• 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
    • “Let the Choir Have a Voice” (Essay)
  • 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

Sacra Liturgia 2015 — Update IV

Fr. David Friel · June 4, 2015

NE OF THE MOST engaging talks we heard during this conference came from one of the co-organizers of the event, Rev. Richard Cipolla, now pastor of St. Mary’s Church in Norwalk, CT. Under the title “Liturgy as the Source of Priestly Identity,” Fr. Cipolla’s words were of interest to clergy & laity alike.

He remarked at one point about the poverty of the term “presider,” which ignores the essential character of priestly life. The priest, after all, is more than just a random person appointed to lead the assembly; he is the one charged with the duty of offering the sacrifice. In Fr. Cipolla’s words, “To refer to the priest as ‘presider’ surely does damage to his priestly identity.”

After making this point, Fr. Cipolla raised the topic of ad orientem worship, which he considers the natural consequence of reclaiming the sacrificial character of the priest. When the Holy Sacrifice is offered versus populum, this posture forces the priest to engage congregants as if “across the table,” instead of joining in the sacrifice as one of them (and as their leader). Fr. Cipolla encouraged us to reject “the positivism that says what has happened over the last fifty years is necessarily good and true and just.” I hope & expect that the experiment of versus populum Masses will be retired in the years ahead.

There was one more significant point made in this lecture, and it concerned papal infallibility. A convert from Anglicanism, himself, Fr. Cipolla is a well learned devotee of John Henry Cardinal Newman. Cardinal Newman feared the result of defining papal infallibility, not because he disbelieved it, but because of the resulting ultramontanism it might engender.

One could easily argue that the last century-and-a-half of Church history has been significantly influenced by various strains of ultramontanism. In the view of Fr. Cipolla, this is “one of the biggest challenges facing the Church in the 21st Century.”

LET ME CLOSE with a quick word about the beautiful conference liturgies. These celebrations were all held in the parish church of Saint Catherine of Siena in the Upper East Side, staffed by Dominicans.

On our first evening here, we joined in prayer at Solemn Vespers in the presence of a greater prelate, according to the Extraordinary Form. Vespers were sung by the Schola Dominicana of the parish, itself. His Eminence, Raymond Leo Cardinal Burke processed in cappa magna and sat upon a faldstool erected in the sanctuary.

Late on Tuesday afternoon, we assisted at a Solemn Votive Mass of the Holy Angels, celebrated in the Extraordinary Form by Father Sean Connolly, a newly-ordained priest of the Archdiocese of New York. During this Mass, the inimitable David Hughes served as organist, and his student schola sang the Gregorian propers & a playful polyphonic Mass (Missa Ego flos campi, Juan Gutiérrez de Padilla).

Wednesday concluded with the celebration of a Pontifical Mass in Latin in the Novus ordo. This Mass was offered by Archbishop Cordileone and a limited group of concelebrants. Music was provided by the professional Schola Cantorum of the Church of St. Agnes (where Bishop Fulton Sheen often preached). Led by organist & choirmaster James D. Wetzel, the choir sang Josef Rheinberger’s Mass in E Flat Major.

The final day of the conference fortuitously fell on the Solemnity of Corpus Christi, so a solemn Mass in the Extraordinary Form was celebrated by Most Reverend Joseph Perry, Auxiliary Bishop of Chicago. Musicians included a mix of those who were involved in the earlier liturgies. The conference concluded with a Eucharistic procession through the streets, including stops at St. John Nepomucene Church and St. Vincent Ferrer Church.

HIS WILL CONCLUDE my reporting on Sacra Liturgia USA 2015. There are also many other things that could be said about these wonderful days, but if these were to be described individually, I do not think Views from the Choir Loft could contain the posts that would be written. I am grateful to all the organizers & speakers who have made this conference so instructive, so timely, and so well worth attending. It is my hope that the Sacra Liturgia movement will grow, beginning in July 2016 in London. May the good work begun in these days bear fruit in many souls!

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

Filed Under: Articles Tagged With: Authentic Liturgical Renewal Reform, Blessed John Henry Cardinal Newman, Cappa Magna Liturgical Vestment, Extraordinary Form 1962 Missal, Raymond Cardinal Leo Burke, Reform of the Reform, Sacra Liturgia 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

    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“We know that originally the offertories of the repertoire included a series of verses, just like the introit and the communion, but generally more ornate. Many of these are musical compositions of great beauty. They quickly fell into disuse, and we find them only in the most ancient manuscripts. The only remaining trace of this older arrangement in our present-day liturgy is that of the offertory of the Requiem Mass.”

— Dom Joseph Gajard (1956)

Recent Posts

  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)

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.