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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

A Triple Cord: Liturgy, Aquinas, and CST

Dr. Peter Kwasniewski · May 1, 2014

0319_Bosco_two-2-pillars Famous dream of St. John Bosco. HAT IS THE CENTER of the Catholic’s existence? The Holy Eucharist. “He who eats my flesh and drinks my blood has eternal life…” And this means that the Mass, above all other prayers, will be the activity that defines a Catholic as such. As the Mass is, so will the Catholic be. Weak, anemic, bland, and trendy liturgy will produce weak, anemic, bland, and trendy Catholics, many of whom will fall away for sheer boredom, distracted by the allurements of consumerism. Those who remain will be shaped by the ars celebrandi like clay in the potter’s hands. But if the Mass is potent, weighty, full of spiritual salt, and defiantly countercultural, so will its participants be: fed on Light, they are ready to oppose the rulers of this present darkness. They are ready to enthrone Christ as King in their souls―and as King of the universe, of every nation, people, government, and culture, including America’s. And they are ready to listen to the Popes who, over the past 700 years, have singled out St. Thomas Aquinas as the theologian par excellence of the Catholic Church, the teacher from whose heavenly wisdom all may freely drink, the servant of truth who will humbly lead them to the feet of the one and only Teacher, Jesus Christ.

The traditional liturgy, with its archaic wisdom, noble pageantry, and sublime beauty; the avid study of St. Thomas Aquinas, teacher of the universal church; Catholic social doctrine in its fullness, based on the social kingship of Christ: these three things stand or fall together. Is it really coincidental that these three all at once nearly disappeared after Vatican II and even became the object of bitter enmity and persecution? It is not for me to say what came first or what caused what. All I see is that they did stand together, and they have fallen together. Is it any surprise that, after their fall, the Church is in a state of almost total chaos, liturgically, doctrinally, socially, in spite of the superficial “signs of hope” that we hear so much about?

A true, heart-felt adherence to tradition is expressed in reverence for all the Fathers and Doctors, especially St. Thomas; reverence for the sacred liturgy they prayed and handed down to us with an observant love that extended to the tiniest details; reverence for the kind of Christian society they aspired to build and, once built, defended to the hilt. Take away any one of these things, and you take away the basis for the others.

And what of devotion to the Blessed Virgin Mary? Such devotion is the foundation on which true ecclesial reform can and must be built. Where there is true devotion to our Lady, there is also a deep love of the Church, a total commitment to the spread of the Gospel, and hence, an openness to the social dimension of the faith as well as to its theological inheritance. A Marian Catholic is, in the social realm, a supporter of the kingship of Christ; a Marian Catholic is, in the academic realm, a disciple of St. Thomas Aquinas, because Holy Mother Church has declared him her Common Doctor, and Mary is the model of obedience to authority; a Marian Catholic is, in the liturgical realm, a lover of silence, contemplation, and beauty, as was the Virgin of Nazareth. In this sense, one who would give himself entirely in prayer and praise to the Blessed Virgin Mary would necessarily be moving towards this triad of goods, and thus, be advancing the reign of the great King over all the earth.

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s exciting new publication,
Sacred Choral Works, a 273-page collection of a cappella choir music for the Liturgy.

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 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.

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President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “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
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“And thus, when we renounce for Thee | Its restless aims and fears, | The tender mem’ries of the past, | The hopes of coming years, | Poor is our sacrifice, whose eyes | Are lighted from above; | We offer what we cannot keep, | What we have ceased to love.”

— Blessed John Henry Cardinal Newman

Recent Posts

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  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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