• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

“Let My Prayer Rise Like Incense”

Dr. Peter Kwasniewski · October 10, 2013

345 Sacra Liturgia Sacra Liturgia Conference (2013) HIS PAST JUNE, it was my great and humbling privilege to participate in the Sacra Liturgia 2013 conference in Rome, on behalf of the Cardinal Newman Society and Wyoming Catholic College. The talks were outstanding and the fellowship was heartening, but most impressive of all, and most nourishing, were the resplendent liturgies: two solemn pontifical Masses and two solemn Offices of Vespers, celebrated in both forms of the Roman Rite.

Never before had I experienced so fully the meaning of our Lord’s expression that a time is coming and is already here, when men will worship the Father in spirit and in truth (cf. Jn 4:23). Truly was the Eternal Father adored for His great glory, in a manner itself glorious and full of reverence; upwards and outwards from the sanctuary drifted the fragrance of the truth of the Faith in all its purity and power. There was no wordiness and no need for explanation: the signs and symbols, singing and silence, spoke fluently of sacred mysteries veiled and manifest, given to us and yet ever beyond us.

The tranquility of order permeated the densely filled silence, the stately orisons, the chanted antiphons, the gestures and motions of all ministers. One could well believe earth was opening to heaven, the veil between time and eternity lifted, while a shaft of divine light fell upon us in our poverty. It is just such moments that carry a nourishing force far disproportionate to their human dimensions. I felt I could be sustained by such an experience through many months of desert dryness, much as I imagine Moses was carried through the trials of his trek in the wilderness by the glory revealed to him on Mount Sinai. I found myself, in spite of the leisurely length of the ceremonies, not wanting to leave the church at all when they were finished; one had to tear oneself away from that prayer-saturated space.

AFTER THE CONFERENCE WAS OVER, I made my way to Norcia for a short retreat at the Monastero di San Benedetto. And what awaited me there, on the Lord’s Day, was Solemn Vespers followed by Adoration and Benediction. The service was not merely beautiful, it was sublime; it had a kind of fearful intensity to it, a severe purity of intention. At one point, while the Blessed Sacrament was exposed in a golden monstrance on the altar, chant was floating through the air, and the air was so thick with incense that you could barely see the altar and the candles flickering through the smoke as it rose up to heaven. “Let my prayer be directed as incense in thy sight, the lifting up of my hands, as an evening sacrifice” (Ps 140:2)—for me, this verse has never been so vividly portrayed and prayed as it was in that church, especially when the Divine Praises were offered up in peaceful chant, a pure homage of blessing for the simple reality of God and His angels and saints. These monks, and with them, a sizeable number of locals and visitors, were making a genuine sacrifice of praise: our life, our being was being drawn towards the Lord of all, the hidden King enthroned in His monstrance, and our time, our energy, was burned up for him like incense, simply because He is all worthy of our praise.

Not long ago a Cistercian monk of Heiligenkreuz quoted a striking passage from Abbot John of Ford’s Commentary on the Song of Songs:

Without any doubt, praise awakens love and preserves it. Hence it is that the citizens of Jerusalem feed the flame of eternal love by eternal praises. They cease not to cry aloud so as to be steadfast in love. Their cry has no rest, because love knows no intermission. So praise is the food of love. And you, too, if deep within you there is a little spark of sacred love, do all you can to apply to this spark the oil of your praise, so that your tiny fire may live and grow.

This feeding of the flame of love with the oil of praise is exactly what I witnessed at the monastery in Norcia, at their daily Divine Office, community Mass, and other devotions. The monk’s entire life is ordered to providing a continuous supply of that oil so that the flame will never die out but burn steadily through day and night.

This flame of faith may flicker and fade in the world outside, where men and women consume themselves in pursuit of wealth, pleasure, and power, headstrong and heedless of their souls, quickly filled up and just as quickly emptied out; it may even flicker and fade in the halls of the Vatican as the old guard recedes and the new guard advances; but never will it be extinguished in the souls of Saint Benedict’s faithful sons. Unnoticed by most, they go about their work, their prayer, their daily round, with an inconquerable patience, a quiet fortitude and massive stability, that outlasts the rise and fall of kings and bishops. Kill them, root them up, drive them far away, corrupt them—they come alive again and again, perhaps in a different place or a different century, but chant they still the divine praises, sweet echo of the heavenly song, sung by souls in love with heaven crying out to heaven, and preserving earth from faith’s famine’s dark despair.

What a barren, hostile wilderness this world would surely be, were it not for those enclosed gardens, the convents, those flowering deserts, the monasteries!

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski
    PDF Download • “Hymn for 2 Voices”
    Readers who click on this video will see that it starts with verses of the “Pange Lingua” hymn by Saint Thomas Aquinas (d. 1274) arranged for two voices. However, there’s a polyphonic refrain (“Tantum Ergo”) for three voices, taken from Kevin Allen’s Motecta Trium Vocum. If your choir is very small, this piece is for you! You can download the PDF score free of charge—and you can also utilize the rehearsal videos for each individual voice—by navigating yourself to #20323.
    —Jeff Ostrowski

Quick Thoughts

    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    “Reminder” — Month of January (2026)
    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
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“Partly on account of these alterations, and partly because I have been unable to ascertain the authorship of many compositions—which have come to me either in manuscript or through other collections—I have thought it right to publish the volume without appending the names of writers to their works. This, however, I confess to be a defect…”

— Benjamin Hall Kennedy (1863)

Recent Posts

  • Dom Pothier • Photo from 1904
  • PDF Chart • “Plainsong Rhythm”
  • PDF • “3-Voice Motet” (Father De Laet)
  • PDF Download • “Hymn for 2 Voices”
  • (January 2026) • “Children Singing Plainsong”

Subscribe

Subscribe

* indicates required

Copyright © 2026 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.