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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

Famous Conductor Fired Because He Refused To Sing Hymn

Jeff Ostrowski · February 16, 2013

PON FIRST READING the below letter, I was shocked. Initially, I was shocked that such a letter, containing as it does “personal business,” would be printed in the Sacred Music Journal (Winter of 2002). That just seems like a really bad idea. However, as I pondered this letter, I realized that this was one of the best letters that could be printed, as it shows the type of struggles and hurt feelings that choirmasters must endure.

The reader might be very surprised that I am not angry at the priest (see below). As a matter of fact, I see both sides of the “problem” or “argument” or whatever. This is nothing new. This happens all the time.

For this reason, I have renewed in my heart the desire to create a series of articles on “Views from the Choir Loft,” formulating a type of “contract” between priest and musician. I don’t know how many articles I will write: maybe five, maybe fifty. I will think of some clever heading, which will make it easier for folks to find all the articles and read them in succession. Believe it or not, I really have thought about this subject A LOT over the years. I will explain my thoughts and opinions, which mainly come from real experiences in my life.

However, for now, I will simply reproduce the letter, and invite you to read it over and think about it. If you prefer to read the original, it is here [pdf].

A sad form letter sent out October 29th by Mr. Dean Applegate:

“As you may have already heard, Cantores in Ecclesia is no longer in residence at St. Patrick’s Church in Northwest Portland. The decision to leave was made in response to memoranda from the pastor, Fr. James Mayo, on the 7th of October. One memo contained his ultimatum regarding the replacement of Gregorian Introits and Graduals with opening hymns and responsorial psalms at the Saturday evening Latin Mass. In this memo he also gave deadlines for these changes to be implemented: Saturday, October 12 for the Introit and Saturday, October 19 for the Gradual. The other memo from Fr. Mayo forbade the use of the choir room for music lessons, effective Monday, October 21.

“On the 15th of October, I received an additional memo from Fr. Mayo, ‘Just double checking to make sure we are both on the same page about music this coming weekend. It is my expectation that there will be an Entrance/Gathering Hymn and some kind of Responsorial Psalm. This is predicated, based on your memo of last week, on your continuing here at St. Patrick’s. Thank you for your cooperation.’

“After much soul searching and consultation with members of the choir and board of directors, I decided that Fr. Mayo’s restrictions regarding the liturgy and the choir’s use of facilities were not acceptable. I notified him about this decision in a letter of October 17. At that time I also requested that the choir be permitted to sing through the month of October because services had already been advertised in our monthly newsletter. On the same day I got a further memo from Fr. Mayo informing me that the choir would be permitted to sing on Saturday, October 19, but that this would be our last Mass at St. Patrick’s.

The Saturday evening Mass on the 19th was a most gratifying and poignant experience for Cantores in Ecclesia. The sadness of the occasion was underlined by Fr. Mayo’s announcement at the end of the service that he was cancelling the Latin Mass …”

The website for Cantores in Ecclesia is cantoresinecclesia.org [url].

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 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).

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Corpus Christi Watershed

President’s Corner

    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 what each translator wants to emphasize and which source text is chosen. 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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —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

“The traditions of the elders, your glory throughout long ages, must not be belittled. Indeed, your manner of celebrating the choral office [in Latin] has been one of the chief reasons why these families of yours have lasted so long, and happily increased.”

— Pope Saint Paul VI (15 August 1966)

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