• 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
  • 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

Archbishop Sheen Played The Organ!

Jeff Ostrowski · November 6, 2017

197 Fulton J Sheen R. LUCAS TAPPAN once asked: “Do you invite young children at church push down a few keys on the organ when you’re finished or do you just close up shop? Do you pull out the trumpet stop and tell him to press down the lowest pedal note and hold it? Do you tell him to try out the swell pedal and watch as the shades open and close?” He was talking about how we can generate interest in organ playing.

I thought of that when I learned 1 (today!) that Archbishop Fulton J. Sheen could play the organ:

At Fritz Kreisler’s suggestion, Sheen had taken organ lessons. His first teacher was famed swing organist Ethel Smith. Fulton acknowledged her prowess on the instrument but said that her instructional ability was weak. He then turned to a young friend, Yolanda Tomaiuoli, who was dating a cousin. She was an accomplished musician who would go on to earn a doctorate in music at Columbia University. Tomaiuoli said later that Fulton “could play some” but that “his musical talents were limited.”

In the late 1950s and early 1960s, Sheen played an electric Hammond on the main floor of his building for personal enjoyment, occasionally displaying his skill to friends. Indeed, the Cahill family, invited to Sheen’s apartment for dinner, recalls dancing in his front room while the bishop played “April in Paris” on his electric organ.

In one of his talks, Archbishop Sheen made reference to “an organ here in my office”—and now, twenty years later, I understand.

Here are two articles about Sheen and Sacred music you might enjoy:

    * *  Archbishop Fulton J. Sheen On Gregorian Chant

    * *  Archbishop Sheen on Liturgy & Plainchant Choirs

The latter contains several interesting quotes, such as:

After the consecration [Sheen’s installation Mass in Rochester], Sheen told Ferris that he wanted a classical repertoire at the cathedral, including Gregorian chant. “This was unusual,” Ferris said later, “for all sorts of freaky things were being done in churches at this time.”



NOTES FROM THIS ARTICLE:

1   Paragraph taken from Thomas C. Reeves, America’s Bishop: The Life and Times of Fulton J. Sheen (New York: Encounter Books, 2002). Sources: Yolanda Holliger interview, 19 April 2000; Vincent Cahill interview; Joan Cunningham interview, 2 April 2000.

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    PDF • “Music List” (4th Sunday of Advent)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 21 December 2025, which is the 4th Sunday of Advent (Year A). If such a thing interests you, feel free to download it as a PDF file. The ENTRANCE CHANT is the famous “Roráte Coeli” and the fauxbourdon setting of the COMMUNION is exquisite. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF • Our Lady of Guadalupe (12 Dec.)
    The Responsorial Psalm may be downloaded as a PDF file (organist & vocalist) for 12 December, which is the Feast of Our Lady of Guadalupe. When it comes to the formulary for this Mass, it’s astounding how infrequently it’s included in official books. Prior to Vatican II, one had to search through “supplemental material” printed in the back of hand-missals and graduals. But since 1970, the feast is virtually nonexistent. According to the UNIVERSAL KALENDAR, 12 December is the “Feast of Saint Jane Frances De Chantal, Religious” (Die 12 decembris: S. Ioannæ Franciscæ de Chantal, religiosæ). Why should that feast overpower Our Lady of Guadalupe? In the United States, OLG is celebrated—and I’d assume in Mexico, Central America, South America, and Canada—but, as I said, the Propria Missae are virtually impossible to locate. I possess only three books which mention this feast.
    —Jeff Ostrowski
    Simplified Accompaniment (Advent Hymn)
    Many organists are forced to simultaneously serve as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult. I invite you to download this simplified organ accompaniment (PDF) which in the Father Brébeuf Hymnal is hymn #661: “Come, Thou Long-Expected Jesus” (for ADVENT). I’m toying with the idea of creating a whole bunch of these, to help amateur organists. The last one I uploaded was downloaded more than 2,900 times in a matter of hours—so there appears to be interest.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski
    Pope Leo XIV on Sacred Music
    On 5 December 2025, Pope Leo XIV made this declaration with regard to liturgical music.
    —Corpus Christi Watershed
    “Translations Approved for Liturgical Use”
    According to the newsletter for USSCB’s Committee on Divine Worship dated September 1996, there are three (3) translations of the Bible which can be used in the sacred liturgy in the United States. You can read this information with your own eyes. It seems the USCCB and also Rome fully approved the so-called NRSV (“New Revised Standard Version”) on 13 November 1991 and 6 April 1992 but this permission was then withdrawn in 1994.
    —Corpus Christi Watershed

Random Quote

On October 14, 1968, our Holy Father, Pope Paul VI, in an address to the Roman liturgy Consilium, pointed out the abuse which wants to “remove the sacred from liturgical worship and replace the holy with the commonplace and the every-day.”

— Quoted by Roger Wagner in a 1970 article

Recent Posts

  • PDF • “Music List” (4th Sunday of Advent)
  • PDF Download • “Santo Santo Santo”
  • Crucial Tips • “Teaching Children How to Sing”
  • Soloists in Gregorian Chant?
  • PDF • Our Lady of Guadalupe (12 Dec.)

Subscribe

Subscribe

* indicates required

Copyright © 2025 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.