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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 2 of 3)

Dr. Peter Kwasniewski · July 18, 2013

660 Window N 2003, Blessed John Paul II reminded the Church:

One aspect that we must foster in our communities with greater commitment is the experience of silence. We need silence if we are to accept in our hearts the full resonance of the voice of the Holy Spirit and to unite our personal prayer more closely to the Word of God and the public voice of the Church. In a society that lives at an increasingly frenetic pace, often deafened by noise and confused by the ephemeral, it is vital to rediscover the value of silence.

These words reminded me of these poignant lines in T. S. Eliot:

Where shall the word be found, where will the word

Resound? Not here, there is not enough silence

Not on the sea or on the islands, not

On the mainland, in the desert or the rain land,

For those who walk in darkness

Both in the day time and in the night time

The right time and the right place are not here

No place of grace for those who avoid the face

No time to rejoice for those who walk among noise and deny the voice.

Three things are packed into that last verse: no time to rejoice—for those who walk among noise—and deny the voice. An essential condition for man to be sane and rational and joyful is that he must, at times, let go of his everyday concerns, the whirling wheels of his calculating and planning, the burdens and cares of this life, and enter into the presence of the eternal and infinite God whom he cannot grasp, cannot dictate to, cannot manipulate, but only adore and love.

It is a paradox: we will not find time for rejoicing unless we sacrifice time to “do nothing,” to make a burnt offering of our life and our time before the Lord. This is not quite the same thing as going to Mass or performing a particular pious work. I am speaking strictly of simple silence, without props, without scripts or safe paths. Only by making a choice for inactivity, as it were, will we habituate ourselves to stop walking among noise and stop denying the voice. Perhaps this is why the prophet Isaiah says: Cultus iustitiae silentium—the worship of justice is silence (Is 32:17, Vulg.), as if to say, we owe everything to God, in whom we live and move and have our being, and it is justice to worship Him in the silence of recollection.

Gabriel Marcel, a perceptive philosopher of the interior life, had this to say about the relationship between recollection and mystery:

Not only am I in a position to impose silence upon the strident voices which usually fill my consciousness, but also, this silence has a positive quality. Within the silence, I can regain possession of myself. It is in itself a principle of recovery. I should be tempted to say that recollection and mystery are correlatives.

Is this not another way of saying: “He who loses his life for my sake will find it”? We lose possession of what is more exterior to us and gain possession of the innermost reality—God closer to me than myself, and yet higher than the highest in me. If the conditions for recollection are never present in our lives, if we do not fight to create and guard such conditions, we will lose our awareness of divine mystery, as refreshing as springtime rains, and wander in a desert of superficiality.

The passage quoted earlier from John Paul II continues with a specific recommendation directed to the pastors of the Church:

The spread, also outside Christian worship, of practices of meditation that give priority to recollection is not accidental. Why not start with pedagogical daring a specific education in silence within the coordinates of personal Christian experience? Let us keep before our eyes the example of Jesus, who “rose and went out to a lonely place, and there he prayed” (Mk 1: 35). The Liturgy, with its different moments and symbols, cannot ignore silence.

(Read Part 1 here.)

Photo courtesy Fr. Lawrence Lew

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

    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“Who dreamed on that day that within a few years, far less than a decade, the Latin past of the Church would be all but expunged, that it would be reduced to a memory fading into the middle distance? The thought of it would have horrified us, but it seemed so far beyond the realm of the possible as to be ridiculous. So we laughed it off.”

— Archbishop Dwyer of Portland (26-Oct-1973)

Recent Posts

  • “Unfair Characterization” • (But Good Question)
  • “Thee” + “Thou” + “Thine”
  • PDF Download • “For Pentecost Sunday”
  • “Reminder” — Month of May (2026)
  • “Englished” Gregorian Chant • 5 Considerations

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