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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 Paragraph that Caught Attention

Andrew Leung · August 26, 2015

CTL Fr David Carter 2 AST WEEK, I posted a report on the Summer Sacred Music Workshop in Jasper, Georgia. At the workshop, Fr. David Carter, JCL, presented his paper as the keynote. Fr. Carter is the Pastor and Rector of the Basilica of Sts. Peter and Paul in Chattanooga, Tennessee. He has been singing in choirs since his youth. While he was at the Pontifical North American College in Rome, he studied Sacred Music with Fr. Pierre Paul, OMV, choirmaster of Capella Giulia at St. Peter’s Basilica and Fr. Cassian Folsom, OSB, from the Monastery in Norcia. His talk was entitled: Re-discovery of the Church’s Sacred Tradition: II Kings 22. Here is a paragraph, on his discovery of the Church’s traditions, from his speech:

At first I felt betrayed by all this—why had they kept this such a big secret? Why did they hide this from me? When I expressed my amazement at the riches I was finding in these books and rubrics, I encountered people who were viscerally angry! Angry that I had found joy in our own tradition. Angry that I was ‘undoing Vatican II’; angry that I wasn’t buying what they had spent so much time and effort building.

Didn’t I know how bad the old days were? “No, I don’t. I’m only 35—Marty Haugen and Dan Schutte are the ‘bad old days’ for me! Now I get to sing awesome things like Ambrosian Hymns composed in the 4th century and Kyrie’s that are even more ancient. I get to sing Pange, lingua, gloriosi Corporis mysterium, and Adoro te devote, latens Deitas.”

It still boggles my mind that this was not taught to us as some of the greatest things we would every be able to utter on our lips! And yet here we are. With my own two eyes I have read what the Church asks of us and it is nothing short of truth, beauty, and goodness. How could the Church ask for less? What so many had relegated to the waste bin, I have come to see as some of the greatest treasures the world knows…

Fr. Carter spoke on the mystery in liturgy, the joy of tradition, and his experiences in parishes. He also offered practical wisdom for those who wishes to provide authentically sacred music for the liturgy.The PDF file of his whole paper is available for download:

    * *  PDF • RE-DISCOVERY OF THE CHURCH’S SACRED TRADITION: II KINGS 22

HIS WORKSHOP is just the beginning. More workshops are being prepared for musicians in the South. The St. Ambrose School of Chant on the campus of Our Lady of the Mountains, Jasper, GA, will present a workshop for all those interested in learning the music that is an essential part of the Catholic Funeral Rites on Saturday, October 3rd. The Requiem Chants are some of the most beautiful and profound texts of the Gregorian repertoire and sadly they often go unheard. I will share more about this workshop when more information is released.

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 Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

But the revisers did not leave them altogether untouched. Saint Ambrose had to be “corrected.” The ‘Iste Confessor’ was greatly altered and the hymn for the Dedication of a Church (which no one ought to have touched) was completely recast in a new meter.

— Father Joseph Connelly

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