• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

We’re a 501(c)3 public charity established in 2006. We have no endowment, no major donors, no savings, and run no advertisements. We exist solely by the generosity of small donors.

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

The Eternal, Not the Contemporary

Dr. Peter Kwasniewski · March 13, 2014

HAVE NEVER MADE any attempt to hide my passionate devotion to the works of composer Arvo Pärt (born 1935). In fact, I have gone out of my way to talk about him whenever possible. (Here, for example, is a piece about his life-changing discovery of Gregorian chant.) Not only do I love his music, I also love his wise words about music and musicians. Even though he is famously reticent to speak, it’s also true that once he gets going, we can always expect profound insights.

In an interview, he had this to say about why the music of some composers will always be relevant, always fresh and contemporary to us:

It is said that many works of art from earlier times appear to be more contemporary than works of today. This combination of “art” and “contemporary” is in itself absurd. However, what are we to make of this? Certainly not that a musical genius has a prophetic eye for future centuries. I think that the so-called contemporary nature of Bach’s music will not disappear in the next 200 years, since, from an absolute point of view, it is simply of an integrally higher quality. The secret of this “contemporary” character lies not so much in how greatly the author embraces his time, but more in the way he perceives all of existence, with its joy, its suffering, and its experiences. … Art should concern itself with the eternal, not the contemporary.

Is this not a salutary corrective against the idolatry of the present―the mood that our times demand something specific to them that is somehow different from what is simply demanded by human nature, its quandaries, exigencies, and aspirations, or from what is called forth by the encounter with the mystery of the living God? The reason Bach’s music can never grow stale or irrelevant or inaccessible is that he is speaking the cosmic language of the human heart, not the local vernacular of a momentary human society.

We can apply these insights to sacred music, especially to the Gregorian chant and Renaissance polyphony repeatedly singled out by the papal magisterium. Their very rhythms and melodies, textures and syntax, speak to us of the spiritual, the eternal, the numinous, the consecrated cosmos in which Jesus Christ is the Eternal High Priest and we are the living members of His Mystical Body. It sounds like a cliché to talk about timeless music, and yet there are identifying features of chant and polyphony that guarantee its timelessness, its perennial suitability for the act of divine worship.

To speak thus is to speak at the level of musical style, of pure music. But we must not forget the texts, which are the directive principle, the underlying motive, the burden of the communication; it is these texts that summon the chant and the polyphony to announce them worthily, to be their servants in the work of beautiful proclamation. In this connection I was struck by Arvo Pärt’s remarks about why, when writing a choral work, he always chooses sacred texts, even though his commission may leave him free to choose any text.

I have always allowed myself to be guided by texts that mean a lot to me and that for me are of existential significance. It is a root that reaches very deep and that lifts me upwards. It is basically the same fruit that has nourished the world for centuries. If we view a period of two thousand years we recognize that people have changed very little. That is why I believe the sacred texts are still “contemporary.” Seen in this light there are not significant differences between yesterday, today, and tomorrow because there are truths that maintain their validity. Mankind feels much the same today as he did then and has the same need to free himself from his faults. The texts exist independently of us and are waiting for us: each of us has a time when he will find a way to them.

Now, re-read this passage while thinking about the Propers and the Ordinary of the Mass―the Introit, Gradual, Alleluia, Offertory, and Communion antiphons, the Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei―that have given shape and meaning to the Eucharistic sacrifice for 1,500 years. Are these sacred texts not perennially, permanently, intrinsically contemporary, proclaiming truths that always maintain their validity? And is that not one of the many reasons we moderns, already prone to excessive change and pluralism, need the unifying, stabilizing, and consolidating effect of the sacred chants and sacred texts handed down to us?

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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.

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “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
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“In everything of any importance at all, Sarum (and all other mediæval rites) was simply Roman, the rite which we still use.”

— Fr. Adrian Fortescue (1912)

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up