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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

Holy Week — A Week of Love

Andrew Leung · March 17, 2016

CTL-Love-Your-Choir HIS IS THE BUSIEST WEEK I have had since I began my pastoral year in October. I have never had so many appointments in a week! I also had an intense week last year around this time. The fifth week of Lent is always a crazy week for music directors: meetings with priests and others who are assisting in the liturgies, finishing up the worship aids for the congregation, figuring out the logistics for the complicated liturgies, making sure that choir members know the “call time” for the liturgies, fitting in time to learn and practice music, etc.

But Passiontide is not just a busy time; it is the time to pray more deeply and reflect on the love of God. The Paschal Mystery is the mystery of love. Out of love, God sacrificed His Son to redeem us. This is the time when we practice charity in response to God’s love for us. My favorite saint, Josemaría Escrivá, wrote:

In the Holy Sacrifice of the altar, the priest takes up the Body of our God, and the Chalice containing his Blood, and raises them above all the things of the earth, saying: Per Ipsum, et cum Ipso, et in Ipso — through My Love, with My Love, in My Love! Unite yourself to the action of the priest. Or rather, make that act of the priest a part of your life. (The Forge, 541)

This is a time when we are called to love God and to love our neighbors more deeply. As church musicians, we show our love through singing to God and uniting ourselves with the priest in the Holy Sacrifice of the Mass. We should make every note a prayer to God, and we should not forget to set aside time in this busy week to speak to God privately.

How can we love our neighbor? St. Paul makes it clear: “Love is patient, love is kind” (1 Cor 13:4). We love our neighbor when we are prepared and punctual and give our best during rehearsals and liturgies. And we are loving when we are patient and kind to our fellow musicians when they make mistakes or we disagree. That’s how we can love one another.

Finally, I would like to wish everyone a blessed Holy Week and share a piece by Aurelio Porfiri. Maestro Porfiri has set a simple and beautiful melody to the text “Adoramus te, Christe“ (in English) as a refrain. The verses are taken from Isaiah 53, which is rarely seen in a sung form and is a great text to meditate on during this sacred time. This piece can be sung during Lent, Passiontide, on Palm Sunday, Good Friday and the Feast of the Exultation of the Holy Cross.

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

    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski

Quick Thoughts

    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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“Young people have entrusted me with their absolute preference for the Extraordinary Form… […] But, above all, how can we understand—how can we not be surprised and deeply shocked—that what was the rule yesterday is prohibited today? Is it not true that prohibiting or suspecting the Extraordinary Form can only be inspired by the demon who desires our suffocation and spiritual death?”

— Cardinal Sarah to Edward Pentin (23 September 2019)

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