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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Coming Full Circle in the Circle City

Andrew R. Motyka · July 3, 2013

his whole blogging thing can be a difficult thing to manage on a schedule (not to mention my children’s supernatural sense that something productive is happening in this room right now). “Come up with something good to talk about, right now” is not one of my talents. Talking? I’m a master (just ask my wife). Having something substantive to say, not so much. Therefore, I was grateful when Jeff Ostrowski gave me a great idea for this week: the CMAA Colloquium, specifically next year’s installment. Allow me to express my excitement.

My first experience with the Church Music Association of America came when I attended the Colloquium in 2010 at Duquesne University in Pittsburgh. I was living about a half hour away and it was an easy commute. As most people who have attended will tell you, it is nothing less than sublime, musically. You spend all week mingling and learning, but mostly singing. When is the last time you got to do so much singing? My interest in Gregorian chant and the restoration of the sacred in liturgical music was already in full swing, but the Colloquium was positively energizing, and fed me with information and the knowledge that there were like-minded people out there. Also, I met a guy named Jeff Ostrowski. I was able to attend again in 2011 (mainly because of some generosity from CMAA for which I am grateful), furthering my appreciation for the organization and this beautiful annual event.

I was unable to attend the Colloquium for the following two year in Salt Lake City, both because of distance and due to circumstances evolving in my professional life. When I began at my current position as the Archdiocesan Director of Music in Indianapolis, I thought, “At some point, I’m going to try to get CMAA to bring the Colloquium here.”

Well the Lord works in mysterious and frequently hilariously in-your-face ways. Since I was settled, I contacted CMAA to ask if there was anything I could help with, despite not being able to attend the Colloquium this year, and I was greeted with, “So how do you think Indianapolis would be for hosting a Colloquium?” In a veritable hurricane of productivity, Arlene Oost-Zinner made it happen. The 2014 CMAA Colloquium will be in Indianapolis.

The Downtown Sheraton will be the site of the rehearsals and breakouts, which is right on center circle from which the city gets its nickname. Only a few blocks away, we will celebrate at the historic Saint John the Evangelist Church, a beautiful place to worship. St. John is currently undergoing a thorough renovation due to a fire this past Lent, and will be in its best condition in years by the time of next year’s musical get-together.

The 2014 CMAA Colloquium promises once again to be a “slice of musical heaven,” as it has been called before. I hope to see many of you there.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski
    Simplified Accompaniment (Epiphany Hymn)
    About a month ago, I created a simplified keyboard accompaniment for “Come, Thou Long-Expected Jesus”—the famous ADVENT hymn—using a melody called CROSS OF JESUS. It was soon downloaded more than 1,000 times. As of this morning, you can download a simplified keyboard accompaniment for the belovèd Epiphany hymn “Bethlehem! Of noblest cities” (O Sola Magnarum Urbium) by clicking on this link (PDF file). Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult, which explains why choirmasters appreciate these simplified keyboard accompaniments.
    —Jeff Ostrowski
    Psalm Tone Challenge!
    Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

“Gregorian chant is the sacred chant, proper and principal of the Roman Church. Therefore, not only can it be used in all liturgical actions, but unless there are mitigating circumstances, it is preferable to use it instead of other kinds of sacred music.”

— §16, De Musica Sacra (1958)

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  • “Adeste Fideles” • Too Many Translations!

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