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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

The Spirit of Solesmes

Dr. Peter Kwasniewski · June 27, 2013

HAVE BEEN READING a beautiful book called The Spirit of Solesmes, a compilation of spiritual writings by Dom Prosper Guéranger, Abbess Cécile Bruyère, and Dom Paul Delatte, with wonderful notes by Sister Mary David Totah. I simply cannot recommend this book highly enough to anyone who is seriously interested in monastic spirituality. The writings display that uniquely Benedictine synthesis of down-to-earth practical wisdom, a pervasive presence of the rhythms of liturgical prayer, and a vibrant serenity that is always hovering somewhere between the poetry of everyday life and the silence of eternity.

St. Thomas is fond of the axiom: “What is last in execution is first in intention.” Or as the ancients put it still more succinctly: Respice finem. One must begin any major action—such as taking care of one’s children or teaching classes each day!—with the end in view. God, our ultimate end, is known through prayer, in which, by His grace, we enter more deeply into the union of indwelling that He gives us in baptism and all the sacraments.

“Being a Christian does not only mean accepting Christ’s teaching and receiving the graces won by Him; it also means becoming a worshiper in spirit and in truth, reliving His mysteries, ascending to God in the liturgy in the way Christ descended to us and returned to the Father. Here is realized the unity of our human life, the participation of whole persons in their highest act, which is worship.” (Spirit of Solesmes, 24)

The unification of our lives, the orientation to the ultimate goal that gives meaning to every proximate and particular goal we seek, is the work of the sacred liturgy. This is what endows the fragments of each day, colorful and leaden alike, with the unity of a stained glass window.

Many of the Church’s liturgical prayers contain the petition that we should experience in ourselves the mystery we celebrate. Without prayer, we might (for a time at any rate) “have” this union objectively, but it would not be the place we dwell, the determinative content of our thoughts and desires. If we want then to sanctify our actions, whatever they may be, we must enter consciously and lovingly into this union, so as to draw from God, for whom nothing is impossible, the strength to do all the work He asks of us.

When speaking of the gifts of the Holy Spirit (Summa Ia-IIae, Question 68), Saint Thomas argues the absolute necessity of special assistance by the Holy Spirit, every day, throughout the day, if we are to attain the glorious end God has in store for us, so greatly does it exceed our natural abilities—even the superadded power of the theological virtues in us. “Let your good spirit lead me into the promised land.” And he makes clear that it is not only for reaching the ultimate end but also for attaining any of the particular ends we aim at as Christians, if we want to do them as God’s children, that is, with wisdom, knowledge, counsel, fortitude, and so on.

So we have to listen to the Spirit in order to be directed in our activity. In this sense, there cannot be a genuine apostolate at all without contemplative prayer behind it, as the Acts of the Apostles so clearly shows. Moreover, prayer of all sorts, but especially quiet prayer in solitude, disposes one to be a good listener and a keen perceiver of reality. You learn how to listen to others and, at times painfully, discover the secret workings of your own heart.

Finally, then, we are left with a question, an examination of conscience: What is at the center of my day? What is the center of my being—what is the still point?

Prayer is

The world in tune,

A spirit-voice,

And vocal joys

Whose echo is heaven’s bliss.

(Henry Vaughan)

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 Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 September 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

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