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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

Jimmy Stewart … and Church Music Regulations?

Jeff Ostrowski · October 21, 2013

321 Jimmy Stewart Jimmy Stewart awarded Croix De Guerre (1944) IVEN BELOW are Church Music Regulations from the Diocese of Pittsburgh (1931) and the Archdiocese of Chicago (1955). The documents are extremely interesting, and you will want to read both of them in their entirety.

      * *  Pittsburgh Regulations • (1931)

      * *  Chicago Regulations • (1955)

I have a feeling many people would consider these pronouncements too restrictive, and to a certain extent, I agree with that assessment. For example, it is jarring to hear Fr. Rossini (author of the Pittsburgh regulations) declare the organ accompaniments by Ludwig Bonvin, Nicola Montani, both Singenbergers, and others to be “forbidden,” since many of the condemned were so intimately associated with Caecilia Magazine. Furthermore, point-blank condemnations like the following seem shocking, even when we consider that they were written in the days of the famous “White List” for Church music:

The following English-Latin Hymnals and Collections are forbidden for church and school use; St. Basil’s Hymnal; The Gloria Hymnal; Catholic Youth’s Hymnal (Christian Brothers); Catholic Choir Manual (Wynne); Crown Hymnal; May Chimes; Hellebusch’s Hymnal; Psallite Hymnal; American Catholic Hymnal (Marist Brothers) ; Wreath of Mary; New Catholic Hymn Book; all of Berge’s, Giorza’s, Gaines’, Marzo’s, Peter’s Rosewig’s and Werner’s Collections.

On the other hand, these documents contain some really good recommendations, for example:

Church Choirs of fewer than Ten, Fifteen and Twenty volunteer members are forbidden to sing music for Two, Three and Four Voices respectively.   [original emphasis]

Wow … if only we’d adhere to such a rule today! One of the common pitfalls of choirs is to sing polyphony with too few singers. Remember, the minimum required before you have a “choir” is three (3) singers on each part. Perhaps I should say that again: unless you have at least three (3) singers on a part, you don’t have a choir, according to choral experts. *  Here’s another really good statement:

It is not the large number of singers nor the rendition of elaborate music that makes a “good choir”, but rather the good judgment of the organist in choosing music within the powers and ability of the choir, and the proper rendition of the same.

Again, how true … even today!  Pope Pius XII would later echo this sentiment in 1958 (§60a):

“In general, it is better to do something well, however modest, than to attempt something on a grander scale if proper means are lacking.”   [source]

One of the most horrifying admissions I ever read was printed in a book on 16th-century counterpoint. The author proudly exclaimed that he had “without exception” sung Victoria’s O Magnum Mysterium every Christmas for thirty years. How ghastly! Obviously, it’s a wonderful piece … but every year? I’ve always believed one should constantly learn new repertoire. It turns out they knew this back in 1931:

You cannot expect volunteer choir members to be interested in their work with books falling apart or not sufficient in number. Nor can you expect volunteer singers to attend rehearsals if the same Mass and the same Hymns are to be sung all the year round.

BOTH DOCUMENTS (1931 and 1955) agree that Schubert’s Ave Maria and a song called “I love you truly” are forbidden for use at Church. I don’t know who wrote “I love you truly” — Google probably does — but it appears to have been quite popular in its day. I know it was performed in the 1946 Christmas film It’s a Wonderful Life:

      * *  “I love you truly” • As sung in It’s a Wonderful Life (1946)

Speaking of Jimmy Stewart, it turns out he actually served in the Armed Forces (in real life) and fought in World War II. My grandfather, who likewise flew bombing runs against the Nazis, met Stewart at this time. Even though I never met my grandfather (he died before I was born), I’ve been told that Stewart was “a really nice guy,” and the time during which my grandfather knew him was “prior to Stewart becoming super famous.” From what I can tell, Stewart continued to serve in the United States Air Force even after World War II had ended.


*  Sadly, this pitfall is sometimes encouraged by certain “early music” groups who claim using one singer per part is de facto more “authentic.” However, the choice often has nothing to do with “authenticity” (which these days is referred to as being “historically informed”). Rather, the choice is dictated by the fact that paying a large professional choir costs more than paying a small choir. While I certainly understand making the best possible effort with one’s funding, such performances can do Renaissance music a great disservice. Instead of a true choir sound, we hear … a group of soloists. The best conductors will only allow a “soloist group” sound at certain moments: for instance, at the “Benedictus” section during the Sanctus (when the number of voices is reduced).

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Secular vs Sacred Music at Mass 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

    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) 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
    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
    “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

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The Chasuble, or upper garment, represents the purple garment which the soldiers put upon Jesus Christ, and the heavy cross that He carried on His blessed shoulders to Mount Calvary.”

— Guide for the Laity (1875)

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  • New Bulletin Article • “12 October 2025”

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