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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

Seeking Inspiration in the Renaissance

Dr. Peter Kwasniewski · February 20, 2014

AN ANY serious Catholic choirmaster or composer not find inspiration in the Renaissance polyphonists―composers such as Josquin, Palestrina, Lassus, Victoria, Tallis, and Byrd, whose music is a veritable miracle? They have an unparalleled gift for setting liturgical texts with a serene lyricism that remains, throughout, a form of evangelical proclamation of the word. No period afterwards ever quite equals them in that regard, although of course the Baroque is overflowing with gems of religious music. But it is certainly not coincidental that the main forms of the Baroque, the opera, oratorio, and cantata, are not Catholic liturgical music. The Baroque is going for drama, and the liturgy, though it has points of comparison with a drama, is nevertheless something inherently different: a contemplative ritual.

Monsignor Richard Schuler pointed out many times that sacred music was strong when the Church was strong, and weak when she was weak. After the Renaissance―more specifically, after the Protestant revolution―the Church lost hold of a part of what it had, the parts that broke away turned more and more secular over the centuries, and the Church has yet to regain the strength and influence over society that would be necessary to turn the tides in favor of sacred forms of expression. Starting with the Baroque (or late Renaissance, depending how you look at it), secular forms ascended to the fore where the sacred forms once stood.

This led, in time, to composers writing “sacred” music that sounded very much like all the secular music being written and enjoyed in their secular societies. Even the mighty Viennese Masses of Haydn, Mozart, or Beethoven aren’t written in a genuinely sacred style, but are more operatic, theatrical, audience-oriented. None other than St. Pius X considered these works, despite their masterful artistry, not truly fitting for the sacred liturgy. Oddly enough, however, in our own day―“the most sinful age since the time of Noah,” as Pius XII put it―we find a resurgence of chant and polyphony and a driving desire for the truly sacred. Perhaps this is a new illustration of St. Paul’s ancient principle: “where sin abounds, grace abounds all the more.”

Monsignor Schuler’s observation can be generalized thus: Catholic culture is strong when the teaching and practice of the Faith are strong, and weak when they are weak. Since the fine arts are one of the most important elements of a culture, they will serve as a barometer of the ideals, or lack of ideals, by which a group of people live. This means that we can accurately gauge the spiritual health of the Church on earth by looking at the physical churches Catholics build, listening to the music Catholics sing, watching how Catholics celebrate their liturgy. A frightening prospect, indeed.

But it is no less true that one can prophesy future healing from the Divine Physician by looking at the beautiful churches beginning to be built, listening to new choirs and scholas springing up to sing chant and polyphony, and watching as an irrepressible wave of traditionalism inches up the enemy’s beachhead. This consolation is not given to us without the sorrow of setbacks and the cross of challenges, but we can be certain that since the Church on earth cannot perish, our Lord will always find ways to bring about genuine renewal―in spite of even the worst decisions of His own representatives. A new springtime will never come from a derailed aggiornamento, it may very well come from the dedicated efforts of a new generation of Catholics who, having rediscovered their own tradition, will never let it be taken away from them again.

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 • “21 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —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

“The chapter decides that henceforth neither singers nor instrumentalists may be loaned to any outside individual or organization, any more than can the chalices or copes owned by the cathedral. This prohibition applies to all those days of the church calendar for which polyphony is designated.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (13 June 1561)

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