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Views from the Choir Loft

“Let My Prayer Rise Like Incense”

Dr. Peter Kwasniewski · October 10, 2013

345 Sacra Liturgia Sacra Liturgia Conference (2013) HIS PAST JUNE, it was my great and humbling privilege to participate in the Sacra Liturgia 2013 conference in Rome, on behalf of the Cardinal Newman Society and Wyoming Catholic College. The talks were outstanding and the fellowship was heartening, but most impressive of all, and most nourishing, were the resplendent liturgies: two solemn pontifical Masses and two solemn Offices of Vespers, celebrated in both forms of the Roman Rite.

Never before had I experienced so fully the meaning of our Lord’s expression that a time is coming and is already here, when men will worship the Father in spirit and in truth (cf. Jn 4:23). Truly was the Eternal Father adored for His great glory, in a manner itself glorious and full of reverence; upwards and outwards from the sanctuary drifted the fragrance of the truth of the Faith in all its purity and power. There was no wordiness and no need for explanation: the signs and symbols, singing and silence, spoke fluently of sacred mysteries veiled and manifest, given to us and yet ever beyond us.

The tranquility of order permeated the densely filled silence, the stately orisons, the chanted antiphons, the gestures and motions of all ministers. One could well believe earth was opening to heaven, the veil between time and eternity lifted, while a shaft of divine light fell upon us in our poverty. It is just such moments that carry a nourishing force far disproportionate to their human dimensions. I felt I could be sustained by such an experience through many months of desert dryness, much as I imagine Moses was carried through the trials of his trek in the wilderness by the glory revealed to him on Mount Sinai. I found myself, in spite of the leisurely length of the ceremonies, not wanting to leave the church at all when they were finished; one had to tear oneself away from that prayer-saturated space.

AFTER THE CONFERENCE WAS OVER, I made my way to Norcia for a short retreat at the Monastero di San Benedetto. And what awaited me there, on the Lord’s Day, was Solemn Vespers followed by Adoration and Benediction. The service was not merely beautiful, it was sublime; it had a kind of fearful intensity to it, a severe purity of intention. At one point, while the Blessed Sacrament was exposed in a golden monstrance on the altar, chant was floating through the air, and the air was so thick with incense that you could barely see the altar and the candles flickering through the smoke as it rose up to heaven. “Let my prayer be directed as incense in thy sight, the lifting up of my hands, as an evening sacrifice” (Ps 140:2)—for me, this verse has never been so vividly portrayed and prayed as it was in that church, especially when the Divine Praises were offered up in peaceful chant, a pure homage of blessing for the simple reality of God and His angels and saints. These monks, and with them, a sizeable number of locals and visitors, were making a genuine sacrifice of praise: our life, our being was being drawn towards the Lord of all, the hidden King enthroned in His monstrance, and our time, our energy, was burned up for him like incense, simply because He is all worthy of our praise.

Not long ago a Cistercian monk of Heiligenkreuz quoted a striking passage from Abbot John of Ford’s Commentary on the Song of Songs:

Without any doubt, praise awakens love and preserves it. Hence it is that the citizens of Jerusalem feed the flame of eternal love by eternal praises. They cease not to cry aloud so as to be steadfast in love. Their cry has no rest, because love knows no intermission. So praise is the food of love. And you, too, if deep within you there is a little spark of sacred love, do all you can to apply to this spark the oil of your praise, so that your tiny fire may live and grow.

This feeding of the flame of love with the oil of praise is exactly what I witnessed at the monastery in Norcia, at their daily Divine Office, community Mass, and other devotions. The monk’s entire life is ordered to providing a continuous supply of that oil so that the flame will never die out but burn steadily through day and night.

This flame of faith may flicker and fade in the world outside, where men and women consume themselves in pursuit of wealth, pleasure, and power, headstrong and heedless of their souls, quickly filled up and just as quickly emptied out; it may even flicker and fade in the halls of the Vatican as the old guard recedes and the new guard advances; but never will it be extinguished in the souls of Saint Benedict’s faithful sons. Unnoticed by most, they go about their work, their prayer, their daily round, with an inconquerable patience, a quiet fortitude and massive stability, that outlasts the rise and fall of kings and bishops. Kill them, root them up, drive them far away, corrupt them—they come alive again and again, perhaps in a different place or a different century, but chant they still the divine praises, sweet echo of the heavenly song, sung by souls in love with heaven crying out to heaven, and preserving earth from faith’s famine’s dark despair.

What a barren, hostile wilderness this world would surely be, were it not for those enclosed gardens, the convents, those flowering deserts, the monasteries!

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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President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

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“No official approbation is required for hymns, songs, and acclamations written for the assembly.”

— Statement by the “Bishops’ Committee on the Liturgy” (10-NOV-1996)

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