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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

Silence (Part 1 of 3)

Dr. Peter Kwasniewski · July 11, 2013

HILE AUTHORS for Views from the Choir Loft are often found speaking about music, we are no less committed to the necessary counterpart of music and the companion of prayer: silence. As Saint Faustina Kowalska says in her autobiography: “In order to hear the voice of God, one has to have silence in one’s soul and to keep silence.” She says in the same Diary: “Silence is so powerful a language that it reaches the throne of the living God. Silence is His language, though secret, yet living and powerful.” Through music and speech we speak to God, but during silence He speaks to us, and how vital it is that we give him occasions to speak!

Even though she is mainly referring to the silence the sisters were supposed to keep during most of the day, I think this has some relevance to the silence we need sometimes at Mass. What the proportion should be of speech, song, and silence is hard to say, although we have a fairly good sense of when there is too little silence for recollection. Amidst clamor, it is difficult to focus on listening interiorly.

The General Instruction of the Roman Missal speaks clearly of the importance of silence during the sacred liturgy:

Sacred silence also, as part of the celebration, is to be observed at the designated times. Its purpose, however, depends on the time it occurs in each part of the celebration. Thus within the Act of Penitence and again after the invitation to pray, all recollect themselves; but at the conclusion of a reading or the homily, all meditate briefly on what they have heard; then after Communion, they praise and pray to God in their hearts. Even before the celebration itself, it is commendable that silence be observed in the church, in the sacristy, in the vesting room, and in adjacent areas, so that all may dispose themselves to carry out the sacred action in a devout and fitting manner.

In his commentary on silence in the Mass, liturgist Fr. Edward McNamara says:

To this we would add that silence should also be observed after Mass until one is outside the Church building, both for respect toward the Blessed Sacrament, and toward those members of the faithful who wish to prolong their thanksgiving after Mass.

Would that so simple a support of piety, decorum, and respect for others could be patiently explained and encouraged far and wide by the clergy! It is amazing how, across the United States, congregations burst into chatter the moment the priest exits the church. For all the problems there may have been in the 1950s, this sort of behavior was not even conceivable.

Similarly, for the priest to take some minutes to recollect himself before Mass, especially by praying the traditional vesting prayers (which used to be required and which is now being recommended anew by a growing number of priests and bishops), seems only sensible in view of the great mystery about to be celebrated and the importance of a reverent and recollected frame of mind if he is to obtain as many and as great graces from the celebration as he can, and lead the people into the same green pastures.

The New Evangelization is a bold project, but it will not succeed, it cannot even get off the ground, unless we recover a strong sense of the sacred and refocus, with utmost reverence, on the sublime mystery of the Holy Eucharist present in every tabernacle of the world. Otherwise, we will spend our days making and hearing empty talk and missing the demanding silence where the mystery of God can impress itself upon our souls.

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

    Buckfast Abbey Weighs In
    Dom John Stéphan was a Benedictine monk of Buckfast Abbey in South Devon, England. On 4 February 1933, he published this interesting letter in THE TABLET. Have you seen the exterior of Buckfast Abbey? It’s beyond gorgeous. I doubt there’s a more arresting Abbey in the entire world. Dom Stéphan’s letter is concerning this momentous collection, which our organization obtained, scanned, and uploaded.
    —Jeff Ostrowski
    Responsorial Psalm Fauxbourdon?
    When it comes to singing Responsorial Psalms in Fauxbourdon, what does this sound like in practice? Can such a thing be done successfully with volunteer choirs in real Catholic parishes? Listen to this audio excerpt from Good Friday and see what you think. Our parish volunteer choir did so well this year—and the ceremonies were ‘standing room only’. For the record, that musical score can be downloaded (completely free of charge) from the flourishing feasts website.
    —Jeff Ostrowski
    Music List • (Easter Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Easter Sunday—a.k.a. “Ad Missam in die Paschae”—which is 5 April 2026. Please feel free to download it as a PDF file if such a thing interests you. The Fauxbourdon for Communion is particularly moving.
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

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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