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Father Charles Garnier, the Apostle to the Hurons and the Petuns, has left a memory of exceptional heroism. In the last moments of the agony that ended in his death, he tried with his waning energies to save the soul of another.
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The representative Protestant collection, entitled “Hymns, Ancient and Modern”—in substance a compromise between the various sections of conflicting religious thought in the Establishment—is a typical instance. That collection is indebted to Catholic writers for a large fractional part of its contents. If the hymns be estimated which are taken from Catholic sources, directly or imitatively, the greater and more valuable part of its contents owes its origin to the Church.
— Orby Shipley (1884)

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National Catholic Register Mentions Watershed Hymnal
published 30 October 2013 by Corpus Christi Watershed

249 Latin M The National Catholic Register published an article on Sacred music a few days ago. Here are some excerpts:

HE HIGHEST FORM of song, as expressed in Sacrosanctum Concilium, the Second Vatican Council’s dogmatic constitution on the sacred liturgy, is Gregorian chant. The form, history and performance style of this centuries-old liturgical practice are taught by Nicholas Will to Franciscan music majors. Despite most of them not having prior experience with the subject, they have been comfortable with learning it.   […]

Kurt Poterack cites the resurgence of the once-dormant Church Music Association of America, the publication of the Adoremus Hymnal, St. Michael Hymnal, St. Edmund Campion Hymnal and the sacred music from the Society of St. John Cantius and the Benedictines of Mary, Queen of the Apostles, as examples of a renewal that “would have been unthinkable 20 to 30 years ago.”   [source]