.B, with 

T. ad lib. .80 2 
MEYER, J. J.-REILLY 

em O Sacred Heart S-A-T.B. .15 3 
(Also contains English Hymn to Sacred Heart, 
S.A.T.B. by Gisela.) 

SINGENBERGER, J. 
e Heart of Jesus S.S.A. .15 3 

(Also contains Two Hymns for Benediction, T.T.B.B. 
by Tappert; Asperges Me, S.A.T.B. by Otto Singen-
berger; Ecce Sacerdos, T.T.B. by Schildknecht.) 

e Sweet Heart of Jesus S.A.T.B. .15 3 
e My Savior's Heart S.A.T.B. .15 3 
em Sacred Heart! In Accents Burning S.A.T.B. .15 3 
em Litaniae Ss. Cordis Jesu and S.A. .20 3 
em *Litaniae Ss. Cordis Jesu T.T.B.B. 

(Also contains Tantum Ergo, S.A. by Piel; Offertory 
for Feast of SS. Peter & Paul, T.T.B.B. by Koenen.) 

ST. ALOYSIUS 
AUER, J. 

em Hail, Guide of Youthful Days S.S.A. .20 3 
(Also contains Offertory for Feast of Sacred Heart, 
S.A.T.B. by Eder; English Hymn to Sacred Heart, 
S.A. by Auer.) 

— 95 — 



FEASTS AND SEASONS 

Grad* g Voice Organ Publ. 
ST. CECILIA 

Antiphon for Feist of St. Cecilia cf. Part III under 
heading Cantantibus Organis. 
Gradual and Offertory for Feast of St. Cecilia cf. 
Part I page 62. 

SINGENBERGER, J. 
"e Hymn to St. Cecilia s.A. or T.B. .20 3 

(Also contains Offertory for Feast of St. Cecilia, 
S.S.A. by Singenberger; English Hymn for B.V.M., 
S.A.T.B. by Tappert.) 

ST. FRANCIS 
PIEL, P. 

e Great St. Francis, We Salute Thee and Unison .20 3 
e St. Francis, Our Helper in Need Unison 

(Also contains Offertory for Feast of St. Cecilia, 
S.A.T.B. by Singenberger.) 

e Blessed St. Francis Hath United Innocence with 
Seraph's Glow and S.A. or T.B. .2 J 3 

e Sing We Dear St. Francis' Praise and S.A. or T.B. 
e Dear St. Francis, Thou Father Seraphic S.A. or T.B. 

SINGENBERGER, J. 
e God Grant Thee Peace, St. Francis and T.T.B.B. ,1J 3 
e God Grant Thee Peace, St. Francis T.T.B. or S.S.A. 

ST. GREGORY 
Gradual for Feast of St. Gregory cf. Part I page 63. 
Offertory for Feast of St. Gregory cf. Part I page 63. 

ST. JOSEPH 
Offertory for Feast of St. Joseph cf. Part I page 63. 

HALLER, M. 
e Litaniae de St. Joseph S.A. .80 2 
e Hymnus in Festo St. Joseph S.S.A 80 2 

MOLL, FR. 
em Hymn to St. Joseph Unison .20 3 

(Also contains Offertory for Feast of St. Joseph 
S.A.T.B. by Singenberger; English Hymns to St. 
Joseph, S.S.A. by Singenberger & T.T.B.B. by Schultz; 
Ave Regina Coelorum, T.T.B.B. by Witt.) 

PIEL, P. 
Holy Patron Thee Saluting S.A. or T.B. .20 3 
(Also contains English Hymns for Easter, S.A.T.B. 
& T.T.B.B. by Tappert; Graduals for Easter, S.A.T.B. 
by Stehle & S.S.A. by Griesbacher.) 

SCHULTZ, J. 
:m *Hymn to St. Joseph T T B B 20 3 

(Also contains Offertory for Feast of St. Joseph 
S.A.T.B. by Singenberger; Ave Regina Coelorum, 
T.T.B.B. by Witt; English Hymns to St. Joseph, 
Unison by Moll, S.S.A. by Singenberger.) 

SINGENBERGER, J. 
To Dear St. Joseph S.S.A. .20 3 
(Also contains Offertory for Feast of St. Joseph 
S.A.T.B. by Singenberger; Ave Regina Coelorum, 
T.T.B.B. by Witt; English Hymns to St. Joseph, 
Unison by Moll & T.T.B.B. by Schultz.) 
Litany of St. Joseph S.A. .20 3 

m Litany of St. Joseph S.A T B 20 1 
ST. MICHAEL 

Offertory for Feast of St. Michael cf. Part I page 63. 

— 96 — 



FEASTS AND SEASONS 

Grade Voice Organ Publ. 
KUNTZ, P. E. 

em Hymn to St. Michael S.S.A. .20 3 
(Also contains Hymn in honor of Precious Blood, 
T.T.B.B. by Singenberger; Ecce Sacerdos, S.A.T.B. by 
Bonvin; Ave Maria, S.A. by Bonvin; Communion 
Hymn, S.S.A. by Bonvin and Two Hymns for Bene-
diction, S.S.A.A. by Winter.) 

SS. PETER & PAUL 
Antiphons for Feast of SS. Peter & Paul cf. Part III 
under heading Tv Es Petrus. 
Communion for Feast of SS. Peter & Paul cf. Part I 
page 63. 
Gradual for Octave of Feast of SS. Peter & Paul cf. 
Part I page 63. 
Motet for Feast of SS. Peter & Paul cf. Part III under 
heading Beati Eritis. 
Offertory for Feast of SS. Peter & Paul cf. Part I 
page 63. 

SEPTUAGESIMA SUNDAY 
Offertory for Septuagésima Sunday cf. Part I page 63. 

SEVEN DOLORS OF B.V.M. 
Offertory for Feast of Seven Dolors of B.V.M. cf. 
Part I page 63. 
Sequence for Feast of Seven Dolors cf. Part I page 64. 

TRINITY, BLESSED 
Motet for Feast of Blessed Trinity cf. Part III under 
heading Tibi Laus. 
Tract for Feast of Blessed Trinity cf. Part I page 64. 

TWO OR MORE MARTYRS 
Antiphons for Feast of Two or More Martyrs cf. 
Part III under heading lstorum Est. 

VIRGINS & MARTYRS A N D NON-VIRGINS 
Gradual for Feast of Virgins and Martyrs cf. Part I 
page 64. 

— 97 — 



ORGAN MUSIC 

PART VI 

O R G A N M U S I C 

Section 1—ORGAN OR HARMONIUM (on two staves) 
GraJe Price Publ. 

BOTTAZZO, L. 
e Eight Pieces for Organ or Harmonium—Op. 297 29 (3 ) " 

BRANCHINA, P. 
m Elegia (For Organ or Harmonium)—Op. 91. 15 12(1) (3) 

CHRETIEN, H 
e Organ Music for the Young Organist 1.00 27 (3) 

CORDELLA, F. 
e Five Easy Pieces for Organ or Harmonium 29(3) 

(Contains Preludes and Interludes) 
DELEPINE, L'ABBE H. 

m Practical Pieces for the Organ or Harmonium 80 27(3) 
(Contains twelve selections) 

DIEBOLD, J. 
em Preludes, Postludes and Modulations for the Organ—Op. 54.. 2.00 2 

FISCHER, J. 
em Fischer's Practical Organist—Vol. 2 I.JO 1 

(A collection of Preludes, Interludes and Postludes) 
em Fischer's Album for Young Organists—No. 434, Vol. 2 1.00 1 

(Containing short and easy Voluntaries, Interludes, Preludes 
and Postludes) 

GRUBER, J. 
e The Student's Organ Manual—Op. 318 1.25 1 

(Short Preludes and Interludes in Modern and Ancient 
Church Modes. Also 119 Modulations.) 

KERN, G. A. 
m Organ Gems 2.00 1 

(Contains Preludes and Postludes) 

KRECKEL, P. G. m Wedding March j0 j 
RAFFY, LOUIS 

em A Collection of Pieces for Organ or Harmonium for Divine 
Service—VoL 1 2.00 27 (3) 
Easy Organ Compositions 80 3 
(Fifteen Short and Practical Pieces. 

REILLY, J. 
Twelve Easy Organ Processionals—No. 919 .80 3 

ROSSINI, CARLO 
The Liturgical Organist—VoL I 1.50 1 
(Containing Preludes, Interludes and Postludes) 

Wedding Music 1.25 1 
(Contains Processionals and numerous pieces for Organ; 
Offertories, Motets, and Hymns for Male and Mixed Voices) 
(For Organ or Harmonium) 

SURBONE, A. 
Thirteen Brief Compositions for the Organ or Harmonium. 
Second Edition 28(1) (3) 

TAVERNA, G. 
Three Pieces for the Organ 12(1) (3) 

WEIL, AUGUST 
1000 Pieces for the Young Organist—Op. 3 5.00 2 



ORGAN MUSIC 

Section 2—ORGAN ONLY 
Grade . Price Pul>1-

DIEBOLD, J. 
m Twenty-Five Pieces for the Organ—Op. 54b 1.00 2 

(Contains Preludes and Postludes) 
md Compositions for the Organ—Op. 54c 3.25 2 

(Contains Preludes, Interludes, Postludes and Modulations) 
(Two staves mostly) 

DOUGLAS, ERNEST 
m An Organ Miscellany—Vol. 1. (Three staves) 1.2J 1 
md Vol. II. (Three staves) 1.2$ 1 

DUBOIS, THEO. 
d 10 Compositions for the Organ (Three staves) 1.25 1 
d 12 Compositions for the Organ (Three staves) 1.25 1 

DUNCAN, ED. 
m Six Organ Pieces (Three staves) 3 

FINO, G. 
vd Lodate Maria (with variations) (Three staves) .80 26(3) 

GUILMANT, A. 
m The Practical Organist—Vol I. (Three staves) 2.50 1 
md The Practical Organist—Vol. II. (Three staves) 2.00 1, 25 (3) 

KRECKEL, PHILIP G. 
Musica Divina (Choral Improvisations for the Organ) 

md Vol. I. (Three staves) 1.25 1 
md Vol. II. (Three staves) 1-2$ 1 
md Vol.111. (Three staves) 1-25 1 

LOHMANN, ALBERT 
m Concentus Organi-Twenty Pieces for the Organ 

(Three staves) 1 

PATTISON, T. M. 
m Easy Preludes, Postludes and Offertories 

Fifteen Introductory and Concluding Voluntaries 
(Three staves) 1-00 1 

RENNER, J. 
m Sixteen Selections for the Organ—Op. 33. (Three staves) 90 2 

RINCK, J. C.-GORDON NEVIN 
m Sixteen Postludes (Three staves) 1.25 1 

STUYCK, J. 
m Pro Organo—Two Selections for Organ (Three staves) 35 3 

VOLCKMAR, DR. W. 
md Preludes-Postludes for Organ. Eight Compositions for Festive 

Occasions—Op. 368. (Three staves) 1.25 1 
m Preludes-Postludes for Organ. Fourteen Compositions for 

Festive Occasions. (Three staves) 1.25 1 

— 99 — 



BOOKS, PERIODICALS, RECORDS 

PART VII 

T H E O R E T I C A L W O R K S 

Section 1—BOOKS 
Pricr Pub!. 

BENEDICTINES OF STANBROOK 
A Grammar of Plainsong 1.25 (1 ) (3 ) 

HUEGLE, P. GREGORY, O.S.B. 
Catechism of Gregorian Chant 75 1 

HUEGLE, P. GREGORY, O.S.B. 

ALICE MARIE, SISTER, O.S.U. 

SCHREMBS, MOST REV. JOSEPH 
The Gregorian Chant Manual 2.25 31 
(A practical method of integrating the study of Gregorian Chant 
and modern music, the teaching procedure in accordance with 
approved educational thought) 

JOHNER, REV. DOM. O.S.B. 
A New School of Gregorian Chant 2.25 2 

PREDMORE, REV. GEORGE 
Sacred Music and the Catholic Church 2.50 3 

SUNOL, DOM. GREGORY, O.S.B. 
Text Book of Gregorian Chant 1.40 1 

Section 2—PUBLICATIONS 
ORATE FRATRES 

A liturgical review. Published every four weeks (Per Year) 2.00 3 5 

THE CAECILIA 
The only monthly periodical in America devoted to Catho-
lic Church Music (Per Year) 3.00 3 

THE CATHOLIC CHOIRMASTER 
The official Bulletin of the Society of St. Gregory of America. 
Nicola A. Montani, Editor. Published quarterly (Per Year) 2.00 5 

Section 3—RECORDS 
A great help to choir directors may be the use of one or more of the following 

records. The rendition of Plain Chant music can now be much more easily perfected 
by a choir when it has been made possible for them to hear, even by record, the perfect 
rendition by various highly specialized, highly trained, voices. Consequently, the following 
records are noted here. The publisher of these records is Silver Burdett & Co. (publisher 
No. 31 in the List). 

RECORDED CHANTS USED IN THE CATHOLIC MUSIC HOUR 

(These records are available singly or in sets) 

V I C T O R R E C O R D A L B U M M 8 7 

(12 records—list price, $24.00) 

Sung by Monks Choir of Saint-Pierre de Solesmes Abbey 

Record 7341—Mass I, Lux et Origo 
Kyrie Eleison—Agnus Dei—Gloria in Excelsis—Sanctus $ 2.00 

Record 7342—Requiem Mass 
Introit—Requiem Aeternam, etc. 
Offertory—Dominie Jesu Christe, etc 2.00 

— 100 — 



RECORDS 

Price 
Record 7343—Gradual—Christus Factus Est, etc 2.00 
Record 7344—Communions—Memento Verbi Tui, Pascha Nostrum— 

Quinque Prudentes 2.00 
Record 7347—Mass IX, Cum Jubilo—Sanctus and Agnus Dei 

Hymn—Adoro Te; Antiphon—Salve Regina 2.00 
Record 7348—Introit—Da Pacem; Kyrie Orbis Factor 2.00 
Record 73 J1—Responsory—Media Vita 2.00 

V I C T O R R E C O R D A L B U M M 6 9 

Sung by Pius X Choir, College of the Sacred Heart 
Record 7180—Credo I 2.00 
Record 7181—Responses, Sanctus and Benedictus, Agnus Dei of Mass XI 

(Cum Jubilo) 2.00 

A D D I T I O N A L I M P O R T E D R E C O R D I N G S 

Columbia No. 
C-DHX6 —Rotate Caeli 2.Ì0 
C-DHX7 —Christus Factus Est Obediens 2.50 
C-DH42 —Puer Natus Est 1.50 
C-DHX10 —Requiem Aeternam 2.50 
C-DH43 —Veni Sancte Spiritus 1.50 
Victor No. 
C2087 —Asperges Me, Kyrie Eleison, Mass IX, "Cum Jubilo" 1.90 
C2088 —Responses to the Preface 

Sanctus and Benedictus from Mass IX, "Cum Jubilo" 
Salve Regina 
Ave Regina Coelorum (Antiphon) ^ 1.90 

V I C T O R R E C O R D A L B U M M L 7 7 

( 5 records—list price, $ 7 . 5 0 ) 

Sung by Pius X Choir, College of the Sacred Heart 

The Requiem Mass (complete in five records) 

Record 11528 $ 1.50 
Record 11529 « 1.50 
Record 11530 1.50 
Record 11531 1.50 
Record 11532 1.50 

CATHOLIC MUSIC HOUR 
Sixteen Gregorian Chants on Two Victor Records 

24819 (75c) and 24820 (75c) 
Sung by School Children of St. Martin and St. Philip Neri Choirs 

VICTOR R E C O R D — 2 4 8 1 9 — 7 5 c 

(10 Chants) 
First Book: 

1. Gloria Patri 
2. Et Incarnatus Est 
3. Angele Dei 
4. O Salutaris Hostia 
5. Tantum Ergo 
6. Salve Mater 

Second Book: 
1. Sanctus and Benedictus from Mass XVIII 
2. Salva Nos, Domine 
3. Veni Creator 
4. Ave Verum 

— 101 — 



RECORDS 

Third Book: 
1. Adoremus and Laudate 

Fourth Book: 
1. Asperges Me 

Fifth Book-. 
1. Ave Maria 
2. Ut Queant Laxis 
3. Sua vis Dominus 
4. Ad Te Confugimus 

V I C T O R R E C O R D — 2 4 8 2 0 — ( 7 J c ) 

(6 Chants) 

—102 — 



DISAPPROVED MUSIC 

PART VIII 

D I S A P P R O V E D M U S I C 

It has frequently happened that at religious functions in certain churches and chapels 
music has been performed that is neither becoming nor edifying. Church authorities have 
always warned against such music. 

Among the songs that are not to be tolerated in Catholic Churches are: 

The End of a Perfect Day 
Face to Face 
Beautiful Isle of Somewhere 
O Promise Me 
There's a Beautiful Land on High 

In the matter of Organ Music the Wedding Marches from "Lohengrin" by R. Wag-
ner^ from "Midsummer Night's Dream" by F. Mendelssohn are not to be played at any 
time within a church or chapel. 

The music commission of the Archdiocese of Dubuque with the authority of the 
Most Reverend Archbishop insists that all so-called choir music which was disapproved 
at the Convention of the Society of St. Gregory of America, held in Rochester, New 
York, May 4-6, 1922, may not be permitted within the churches or chapels within the 
Archdiocese of Dubuque. 

The disapproved and forbidden material includes all of the following:1 

All the Masses by the following composers: 

Ashmall 
Battmann 
Bordese 
Brown (Will. 
Concone 
Corini 
Durand 
Farmer 
Ganss 

M. S.) 

Giorza 
Generali 
Kalliwoda 
L a m b i l l o t t e 

La Hache 
Lejeal 
Leonard 
Loesch 
Leprevost 

of Charles Gounod's, the following Masses: 

St. Cecilia De Pâques (No. 3) 

Mercadante 
Merlier 
Millard 
Poniatowski 
RoSewig 
Silas 
Stearns 
Wiegand 

Sacred Heart 

The musical value of the religious compositions of Mozart, Joseph Haydn, Schubert, 
G. Rossini2 C. M. von Weber does not enter into the question. The exception taken is 
their purely liturgical unfitness according to the principles declared in the Motu Proprio. 

All the Vespers and Psalms, by: 

Aldega 
Brizzi 
Capooci 
Cerniti 

Corini 
Generali 
Giorza 
Lejeal 

Marzo 
McCabe 
Mercadante 
Millard 

Moderati 
Stearns 
Wiegand 
Zingarelli 

THE REQUIEM MASSES by: 

Cherubini Madonna Giorza Ohnewald 

1. The complete list of Disapproved Music which is here given is taken from 
The "White List of the Society of St. Gregory of America with the written permission 
of its editor. 

2. Not to be confused with Rev. Carlo Rossini, whose compositions stand approved. 



DISAPPROVED MUSIC 

HYMN AND CHOIR BOOKS: 

St. Basil's Hymnal 
Cantica Puerorum, Eduardo Marzo 
Laus et Preces, Eduardo Marzo 
Collection for Sodalists, A. H. RoSweig 
Catholic Choir Book, P. Giorza 
Concentus Sacri, A. H. RoSewig 
Salve, Volume I., P. Giorza 
Gloria, Volume II., P. Giorza 
Laus Deo, Volume III, P. Giorza 
The Chapel Hymn Book 
Catholic Youth's Hymn Book, Christian Brothers 
May Chimes, Srs. Notre Dame 
Peter's Class Book 
Peter's Catholic Harmonist 
Peter's Catholic Harp 
Peter's Sodality Hymn Book 
Sunday School Hymn Book 
Vade Mecum, Kelly 
Werner's Collection of Seven Pieces 
Wreath of Mary 

MISCELLANEOUS 

STABAT MATER—G. ROSSINI 
All of Rossini's compositions should be excluded from the Catholic Choir. These 
works are unchurchly, to say the least. The "Stabat Mater" is most objectionable 
from a liturgical standpoint. 

REGINA COELI—P. GIORZA 
All compositions by P. Giorza should be eliminated from the repertoire of the 
Catholic choirs. The composer wrote any number of "Ballets." He did not 
change his style one iota when he put sacred words to these utterly secular melodies. 
The worst example of this "Ballet" style in church is the setting of the "Regina 
Coeli," which, sad to relate is still sung in many of our churches. 

JESU DEI VIVI—G. VERDI 
Taken from the opera "Attila." This number is another favorite among Catholic 
choirs. The composer wrote this for one of his operas and not for Church use. 
He would have been the first to object to its use in its present form, since it is 
neither fitting nor appropriate. 

THE AVE MARIAS by: 
Luzzi, Millard, Verdi, Bach-Gounod, Mascagni, RoSe-wig, Lambillotte, Kahn, etc. 
All arrangements and adaptations of Operatic Melodies, such as Sextet from "Lucia 
di Lammermoor," Quartet from "Rigoletto," arias from "Tannhauser," "Lohen-
grin," "Othello," etc. 

SALVE REGINA—C. HENSHAW-DANA 

BORDESE'S COMPOSITIONS- •All. 



PUBLISHERS 

PART IX 
NAMES AND NUMBERS OF PUBLISHERS USED IN APPROVED LIST 

Company Address Number 

J. FISCHER & BRO 119 West 40th St., New York, N. Y 1 
FREDERICK PUSTET CO (Ine) 436 Main-St., Cincinnati, Ohio 2 

McLAUGHLIN & REILLY CO 100 Boylston St., Boston, Mass 3 
B. HERDER BOOK CO 15 & 17 South Broadway, St. Louis, Mo. 4 
ST. GREGORY GUILD 1705 Rittenhouse St., Philadelphia, Pa S 
CATHOLIC BOOK PUBLISHING CO. 43-45 East 12th St., New York, N. Y 6 
SCHWARTZ, Kirwin AND FAUSS Box 874, City Hall Annex, New York 8 

CATHOLIC EDUCATION PRESS 1326 Quincy St., N.E., Washington, D. C. 7 
E. J. SCHIRMER, CO 221 Columbus Ave., Boston, Mass 9 
G. RICORDI & CO., Ine 12 West 45 th St., New York, N .Y 10 
H. PAWEI.EK Regensburg, Bavaria, Germany 11 
M. CAPRA Via Nizzia 149, Torino, Italy 12 
OTTO SINGENBERGER Mundelein, 111 13 
L. SCHWANN Duesseldorf, Germany 14 
WHITE-SMITH PUB. CO 40 Winchester St., Boston, Mass 15 
WILLIS MUSIC CO 137 West 4th St., Cincinnati, Ohio 16 
H. W. GRAY CO 159 East 48th St., New York, N. Y 17 
NOVELLO & CO London 18 
FRANCISCAN HERALD PRESS Chicago, 111 19 
H. HERELLE ET CIE 16 Rue De l'Odeon, Paris, France 20 
COLUMBIA COLLEGE Dubuque, Iowa 21 
ANTON BÖHM & SON Augsburg, Bavaria, Germany 22 
A. LENDENT MALAY 5-7 Galerie Border, Brussels 23 
J. & W. CHESTER LTD .....11 Great Marlborough St., London W. I. 24 
WM. E. ASHMALL & CO Arlington, N. J. 25 
G. ZANIBON Padova, Italy 26 
PROCURE GENERALE deMUSIQUE 

RELIGIEUSE 3, Rue de Mezieres, Paris, France 27 
V. CARRARA Bergamo, Italy 28 
MUSICA SACRA Via Fatebenefratelli N. 21, Milano, Italy.. 29 
A. J. EGGERS CO 117, 119 West 4th St., Cincinnati, Ohio.. 30 
SILVER, BURDETT & CO 221 East 20th St., Chicago, 111 31 
BREITKOFF & HÄRTEL Leipzig, Germany 32 
ASSOCIATED MUSIC PUBL 25 West 45th St., New York, N. Y. 33 
G. SCHIRMER (Inc.) 3 East 43rd St., New York, N. Y 34 
LITURGICAL PRESS St. John's Abbey, Collegeville, Minn 35 
ARCHDIOCESAN SUP'T OF SCHOOLS ...11th & Bluff Sts., Dubuque, Iowa 36 

— 105 — 



It is urgently requested that any Church Music 

not mentioned in the Approved List of Church 

Music for the Archdiocese of Dubuque be 

submitted for approval to the Archdiocesan 

Music Commission. From time to time addi-

tional approved music will be announced in 

the columns of THE WITNESS. It will also be 

embodied in later editions of the Approved 

List of Church Music for the Archdiocese of 

Dubuque. Kindly address all communications 

concerning such music to 

The Editor, Archdiocesan Music Commission, 

Columbia College, Dubuque, Iowa. 









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