The Bernard Huijbers-Huub Oosterhuis Collaboration

Music and text for the song titled You Wait For Us

You Wait For Us is a single verse acclamatory song in a Gregorian melismatic chant, calling on the Deity and Assembly to be present with one another in shalom, endless peace and calm.1

Apologia

I met Bernard Huijbers in 1968, at a workshop in the Nijmegen Augustinian Monastery, where he was introducing his newly-published collection of vernacular Psalms for the Roman Catholic Church. As yet unfamiliar with the language, I understood intuitively the meaning of what we were singing due to the clarity of the music and my familiarity with the Psalter. I stayed in touch with him throughout the 1970s, becoming a frequent house guest, first in Amsterdam until 1979, and then in his retirement years in the Aveyron Valley of central southern France, each year until his death in 2003. We would sit well into the early hours of the morning talking, translating his music (the texts of Huub Oosterhuis), and challenging everything I thought I knew about composition. He introduced me to the Amsterdam Dominicuskerk, a declining inner-city parish which he had rejuvenated through the power of his music, transforming that community into an eclectic assembly which continues to meet to this day.

He introduced me to Huub Oosterhuis, pastor of the sister church to the Dominicus, the Amsterdam Studentenekklesia. As of writing, Oosterhuis is still active as pastor emeritus of this community, now re-named Ekklesia Amsterdam, and I am speak regularly with his associate, theologian Kees Kok, who serves as his editor, and in his own words, ‘a pulpit-taker’ for Sunday Services, and producer of his CDs. I am still maintain regular contact with the Dominicuskerk.

St. John’s University in Collegeville agreed in 2016 to house an Huijbers-Oosterhuis archive in the Alcuin Library, as an interdenominational venture ‘for cultural preservation and library innovation’. Supported by the Emmaus Archival Institute Inc., this entity has been incorporated in the State of Maryland (where Huijbers taught at Loyola in the early 1970s), enjoying tax-exempt status. This will be a comprehensive resource center in the English-speaking world of their significant publications, including their earliest introduction into America.

The History of the Bernard Huijbers-Huub Oosterhuis Corpus in America

North American Liturgy Resources (NALR) first published Huijbers in 1972. These earliest editions still survive in limited circles and in the race memory of those early adherents. The first translations were made by in the late 1960s by a Dutchman, an Englishman and an American. In the early 1970s, a second translator emerged in America, with a reputation as a poet, with the intention of improving (Americanizing) the quality of those translations. Huijbers, however, was not satisfied with the quality of his work, troubled by how the rendition of a classical poet by a romantic somewhat idiomatic writer, who was neither a Dutch speaker nor a practicing musician, could possibly succeed. Hence his decision to collaborate with me in the mid 1970s to produce more acceptable translations (as far as it is ever possible to render the second language of any poet), by working from both the original texts and their music scoring.2 The Dutch word Woordtoonhouding describes the synthesis of syllabic text and its music notation. Huijbers was unique in The Netherlands by invoking Gerald Manley Hopkins’ identification of ‘sprung rhythm’. Dutch is a compound language of considerable complexity, especially as regards to diction.

This second round of translations of the early 1970s soon fell into disuse with the never-ending quest for novelty. However, not everything disappeared from sight.3 In 1994, Oregon Catholic Press (OCP) acquired NALR and its publications included several of those early Huijbers’ pieces, but admit that there is little demand for most of them. A few survive to this day in various hymnals.

In the 1990s, OCP chose to publish two collections of the new Huijbers-approved translations. The music selected to illustrate this article are from those Huijbers-approved editions. These editions Jabulani published under copyright with Gooi en Sticht, then of Hilversum, now part of Kok-Boekencentrum, Utrecht (a Protestant-Catholic venture), and subsequently renewed through letters of assignment by Ekklesia Amsterdam, the current copyright holder of the Huijbers-Oosterhuis corpus.

Bernard Huijbers: A Pioneer Among Pioneers

Bernard Huijbers was born in Rotterdam in 1922, entering the Jesuits in 1940 to the sounds of a Latin liturgy in its chant and polyphony. But by the early 1950s, 10 years prior to the Second Vatican Council, he was introducing vernacular songs into liturgy, as had fellow Jesuit Joseph Gelineau in France. Traditionally, Catholic worshippers had embraced pious, devotional hymns during worship, which bore no relevance to the actual drama taking place. Largely excluded from their own worship since the 4th Century, the ‘laity’ had developed their own independent role, parallel to that of the priest. This was further cemented by  the imposition of reforms by Charlemagne, mandating a reformed monastic style of chant. The final blow to assembly exclusion fell in 16th Century counter-reformation movement of Trent.

Huijbers traced the damaging effects of history on the exclusion of the laity from their central act of worship. Not until the mid 1960s did these mere spectators become once again the central actors in their drama. Their counter tradition of supplementary hymn singing was part of the fabric of Huijbers’s own upbringing, alongside the ever-prevalent Gregorian chant in The Netherlands. This history of chant  is found throughout many of his compositions. While studying music, he acknowledged the importance of Mulders4 in introducing him to the beauty and simplicity of the song form, and to the wealth of the Protestant hymnody. He was both music teacher and choir director for the Amsterdam Ignatius College, and among his students was Huub Oosterhuis, who on becoming a Jesuit, pursued studies in literature at Groningen, emerging as a poet of some eminence. It was their collaborative effort which first introduced vernacular singing in The Netherlands. Their subsequent creative partnership lasted some 20 years.

In the mid 1960s, finding the Jesuit ambience to be too claustrophobic, Huijbers left, devoting his life helping the Amsterdam city parishes in Amsterdam come to grips with the new liturgy, weaning them away from extraneous hymnody. Responding to the challenges of liturgical renewal, he understood liturgy to be the work of the people (leitos ergon, public service) who were engaging in worship (Old English weorth schappen) collaboratively shaping something worthwhile, for the first time since the 4th Century. He introduced psalms into their lives, acclamations and songs in their own language, re-clothing their experiences in their own culture and thought patterns. The language of piety gave way to that of Scripture and the communal memory. His initial hymn tunes were well- known Protestant tunes, vehicles for Oosterhuis’ new rendition of Scripture. What Luther had initiated in the 16th Century had was becoming a reality for Rome. Huijbers’ intent was to firmly embody these new ways into the koinonia5 of The Netherlands. This transformation was based on an understanding of 1 Peter 2:4-10, the priesthood of the entire body of the assembly, the baptized, the Laity. All within the assembly enjoyed equal standing, each assigned his or her own ministry. The ministry of music was paramount in giving the assembly its own voice and ownership of the celebration.

Huijbers, alongside Joseph Jungmann, Joseph Gelineau, Huub Oosterhuis, Lucien Deiss and other familiar names, were the pioneers of this new yet old ritual music. They are still its prophets, their work foundational and never transitional. They were writing music which was elementary, and not for divine service (sacred music) but for the people. Ritual was perceived as the structural points of worship which they could claim as their own, and through ritual song enter those moments as active and conscious participators. This new music drew their dynamic not from popularism but from ritual. They were ‘role-modeling’ the music of worship to replace the old model of music for or during worship, a challenge which confronts composers today. Perhaps in the quest for publication, many composers may not grasp this di tinction between popularity and authenticity. Huijbers’ vision and insight are sorely needed today.

Huub Oosterhuis: Liturgical Poet and Prophet

Everywhere You are invisibly given,
speaking nearby; the silence awaits You.
Everyday people see you and live You.

People of flesh, of light and of stone,
hard and of blood, a flood beyond restraining –
they are your people, your city here on earth.

Earth is all that we are, that we make.
Breathe us open, make us your earth,
your new heaven: peace on earth.6

Huub Oosterhuis was born in Amsterdam in 1983. He joined Huijbers’ Ignatius College choir in 1946. After entering the Jesuit novitiate, in 1951 he enrolled in the University of Groningen to study literature. By the mid-1950s, he working with Huijbers on vernacular songs for student liturgies in Groningen and Amsterdam. He enjoyed frequent contact with a group of poets preparing a new Songbook for the Protestant Church of the Netherlands, the ‘Landvolk’.7 And he maintained connections in Amsterdam with another of his teachers, the fabled ‘Pater’ Jan van Kilsdonk, who as pastor of the Amsterdam Student Church, was developing a biblically-based liturgy within and beyond the Roman tradition. Many regard Van Kilsdonk as the founder of the Jesuit movement for a reformation of Liturgy, based on his experience as first a prison chaplain and, latterly student counselor.8 On completion of studies, Oosterhuis joined van Kilsdonk as associate pastor in Amsterdam, eventually succeeding him as pastor in 1958.

With a team of fellow poets and exegetes, he produced the first Dutch liturgical psalter, 50 Psalms – Toward a New Translation,9 a fertile quarry for Huijbers, each acknowledging the Psalter as the primary songbook for worship. Their initial venture was a collection of only three psalms, described as Frame Songs, where fragments of each psalm were selected as the framework of an entire event, as the gathering, an intermezzo, and the dismissal.10

His work developed as a body of texts about Jesus, the child of God within the human condition, sharing our hopes and dreams, fears, doubts, and expectations. Increasingly, he became convinced that God could not be named, but could be addressed only as Gij – You (about whom we could know absolutely nothing), or as Die – Who, de Eenige – the Only One or simply Een – The One. ‘Who can sing, or praise, even know anything about an Infinite Being?’ asked Gregory of Nyssa in the 4th Century.11 Perhaps only in stories, poetry and song might we channel that memory lodged deep within our psyches, recalling and making present One who is beyond all names. For Oosterhuis, dogma and even catechesis belong not in the liturgical assembly but in the theological library.

His early inspiration was e.e. cummings, never allowing grammar nor syntax to impede the flow of ideas. The poet relies on the second language, the words beneath the text. Oosterhuis’ literary forms were given liturgical expression and embodied into ritual by Huijbers. What was their function (what were theysaying) and their functionality(how did they accomplished this)? Throughout, his writings serve as a biblical thesaurus. In his student days, he had been drawn to the revolutionary Che Guevara, who said that Churches have the potential to transform the social structure of society. With the emergence of Latin American liberation theology, his thoughts turned from traditional dogmatic theology to an existentialist approach. He succeeded in combining his priesthood and his poetry with political activism, ‘the option for the poor’. However, his political bent and his attitude toward clerical celibacy resulted in his expulsion from the Jesuits, and with him, the Student Church was destined for exile until 1989, finding its new resting place in the Rode Hoed, and historic building on the Keize sgracht. Among his many sobriquets is ‘de Paus van Amsterdam’ ‘the Pope of Amsterdam’.

This Amsterdam Student Church developed in tandem with Huijbers’ transformation of the Dominicuskerk. Their joint efforts appeared in two hymnals12 which are still in use and continue to evolve. These were the fruits of the student Werkgroep voor volkstaalliturgie (the Vernacular Liturgy Workgroup) and the subsequent critically-thinking Sticheting leerhuis en liturgie (the foundation for study and liturgy), each of which influenced the development of liturgy throughout The Netherlands – and beyond. To this day, both the Dominicus and re-named Ekklesia Amsterdam are flourishing communities. As community leader Kees Kok explained,

We still feel ourselves to be catholic in the sense of universal, connected with the whole world (oikoumene), but not ecumenical in the restricted ecclesial sense. We have passed beyond the cultivated cultural differences of the Roman Catholic and Protestant Churches, but look to the best of both denominations. The richness of the catholic liturgy and musical tradition, and the importance of the bible as fundamental for Protestantism, we took into our radicalness as an originally prophetic protest movement.”

The Huijbers Praxis of Liturgical (Ritual) Music

In 1969, Huijbers published his landmark book, Door podium en zaal tegelijk (The Performing Audience).13 In it, he outlines his praxis for liturgical music.

The music of worship is ritual music. This is his fundamental premise. It embodies worship at the structural level of ritual. Liturgy is not a sing-along, not a concert hall, but a place where a community finds a creative voice in shaping its worship. Ritual music is not music for worship, but the music of worship, integrating the people and the various successive moments of the celebration. It desacrilizes those moments which had been hitherto out of reach and bonds the community ever deeper in Covenant relationship .And in transforming worship comes the responsibility to transform society.

Music characterized as ritual is in the Covenant language of Scripture, the drama of call and response. It embraces dialogue between all ministries within the assembly. Every voice is essential in the conversation. Ritual in this sense refers to both the structural growth points of the celebration and the music which embodies them.

The music of worship is text-driven. It requires good texts, to raise levels of consciousness, and to intuitively draw people into their role as co-celebrants. The best judge of the worthiness of any text is its ability to convey fresh levels of understandings on every occasion of use. Huijbers even maintained that only in song is it possible to name God, the collective response of a community engaged  in reliving its memories and sharing its experiences

The music of worship must above all be elementary, as expounded by Carl Orff. It is the music of the ordinary people, with their untrained voices and various degrees of understanding. It is diatonic and therefore easy to grasp. Based on familiar patterns of repetition and note groupings (known as formula technique), it may be sung without rehearsal. Its note progressions follow the simplest of step devices (known as interval technique), with a clear, logical progression of melody. The arching of the melody lies within a comfortable tessitura for the average voice. Above all, it is the song of the people, which means is popular but not populist. It is not pop music (which is for listening and stimulating feel-good sentiments), but service music, nourishing all within the community. By providing ownership to the singers, it is not an accompaniment to passing moments. Nor can it be equated to praise music since its purpose is neither theocentric nor anthropocentric but a means of bonding worshippers with one another and with their Deity.

Finally, the music of worship is determined by liturgical form. And h re we reach the crux of Huijbers’ praxis, as outlined in the following four ritual forms or genres.

1. The Psalm Form

The psalm is the primary song form of worship. These biblical poems have been sung since time immemorial. Each psalm has its own unique cultic and literary history, identifiable through form criticism and textual analysis. Psalm texts are organic, the living word cannot be restrained by the containment of measure lines. Their settings must freely transcend musical meter and, through syncopation, breathe an independent life of its own. Where Gelineau had developed a simple responsorial style, Huijbers chose to expand this model with imaginative approaches to integrating the assembly refrain within the body of the psalm.

There are five ritual uses of the psalms. The antiphonal form for alternating groups of singers are generally for processional occasions. The responsorial psalm belongs exclusively as a response to the Scriptures. The alternating chant form is found in the Liturgical Hours. The simple tract style, almost recitative, is a more sober form for seasonal or reflective use. Finally, there is the lied/hymn form, a psalm text in strophic verse form (metrical or otherwise) for general use.

I Lift Up My Eyes To The Mountains – Psalm 121 consists of an opening and closing antiphon for unison choir, from which two fragments are extracted as assembly refrains; these are sung at the mid- point and end of each verse. The psalm ends with the refrains, the antiphon and the refrain again. Verses are sung by a psalmist, or by alternating voices in the choir.14

Music and text for the song titled I Lift Up My Eyes To The Mountains

When Israel Made Her Way From Egypt – Ps 114 (a Hallel song) uses a common formula, in dialogue between each side of the church. Written for an Easter Vigil, it emulates the printing of the waves of the Red Sea. The last verse, sung in 2-voice canon is repeated many times.

Text and music for of the song titled When Israel Made Her Way From Egypt

Not To Us Comes The Glory – Psalm 115, the shout of a joyous people, uses another technique to engage the assembly. A single line formula throughout, each verse is divided into three voices: psalmist (or choir section), then unison choir, and finally the assembly (this third line is in an unvarying refrain). To add tension, each phrase begins on the upbeat, and a bolero rhythm energizes the piece. The final refrain is sung as many times as desired.15

Text and music of the song titled Not To Us Comes The Glory
Continued text and music of the song titled Not To Us Comes The Glory

2. The Song Form

This is the most popular ritual form due to its ease of use by those who are not musically literate. All songs, however, are not created equal; there are two, if not three, basic song forms. Unlike the English tradition, Huijbers did not name his hymn tunes.

The closed-form song derives its meaning exclusively from its content, the stanzaic flow, all contained within the confines of the song. Some closed-form songs may be suited to liturgy, others not, especially those expressive of personal emotions to the exclusion of the communal experience of Covenant. Some closed-form songs may have refrains, or may be relevant to the occasion of celebration.

Only A Roof (Song Of The Place Of Gathering) is a closed-form song, but it bonds directly with the occasion (gathering), as a statement of intent and expectation. It may be sung in unison, or with SATB harmonies to support the assembly. It may be known more familiarly as What Is This Place, though this is neither an accurate translation nor was it intended as a question. Oosterhuis is making a simple point: it’s only a roof, a meeting place, God’s table, where we continue to gather each week, with certain expectations, as we have done for two millennia.16

Text and music of the song titled Only A Roof

Song At The Foot Of The Mountain, a refutation of Nietzsche, is a closed form song which neither contributes to nor derives energy from a specific ritual moment. Its purpose is reflective, to stimulate the assembly to think about wh we are in the light of an unknowable Deity. Verses may be divided between men, women, then all.17

The open-form song derives its meaning not from the text but from the occasion of use. It is dialogical and relies on tropes, verse fragments with assembly interpolations. Even apparently strophic-form songs qualify for this category if the verses include dialogue in the flow of the text.

The Song Of All Seed is a biblical response to John 6, 12:24 and 1 Corinthians 15: 36-37, about Jesus’ teaching on Covenant. It relies an echo technique to draw in the assembly. Verse fragments may be sung by alternating choir voices, with assembly affirmations.18

How Faithful Now Appearing, a Christmas song from the John Prologue, has three troped verses. The full refrain is sung in full only at the beginning and end. After verses 1+2, it is sung only once, the final phrase repeated each time. Alternating choir sections intone the verses, only the basses (and assembly) singing the refrain, while other choir voices vocalize throughout.19

Technically speaking, the composite-form may also belong in the song category. This form is a lengthyconglomerate of various musical and literarygenres, including acclamations, tropes, canons, recitatives, and so on. Many psalm forms are also composite..

Awake You Who Sleep is the lucernarium hymn for the Easter Vigil procession of light through the assembly. It draws on the melos of Victimae Paschali. The opening refrain is a call, from Ephesians 5, later becoming a two-voice assembly canon. Two schola verses are in recitative form, from Isaiah 59 + 60. The remaining 3 verses are in litany-echo form, a call-response dynamic for assembly and 4-voice choir.20

3. The Acclamation Form

Acclamations range from the earliest days with the Roman Missal (which was subsequently abandoned) to a wide variety of musical forms including rounds, canons, litanies and acclamatory (open-form) songs. The introductory song to this article, You Wait For Us, falls into this category of an acclamatory song.

Vast Is The World was written by Oosterhuis ‘on the birthstone of my son’, born on Christmas Day in 1970. Huijbers chose as his melody the refrain from the Christmas Night gathering song, Sung initially in unison, it becomes a 2-voice canon which, when firmly established, gives rise to a large number of descants gradually introduced as voice-overs.21

Stand And Stare Not, an Easter Day or Ascensiontide narrative, evocative of Revelation 21, demonstrates Huijbers’ trademark use of syncopation, allowing the text to breathe of its own accord, unrestrained by measure lines. The piece is sung by choir and assembly in unison, then gradually developing into a 2-voice canon, then 3-voices, and finally voice 4 is added., in an experience which can be described only as mystical.22

4. The Tableprayer Form

This entirely new genre conceived by Huijbers and Oosterhuis eventually replaced the Eucharist Prayers of the Roman Missal. No longer presidential monologues, they are extended songs for the assembly, reflecting not redemptive sacrifice but the Spirituality of the Age. They are songs of remembrance and thanksgiving, reflecting the vision of Vatican II about the History of Salvation, in which Jesus is at the heart of the human condition.

Blest Be The One is an extension of Beatitudes in the form of an extended Berekah. All 12 verses are divided between cantors, assembly, and choir (the Gelineau trilogue model found in Ancient Greek theater), with SATB vocalization on selected verses. The Institution Narrative is implied (as is its location in John 6), assigned to the entire assembly, no longer the preserve of an ordained minister.23

Perhaps this article may ring alarm bells, of being exclusively Roman Catholic. The energy of the Huijbers-Oosterhuis collaboration has never waned, expanding beyond the Roman ambience. A large number of their liturgical compositions have been published recentlyin a Dutch interdenominational hymnal, Liedboek: Zingen en bidden in huis en kerk (Songbook: Singing and praying in house and church), a joint Calvinist-Catholic venture by Kok Boekencentrum in Utrecht. Denominational walls are becoming thinner in many places, noticeably in the areas where Huijbers and Oosterhuis are concerned.

A fair question might be, ‘what could be closer to an evangelic tradition than the biblically-based songs of Huijbers/Oosterhuis?’ Admittedly, the Evangelical Churches may lack the phenomenon of ritual as found in Catholic tradition, yet rituals are ‘clear structural points in the flow os a service.’ Evangelical services are also structured, following clearly-established transitions as the service progresses. Could it be possible to interpret Evangelical worship as ‘ritual’ within its own parameters? I would not confuse ritual with sacramentality. Ritual exists at every level of life, from the concert hall to family routines. In Evangelical traditions, the word ‘liturgical’ would seem out of place, even though congregational singing is at its core – as it was for Huijbers and Oosterhuis.

I intend this article to prove a stimulus to further explore the unlimited potentiality of their repertoire.

Huijbers was deeply concerned that each of the Catholic traditions appeared to espoused a regime of songs which may not have been entirely appropriate for worship. Remember, the music of worship and not simply music for worship.

In the reforms of Vatican II, perhaps Martin Luther paved the way for Rome. To some degree, even Bach has given way to the emergent voice of the people, no longer the preserve of the choir. Therein lies the genius of Huijbers. Just as Luther restored Scripture and vernacular to the people, Oosterhuis has created a body of poetry rich in the Scriptures which avoids catechesis. In keeping with the biblical mandate, social justice lies at the heart of the Amsterdam repertoire. And this, alongside the Gospels, has become the forum where we may all gather and sing with one voice, in the hope of transforming the world.24 Otherwise, ritual would have no purpose.

Tony Barr is a retired pastoral musician, postgrad theologian, reader of astrophysics, and liturgical composer and musicologist. He is currently preparing the Bernard Huijbers-Huub Oosterhuis Archives in the St John’s University Alcuin Library at Collegeville, MN. All music example here are available from his independent publishing house, Jabulani Music. tbarrjabulani@gmail.com.

May 2, 2019


1 Gij wacht over ons, Liturgische Gezangen Vol 1:236, reflecting on Dt 30:11-15

2 Jabulani Music was founded as and independent company to publish and promote these translations. Now located in Saint Cloud MN, Jabulani (Zulu for ‘house of song’) continues to make these items available. Catalogue numbers in the music example provided are indicated by the initial JM.

3 Several Oosterhuis’ anthologies from various publishers may still be available online, including Fifty Psalms, At Times I See, Open Your Hearts, Prayers, Poems and Songs, Times of Life, Your Word Is Near.

4 Dr. Ernest Willem Mulders (1898-1959), composer, music theorist and professor of music at the Amsterdam Conservatory

5 Koinonia or the community of new ways, required an adjustment of minds and hearts, to adopt a new way of thinking and behaving

6 Overal zijt Gij [Everywhere You] © 1967 Huub Oosterhuis; translation [LG vol 1:107]; translation © 1981 Tony Barr, Jabulani Music JM 48]

7 Unlike the northern German Rural People’s Protest movement of 1928-1922, this was a cultural movement of developing an indigenous form of materials for worship.

8 Jan van Kilsdonk, 1917-2008, whose life-long respect was for the divine dignity of the poor. He earned even greater respect for meeting with the Dutch bishops on the eve of the Vatican Council in 1962, in presenting them with a wish list for ‘a reform of our church’, a call for metanoia, for them to seek new ways of thinking and exercising their ministry by abandoning the institution as a power apparatus, to be with the people in their needs. His words were heeded because not only was he highly talented, but because he was caring pastor who had given himself completely to the people he served. His memory is preserved to this day in the canal bridge which bears his name.

9 Viftig Psalmen; proeve van een nieuwe vertaling, Huub Oosterhuis, Michel van der Plas, Pius Drijvers en Han Renckens. Amboboeken Utrecht 1967, 4th edition Ten Have/Baarn. Fifty Psalms: An attempt at a new translation, Burns & Oates Ltd, London 1968, Seabury, New York 1973.

10 These settings included Psalm 25 for Advent (Hold Me In Life), Ordinary Time (Our Help Is The Name of the Lord), and Psalm 104 for Pentecost (Come, Renew the Face of the Earth), all available from Jabulani.

11 Patrologia Graeca, vol. 37, pp. 507-508

12 Liturgische Gezangen voor de Viering van de Eucharistie [LG], Gooi en Sticht, Hilversum; vol 1 with 248 titles in 1979, vol 2 with 118 titles in 1985, and 6 volume accompaniment edition in 1980, supplemented by various collections of titles in an ongoing tradition.

13 Door podium en zaal tegelijk, Volkstaalliturgie en Muzikale Stijl: 5½ essays over muzikale functionaliteit, 1969 Gooi en Sticht, Hilversum; revised as 6½ essays over muzikale functionaliteit 1994. Literally Podium and Room Together, but translated as The Performing Audience: 6½ Essays on Music and Song in Liturgy, revised translation by Redmond McGoldrick, NALR Cincinnati 1972. This book is long out of print, but a new rendition, In Assembly Together, is currently in preparation by the author in consultation with Liturgical Press as a 2-volume work for the 21st Century Churches.

14 Ik sla mijn ogen op [LG vol 1:38]

15 Niet aan ons komt de eer toe [LG vol 1:26]

16 Zommar een Dak – Lied over de plaats waar wij bijeengekommen zijn traditional Dutch song o melody Com Nu Met Sangh, Adriaan Valerius 1575-1625 [LG vol 1:109]

17 Lied aan de voot van de berg (LG vol 1:155]. Geneva 1545/1551

18 Wie als een God will leven [LG vol 1:57] On an old Dutch folksong

19 Verschennen is de Mildheid [LG vol 1:35]

20 Ontwaakt gij die slaapt [LG vol 1:147]

21 Groot is de wereld [LG vol 1:161]

22 Blijf niet staren (kanon) [LG col 1:231]

23 Gezegend -tafelgebed [LG vol 1:221-222]

24 Psalm 104:30; Romans 8:22-23


Discography

Recordings available in English of Huijbers/Oosterhuis Ritual Music.

1. From Jabulani Music, Saint Cloud MN

Be Here Among Us – 14 Songs from Amsterdam
1980. The combined choirs of the Amsterdam Dominicus and Student Churches JMCD 004 Jabulani Music, Saint Cloud MN

God Of The Living – 16 Songs from Amsterdam
1980. The combined choirs of the Amsterdam Dominicus and Student Churches JMCD 005 Jabulani Music, Saint Cloud MN

Here On This Earth – 19 Songs from Amsterdam
1980. The combined choirs of the Amsterdam Dominicus and Student Churches JMCD 006 Jabulani Music, Saint Cloud MN

In Assembly – 21 Songs by Bernard Huijbers
2019 Singers from the Saint Cloud, Baltimore, Minneapolis Colchester UK JMCD 013 Jabulani Music, Saint Cloud MN (currently in preparation)

tbarrjabulani@gmail.com

2. From Oregon Catholic Press (OCP), Portland OR

When From Our Exile – 13 Songs by Huijbers
1976, The Choir of St. Matthew’s Baltimore with the Rev Bob Albright NALR (now OCP), perhaps the oldest collection in English long out of print, permission pending for distribution by Jabulani Music

Wake Your Power – 13 Songs from Amsterdam
1994 Oregon Catholic Press, Portland OR
9786 (currently out of print) permission pending for distribution by Jabulani Music

Turn Your Heart To Me – 12 Songs from Amsterdam 1997 Oregon Catholic Press, Portland OR
10525 (currently out of print) permission pending for distribution by Jabulani Music

We The Living – 1 Song by Bernard Huijbers
1981 NALR, with Tom Conry currently out of print

Justice Like A River – 9 Songs from Amsterdam
1984 OCP/Team Publications with Tom Conry
currently out of print

Vigil: Christmas – 8 Song from Amsterdam
1985 OCP/Team Publications with Tom Conry
currently out of print

Vigil: Christmas – 4 Songs from Amsterdam
1985 OCP/Team Publications with Tom Conry
currently out of print

Stand – 5 Songs from Amsterdam
1987 OCP/Team Publications with Tom Conry
currently out of print

www.ocp.org

3. From Chiswick Music, Peldon (Colchester) Essex, UK

Go Out To The Whole World – including 2 Huijbers Songs
The Colchester Institute School of Music with Bill Tamblyn
1979 Chiswick music
CMS 002 cassette tape currently being digitized by Jabulani Music

Gathered Here – including 1 Huijbers Songs
The Colchester Institute School of Music
1979 Chiswick music
CMS 003 cassette tape currently being digitized by Jabulani Music

Apocalypse – including 1 Huijbers Songs
The Colchester Institute School of Music with Bill Tamblyn
1989 Chiswick music
CMS 005 cassette tape currently being digitized by Jabulani Music

Awake! – including 4 Huijbers Songs
The Colchester Institute School of Music with Bill Tamblyn
1991 Chiswick music
CMS 007 cassette tape currently being digitized by Jabulani Music

Leader in Starlight – including 2 Huijbers Songs
The Colchester Institute School of Music with Bill Tamblyn
1992 Chiswick music
CMS 008 cassette tape currently being digitized by Jabulani Music

Celebration – including 2 Huijbers Songs
The Colchester Institute School of Music with Bill Tamblyn
1993 Chiswick music
CISM 001 cassette tape currently being digitized by Jabulani Music

Be Here Among Us – including 3 Huijbers Songs
1995 Colchester Institute School of Music with Bill Tamblyn
CISM CD 001 available in the UK from Chiswick Music, in the US from Jabulani

Shout – including 3 Huijbers Songs
2010 Quire (World Music Community Choir) with Bill Tamblyn
available in the UK from Chiswick Music, in the US from Jabulani

Revelation – including 3 Huijbers Songs
2014 Quire (World Music Community Choir) with Bill Tamblyn
available in the UK from Chiswick Music, in the US from Jabulani

bill.tamblyn@aspects.net