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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Biography • Dr. Samuel Backman

Dr. Samuel Backman · January 10, 2013

AMUEL BACKMAN earned degrees at Saint Olaf College (BM), the Yale School of Music (MM), and a doctorate from the University of Oklahoma. He studied organ—performance and improvisation—with John Ferguson, Catherine Rodland, Martin Jean, Brian Luckner, Damin Spritzer, and John Schwandt. He studied conducting with Anton Armstrong, Christopher Aspaas, Maguerite Brooks, and Timothy Mahr. Samuel is a recipient of many distinguished scholarships and awards, including Saint Olaf College’s G. Winston Cassler Scholarship, Yale’s Mary Baker Award for excellence in organ accompaniment, the (Chicago) Lutheran School of Theology’s Ruth and Paul Manz Scholarship, as well as a nomination to PI KAPPA LAMBDA (a national honor society for music).

*  Publicity Photo • DR. SAMUEL BACKMAN (2019)

Samuel Backman currently serves as Director of Sacred Music at Holy Cross Catholic Church in Minneapolis, Minnesota, where he chairs a multi-faceted music program across three campuses. Samuel functions as principal organist and as conductor for the HOLY CROSS CHOIR, SAINT HELENA SINGERS, and TENEBRAE CHOIR. An active performer, Dr. Backman has been featured as an organ recitalist for conferences hosted by the American Guild of Organists and the Church Music Association of America.

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Dr. Backman’s performances have also been featured on PIPEDREAMS, a nationally distributed public radio program service hosted by Michael Barone. He is a composer and arranger (choir, organ, piano, and chamber ensembles), and his compositions have been published by Paraclete Press. In January 2024, he premiered “Symfonia Kolęd”—a four-movement symphony for organ—and will soon debut a 30-minute song cycle for soprano and organ.

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

Filed Under: Biographies Last Updated: July 25, 2024

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About Dr. Samuel Backman

Samuel earned degrees at Saint Olaf College, Yale University, and the University of Oklahoma. He resides with his wife in Minneapolis, Minnesota.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Gregorian chant is the sacred chant, proper and principal of the Roman Church. Therefore, not only can it be used in all liturgical actions, but unless there are mitigating circumstances, it is preferable to use it instead of other kinds of sacred music.”

— §16, De Musica Sacra (1958)

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  • “Lindisfarne Gospels” • Created circa 705 A.D.
  • “Music List” • 5th Sunday of Easter (Year C)
  • Communion Chant (5th Sunday of Easter)

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