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Corpus Christi Watershed

“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

New Chair of Sacred Music at US Seminary

Fr. David Friel · December 23, 2018

EMINARIES and cathedrals are supposed to be models of liturgical practice for parishes throughout the diocese. This is true, especially, in the domain of sacred music. The music programs at such institutions ought to be exemplary and truly worthy of emulation.

Sacrosanctum Concilium is very clear on these points. Regarding seminaries, the constitution says:

Great importance is to be attached to the teaching and practice of music in seminaries, in the novitiates and houses of study of religious of both sexes, and also in other Catholic institutions and schools. To impart this instruction, teachers are to be carefully trained and put in charge of the teaching of sacred music. (SC, no. 115)

With respect to cathedrals, Sacrosanctum Concilium has this to say:

All should hold in great esteem the liturgical life of the diocese centered around the bishop, especially in his cathedral church; they must be convinced that the pre-eminent manifestation of the Church consists in the full active participation of all God’s holy people in these liturgical celebrations, especially in the same Eucharist, in a single prayer, at one altar, at which there presides the bishop surrounded by his college of priests and by his ministers. (SC, no. 41)

The treasure of sacred music is to be preserved and fostered with great care. Choirs must be diligently promoted, especially in cathedral churches. (SC, no. 114)

Numerous other church documents make the same points (e.g., Tra le sollecitudini, nos. 4, 25-26, and 29; Musicam sacram, nos. 19 & 49; and Sing to the Lord, no. 16).

It is no secret, however, that seminaries and cathedrals are not always home to that musical excellence which should be part of their mission. This is not a new problem.

In a 1903 letter accompanying Tra le sollecitudini, written by Pope St. Pius X to Cardinal Respighi, then-Vicar General of Rome, the pontiff observes:

We desire that sacred music be cultivated with special care and in the proper way in all the seminaries and ecclesiastical colleges of Rome. . . . We know, and We are greatly comforted by the knowledge, that in some institutions sacred music is in such a flourishing condition that it may serve as a model for others. But there are some seminaries and colleges which leave much to be desired owing to the carelessness of the superiors, or the want of capacity and the imperfect taste of the persons to whom the teaching of chant and the direction of sacred music is entrusted. You, Lord Cardinal, will be good enough to provide a remedy for this also with solicitude.

The growing number of seminaries today that are taking seriously the need for the musical formation of their students is, therefore, quite encouraging.

NE US SEMINARY recently demonstrated a praiseworthy commitment to robust musical formation through the foundation of a new chair of sacred music. Named in honor of a long-time benefactor, the establishment of the Lucille M. Francesco Chair in Sacred Music was announced by St. Charles Borromeo Seminary in Philadelphia at its annual open house & Christmas concert (video here) earlier this month.

The first holder of this chair will be Dr. Nathan Knutson, D.S.M., M.M., Obl.S.B., the current Director of Sacred Music at the seminary. Formerly music director at the Cathedral of the Holy Trinity in the Diocese of New Ulm, Minnesota, Knutson holds a doctorate in sacred music from the Graduate Theological Foundation and a masters in music from the Cleveland Institute of Music.

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

Filed Under: Articles Tagged With: Sacrosanctum Concilium, USCCB Sing to the Lord Document on Music Last Updated: January 1, 2020

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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).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —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

By far, the event that caused the biggest increase in requests for indults from the morning Mass requirement was the Second World War. The unusual requirements of providing Mass during wartime led to some unique legislation accommodating the time of Mass. Already in 1940, Pope Pius XII issued a motu proprio addressing the situation of holding Mass in countries where a “Black-out” had been ordered.

— Father Shawn P. Tunink

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