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Views from the Choir Loft

In Defense of the “Sistine Screamers”

Andrew Leung · August 1, 2017

CTL In Defense of the Sistine Screamers WO DAYS AGO, Crux posted an article about the Sistine Chapel Choir’s first tour to the USA in 30 years. In the article, the author and Msgr. Massimo Palombella, the current choirmaster, mention about the choir’s old reputation as the “Sistine Screamers” and how the choir has abandoned their old way of singing. As I have mentioned before (here and here), I think that the Sistine Chapel Choir has taken a more British choral approach and their musical quality has improved greatly. However, there are a few things I would like to point out in defense of their old approach.

First of all, allow me to point out that most people nowadays consider the choral sound of the English Cathedrals as the standard and our ears are more used to this sound of the choral approach of British school. But that might not have always been the case. In the old days, it would have been harder for people to compare and exchange ideas about choral singing since there was no internet and the technology wasn’t as developed.

Let us also consider the cultural background of the choir. In the past, most of the singers of the Pope’s choir were Italian and were probably recruited from opera houses. They were all trained in operatic singing and probably considered it the best way, and a very noble way, of singing. Following that logic, that would be how they sing in the Pope’s churches because they wanted to offer the best to God; and the local Catholic faithful influenced by the Italian culture would probably think it is appropriate. (And this is probably why Pope St. Pius X wants to make sure that we keep operas out of the liturgy.)

Finally, one of the reasons they sang in their full and operatic voices was to make sure that their voices can be projected throughout the basilica. St. Peter’s Basilica is the largest church in the world (over 700ft long, 500ft wide with a 448ft-tall dome) and you can imagine the effort it takes to fill the whole church with music without using microphones. They had to sacrifice the quality of the music in order make sure that they can be heard.

I am very glad that the Sistine Chapel Choir has abandoned their old way of singing and is now making angelic music. But let us not condemn their old approach without first understanding the reasons behind it.

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

    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    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

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

Re: Low Mass: “It is desirable that in read Masses on Sundays and feast-days, the Gospel and Epistle be read by a lector in the vernacular for the convenience of the faithful.”

— 1958 document, issued under Pope Pius XII

Recent Posts

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  • Bishop François Charrière Vs. Hannibal Bugnini
  • 14th Sunday in Ordinary Time (Year C)
  • “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.”

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