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Views from the Choir Loft

Why We Need the Greatest Art in Catholic Worship

Dr. Peter Kwasniewski · April 3, 2014

0319_modern_church AS IT NECESSARY to change our forms of worship to suit “modern man”? Was it necessary to get rid of our glorious musical heritage and replace it with newly fabricated utility music that mimicked the styles of the secular world? This, after all, was the argument used to justify abolishing Latin, chant, Renaissance polyphony, and Masses by Haydn: all of these are products of other time periods, other cultural contexts; so they are “antiquated” and don’t “speak” to us where we are right now.

We may refute this with six observations.

1. All serious religions maintain centuries-old (or even millennia-old) customs of worship and ritual languages or bodies of music, the most obvious examples being Judaism, Eastern Orthodox Christianity, Anglicanism, Hinduism, and Islam. This is a fearful observation, since it shows that the Catholic Church alone (or certainly greatly in excess of the others) has abandoned its vast artistic and liturgical heritage in favor of what appears to be a fashionable contemporary agenda. Catholicism thus appears, to all impartial observers, as the religion that takes its own traditions least seriously and is prepared to change its most solemn observances and rituals. If I were not a Catholic but were searching for the true religion, this massive disconnect between what the Church says it is and how it has acted in the past half-century might very well have put me off permanently. I would have reasoned (and it is not altogether unreasonable): “Orthodox Jews, Eastern Orthodox Christians, High Church Anglicans, Moslems―all of them have clung faithfully and steadfastly to their age-old traditions, have cultivated them and treasured them, and would not give them up for anything. But Catholics threw over all that had been considered, during much of their long history, as most sacred, most beautiful, most solemn, most worthy, and most sanctifying. I conclude that the Catholic Church hardly knows what it is doing, and folly on so great a scale is a convincing proof that the spirit of religion, of fidelity and continuity, is not there.” Ratzinger made similar observations. If this is an unacceptable conclusion, then so is the short-sighted, ungrateful behavior towards tradition that leads to it.

2. Many people not only can respond to this music and art, but already love it or find it intriguing and convincing when exposed to it―it’s “authentic.” They love the sound of Latin and chant, the look of Gothic cathedrals, stained glass windows, noble statuary. Witness the popularity of recordings of medieval and Renaissance music, or art books filled with photographs of the great churches, altarpieces, and tapestries of yore. Such things are perennially appealing to everyone, from the illiterate to the highly educated. All you have to do is watch the looks of amazement and wonder on the faces of so many people who visit Gothic cathedrals in Europe. In short, majestic beauty still speaks powerfully of the divine, the eternal, the immortal, the spiritual. It is sensuous catechesis, experiential mystagogy. We human beings desperately need it.

3. It is the purpose of good liturgy and music to train the senses, to habituate people to beauty, to induct them into a higher way of living, thinking, and feeling. We are born simpletons who can learn to find contentment in far less than our human dignity, fashioned after the image and likeness of God, deserves and is capable of. The old masterpieces are God’s greatest gifts to Christian culture and should therefore serve as the norm used to measure all other contributions. Indeed, it would be exactly backwards to let the tastes of popular culture in its deviation into mass-marketed pseudo-art dictate what Catholics ought to esteem most highly.

4. We call these works of art “great” because they are essentially timeless in their greatness, as the Latin tongue itself is timeless, a common possession of all nations and the property of no one. To what nation does the Missa Papae Marcelli belong? To what period is the Requiem of Mozart confined? To which social class are the Magnificat fugues of Pachelbel restricted? To what special occasion are the Gregorian propers limited? Foolish questions! All great sacred music, even any art that shares in the demonstrable qualities of great art, belongs to everyone, is the inheritance and blessing of all members of the Mystical Body of Christ, the joy of all souls wherever the Catholic Church builds her churches and consecrates her altars. Who would say that the works of Johann Sebastian Bach are “antiquated” and can no longer move people’s hearts? Nay, Bach’s work moves the heart as profoundly as it can be moved.

5. Those who keep close tabs on the fine arts know (to their consolation) that there have always been and continue to be good serious modern pieces in all artistic media―in the area of sacred music alone, the repertoire for organists and for choirs is always expanding with worthy new additions. Such works can be effortlessly integrated into the larger panorama of tradition, since they naturally tend to derive from it and enrich it symbiotically, embodying the same ideals and serving the same purposes. There was never any need for a violent derailment of the past and a slap-dash effort to replace it by infinitely inferior things created on the spur of the moment. While great music is immortally youthful, mediocre music embarrassingly shows its age.

6. If use of the vernacular is really so important for today’s Catholics, why then would we not have retained the time-honored liturgy and prayers of our forefathers, rendered in a beautiful vernacular translation, as Byzantine Christians and traditional Anglicans do? And why, further, would we not draw upon the immense wealth of exquisite vernacular music where it exists, e.g., in the English or German or French choral traditions? (Let me but mention the names Tallis and Byrd, and my meaning becomes clear.) Even vernacular plainchant has been successfully created by masters like Fr. Samuel Weber and Fr. Columba Kelly and their influential students. The fact that this obvious solution―combining the use of the vernacular with the recovery or renewal of the best of our musical-cultural heritage―has been so rarely tried is a particularly telling sign that we are dealing with no mere disagreement over the best way to “speak to modern man,” but rather, with a much deeper disagreement over the very nature of liturgy, the aesthetic capacity and transcendent vocation of man, and, ultimately, the reality of the redemptive Incarnation, wherein “deep calls to deep.”

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s exciting new publication,
Sacred Choral Works, a 273-page collection of a cappella choir music for the Liturgy.

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 • “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

By far, the event that caused the biggest increase in requests for indults from the morning Mass requirement was the Second World War. The unusual requirements of providing Mass during wartime led to some unique legislation accommodating the time of Mass. Already in 1940, Pope Pius XII issued a motu proprio addressing the situation of holding Mass in countries where a “Black-out” had been ordered.

— Father Shawn P. Tunink

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

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