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

Corpus Christi Watershed

We’re a 501(c)3 public charity established in 2006. We have no endowment, no major donors, no savings, and run no advertisements. We exist solely by the generosity of small donors.

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • 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
  • 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

150 Years of Sacred Music

Fr. David Friel · May 25, 2014

N THE EARLY CHURCH, particular Churches were noted for specific strengths (and, sometimes, specific weaknesses). The same is true even now. There are certain dioceses throughout the world that are especially notable in one fashion or another, for example: Venice, Manila, München und Freising, Westminster, New York, Paris, Montreal, Calcutta, Armagh, and so many others. These sees have become notable on account of various factors. In some cases, what makes the place noteworthy is its historical or political import. In other cases, the significance is the cultural richness of the place. In still other places, it is the saintly figures the territory has produced that make it stand out.

Within the United States, even, there are some dioceses that stand out in unique ways: St. Louis, Los Angeles, Baltimore, Boston, etc. Similarly, within every diocese, there are certain parishes that are especially remarkable, whether on account of history, architecture, outreach, or some other unique feature. As members of a hierarchical Church, none of this should surprise or upset us. After all, when one member of the Body is honored, all of us share in that member’s joy (c.f., 1 Corinthians 12:26).

Philadelphia is my home, so I naturally have a fondness for the place. My predispositions notwithstanding, Philadelphia is objectively a local Church of great richness. It is home to a Latin Rite diocese and a Ukrainian archeparchy. It claims both St. Katharine Drexel and St. John Neumann as its own. Philadelphia set a model for the rest of the country with its Catholic school system and its Forty Hours devotions. It is the birthplace of freedom and the nation’s first capital. Philadelphia has hosted a Eucharistic Congress and a papal visit (from St. John Paul II), and the archdiocese is presently preparing for next year’s World Meeting of Families, expected to bring Pope Francis to these shores.

All of these factors contribute to the richness I see in the Church of Philadelphia. When we celebrated our bicentennial as a diocese in 2008, these blessings were all collected and organized in a history book that was distributed through our parishes. Another factor that distinguishes the tradition of our archdiocese is its long history of sacred music. What is it about sacred music in Philadelphia that is worthy of note? I encourage you to check out this recently published brief booklet to see for yourself.

Beyond the contents of that booklet, there are many other notable facts about this city’s contributions to sacred music. It was in Philadelphia, for instance, that the first American Catholic hymnal was published (Litanies and Vesper Hymns and Anthems as They are Sung in the Catholic Church Adapted to the Voice and Organ, John Aitken, 1787). Philadelphia was home for more than 40 years to Nicolai Montani, famous for his St. Gregory’s Hymnal, which used to be standard issue for Catholic choirs. Lorenzo Perosi, former Maestro of the Sistine Choir and co-writer of Pope St. Pius X’s Tra le Sollecitudini, had connections with St. Charles Borromeo Seminary, for which he composed a Mass. For decades, liturgical music in Philadelphia was under the helm of the incomparable Dr. Peter Lamanna, once dubbed “Mr. Church Music” by a local newspaper. Today, Philadelphia boasts a terrific Archdiocesan Choir, Archdiocesan Boys Choir, Archdiocesan Girls Choir, and a Cathedral Concert series that attracts serious ensembles of the highest quality.

Many great things could be said of every local Church. Collecting a history such as this one might be a worthy endeavor for your diocese.

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 Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“The sun’s disc did not remain immobile. This was not the sparkling of a heavenly body, for it spun round on itself in a mad whirl, when suddenly a clamor was heard from all the people. The sun, whirling, seemed to loosen itself from the firmament and advance threateningly upon the earth as if to crush us with its huge fiery weight. The sensation during those moments was terrible.”

— ‘Dr. Almeida Garrett, professor of natural sciences at the University of Coimbra (1917)’

Recent Posts

  • “My First Year with the Latin Mass” • A Music Director’s Perspective
  • Boston Auxiliary Bishop: “In offering the Traditional Mass for the first time, after removing the vestments, I knelt in the back pew and wept.”
  • Now Available! • “Hymns of Cardinal Newman: Kevin Allen’s Legendary Choral Settings”
  • Bugnini’s Statement (6 November 1966)
  • (Rehearsal Clips) • Sacred Music Symposium 2025

Subscribe

Subscribe

* indicates required

Copyright © 2025 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.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up