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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

What passion cannot music raise and quell!

Veronica Brandt · November 23, 2013

203 St. Cecilia [1] Click to enlarge image OR YESTERDAY’S FEAST, a piece of non-liturgical poetry praising the power of music. If you have read it before, you won’t mind seeing it again. If you haven’t read it, you are in for a treat.

Best read aloud.

A Song for Saint Cecilia’s Day by John Dryden,

From harmony, from Heav’nly harmony
    This universal frame began.
  When Nature underneath a heap
    Of jarring atoms lay,
  And could not heave her head,
The tuneful voice was heard from high,
    Arise ye more than dead.
Then cold, and hot, and moist, and dry,
  In order to their stations leap,
    And music’s pow’r obey.
From harmony, from Heav’nly harmony
    This universal frame began:
    From harmony to harmony
Through all the compass of the notes it ran,
The diapason closing full in man.

What passion cannot music raise and quell!
    When Jubal struck the corded shell,
  His list’ning brethren stood around
    And wond’ring, on their faces fell
  To worship that celestial sound:
Less than a god they thought there could not dwell
  Within the hollow of that shell
  That spoke so sweetly and so well.
What passion cannot music raise and quell!

  The trumpet’s loud clangor
    Excites us to arms
  With shrill notes of anger
    And mortal alarms.
  The double double double beat
    Of the thund’ring drum
    Cries, “Hark! the foes come!
Charge! charge! ’tis too late to retreat!”

  The soft complaining flute
  In dying notes discovers
  The woes of hopeless lovers,
Whose dirge is whisper’d by the warbling lute.

  Sharp violins proclaim
Their jealous pangs, and desperation,
Fury, frantic indignation,
Depth of pains and height of passion,
  For the fair, disdainful dame.

But oh! what art can teach
What human voice can reach
  The sacred organ’s praise?
  Notes inspiring holy love,
Notes that wing their Heav’nly ways
  To mend the choirs above.

Orpheus could lead the savage race;
And trees unrooted left their place;
  Sequacious of the lyre:
But bright Cecilia rais’d the wonder high’r;
When to her organ, vocal breath was giv’n,
An angel heard, and straight appear’d
  Mistaking earth for Heav’n.

Grand chorus

As from the pow’r of sacred lays
  The spheres began to move,
And sung the great Creator’s praise
  To all the bless’d above;
So when the last and dreadful hour
This crumbling pageant shall devour,
The trumpet shall be heard on high,
The dead shall live, the living die,
And music shall untune the sky.

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 Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. She lives near Sydney, Australia, with her husband and six children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Reminder” — Month of December (2025)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Dr. Mahrt explains the ‘Spoken’ Propers
    In 1970, the Church promulgated a new version of the Roman Missal. It goes by various names: Ordinary Form, Novus Ordo, MISSALE RECENS, and so on. If you examine the very first page, you’ll notice that Pope Saint Paul VI explains the meaning of the ‘Spoken Propers’ (which are for Masses without singing). A quote by Dr. William P. Mahrt is also included in that file. The SPOKEN PROPERS—used at Masses without music—are sometimes called The Adalbert Propers, because they were created in 1969 by Father Adalbert Franquesa Garrós, one of Hannibal Bugnini’s closest friends (according to Yves Chiron).
    —Jeff Ostrowski
    PDF • “Music List” (1st Sunday of Advent)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 30 November 2025, which is the 1st Sunday of Advent (Year A). If such a thing interests you, feel free to download it as a PDF file. The ENTRANCE CHANT is quite memorable, and the fauxbourdon setting of the COMMUNION is exquisite. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “Translations Approved for Liturgical Use”
    According to the newsletter for USSCB’s Committee on Divine Worship dated September 1996, there are three (3) translations of the Bible which can be used in the sacred liturgy in the United States. You can read this information with your own eyes. It seems the USCCB and also Rome fully approved the so-called NRSV (“New Revised Standard Version”) on 13 November 1991 and 6 April 1992 but this permission was then withdrawn in 1994.
    —Corpus Christi Watershed
    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski

Random Quote

Let us ponder the incontrovertible fact that Eucharistic Adoration in the Ordinary Form (“Novus Ordo”) is always and everywhere celebrated “ad orientem.” Why, then, is there such opposition to Mass being celebrated in that way, which is actually stipulated by the 1970 Missal rubrics?

— A Benedictine Monk (2013)

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