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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

Has The Church Rejected Her Inheritance?

Dr. Alfred Calabrese · March 10, 2016

“My son, you are here with me always. Everything I have is yours.” —Luke 15:31|

Prodigal HIS WAS WHAT the father of the estate said to his older son in the parable of the Prodigal Son, heard most recently this past weekend, the fourth Sunday of Lent. I’ve been thinking a lot about this parable lately, and in particular, why neither of the sons really understood what riches he had in his father’s house. Is that why the prodigal son left? Did he not realize what he had, and did he think things would be so much better elsewhere?

The father has inherited and maintained an existence that is well-ordered, successful, and respected, even coveted. The father is the caretaker of these riches, and the Prodigal Son is part of this inheritance. The rich blessings, fertile land, and beautiful adornments are his by right.

And yet, the Prodigal Son rejects all of it.

Imagine for a moment that the father and his house represent the Church. The sacraments are her wealth, and she is adorned with the richness of beautiful art, architecture, and music. The well-ordered success of the estate is akin to the Church’s time honored liturgical practices, steeped in history and tradition.

The father, clearly heartbroken by the son’s rejection, does not drastically change his house nor anything about it in an effort to lure back his son. He doesn’t rid himself of his possessions nor throw away all of his successful practices in order to join his son in the wasteful abandonment of all he knows. Rather, he remains steadfast, hoping that the son will realize what he has given up, and return to the life-giving love of the father and his house.

And yet it seems that many in the Church have not learned or understood this lesson. How many prodigal sons and daughters are still out there? Did the Church’s willingness to try to lure back her people really work? Did the abandonment of sacred tradition, of Gregorian chant, polyphony, and excellent hymnody, and of beautiful vestments and architecture, bring more people back home?

Those whose calling it is to work for the Church, those who understand what wealth really is, those who recognize the importance of beauty in the Father’s house, have a difficult task. Often they face ridicule, rejection, and heartbreak. Not an easy life. But the Gospel tells us that the prodigal children will one day return. To all of my colleagues—remain steadfast!

You are invited to experience something beautiful in Dallas,Texas this May. Please consider attending our conference on beauty and sainthood, and experience the world premiere of “A Rose in Winter” by composer Frank La Rocca. The registration fee is at an UNBELIEVABLY low price!

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. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski
    “To Cover Sin With Smooth Names”
    Monsignor Ronald Knox created several English translations of the PSALTER at the request of the Cardinal Archbishop of Westminster. Readers know that the third edition of the Saint Edmund Campion Missal uses a magnificent translation of the ROMAN CANON (and complete Ordo Missae) created in 1950 by Monsignor Knox. What’s interesting is that, when psalms are used as part of the Ordo Missae, he doesn’t simply copy and paste from his other translations. Consider the beautiful turn of phrase he adds to Psalm 140 (which the celebrant prays as he incenses crucifix, relics, and altar): “Lord, set a guard on my mouth, a barrier to fence in my lips, lest my heart turn to thoughts of evil, to cover sin with smooth names.” The 3rd edition of the CAMPION MISSAL is sleek; it fits easily in one’s hand. The print quality is beyond gorgeous. One must see it to believe it! You owe it to yourself—at a minimum—to examine these sample pages from the full-color section.
    —Jeff Ostrowski
    Heretical Hymns
    As a public service, perhaps a theologian ought to begin assembling a heretical hymns collection. A liturgical book—for funerals!—published by the Collegeville Press contains this monstrosity by someone named “Delores Dufner.” I can’t tell what the lyrics are trying to convey—can you? I detest ‘hymns’ with lines such the one she came up with: “Let the thirsty come and drink, Share My wine and bread.” Somehow, the publication was granted an IMPRIMATUR by Most Rev’d Jerome Hanus (bishop of Saint Cloud) on 16 August 1989. It’s a nice tune, but paired with a nasty text!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“Angularis fundamentum” is typically sung at the dedication or consecration of a church and on church anniversaries. For constructions too numerous to list in recent generations, it would be more appropriate to sing that Christ had been made a temporary foundation. A dispirited generation built temporary housing for its Lord, and in the next millnenium, the ease of its removal may be looked back upon as its chief virtue.

— Fr. George Rutler (2016)

Recent Posts

  • Funeral Music “Template” • For Families
  • “To Cover Sin With Smooth Names”
  • Heretical Hymns
  • Alphabetizing Hymn Titles Inside Hymnals • “Does This Make Any Sense?”
  • Fulton J. Sheen • “24-Hour Catechism”

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