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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

John Henry Newman: A Deep History & A New Communion Motet

Guest Author · May 6, 2014

“To be deep in history is to cease to be a Protestant.” — John Henry Newman

HIS FAMOUS QUOTE by Blessed John Henry Newman was proclaimed by one of our wonderful priests this past Sunday at St. Rita Catholic Church in Dallas, TX. Said priest, a former Episcopalian, is quite fond of Newman and quotes him regularly and to great effect. This particular quote got me thinking about my Catholic history, and how deep in it I may or may not be. As a musician and (hopefully) an artist, I am greatly moved by all things aesthetic. I am also a great lover of history, so I think back with great fondness to my boyhood parish of St. Mary of the Assumption in Waterford, NY. An exceptionally beautiful church built in the English Gothic style a little more than 100 years ago, it stands on top of a small knoll at the crossroads of two main streets, and was so well known in the Capital District region that it was nicknamed “the little cathedral of the North.”

My Catholic history is deep in this place. Romanticized? Probably. But to me, it just looks, feels, and even smells like a Catholic church. It’s timeless. Years of incense permeates the rich wood of the pews and panelings with an unmistakable sweetness. The impressive and commanding carved white marble altar, tabernacle still in place, is enveloped by a high vaulted ceiling, rich with lovely paintings that, as a youngster, I was sure were the actual depictions of heaven. I’m pretty sure I still think that. The winters in upstate NY were bitter, and one thing you could always count on was that the holy water fonts, placed right inside the doors, would freeze over every year. It was almost as if it wasn’t our church if the holy water hadn’t turned to ice. The winding staircase leading to the choir loft, which I first ascended when I joined the choir in the 11th grade, is narrow and a bit dark, with creaky stairs and the mustiness of years. Side chapels with statuary and candles, lovely stained glass windows, and the sheer height, scope, and weight of the building have said to several generations, “this place is important.” Its history is deep and connected to the soil of the faith. Beauty is here, and it is the beauty of God.

A deep musical history is just as important as architecture. It’s wonderful to see the Church exploding with the talents of so many who are re-discovering and introducing us once again to the importance of sung liturgy. From chant to polyphony, like the incense-soaked wood of St. Mary’s, our liturgies are being saturated once again with Proper texts and liturgical music of great beauty. Influenced and impressed as I am by the choral works of Frank La Rocca, Kevin Allen, Dr. Peter Kwasniewski, Richard Rice, and so many others, I humbly offer this Communion motet, Jesus Said to His Disciples composed this past March:


THE TEXT IS TAKEN FROM the Communion Antiphon for Friday within the Octave of Easter. A cappella and with imitations and prepared dissonances in the Renaissance style, the words “Come and eat” are thrice repeated and set apart. The “Alleluia” is an extended attempt at timelessness, and with a sweetness that is meant to invoke Jesus’ deep love for his disciples. Special admiration and many thanks go to the fabulous singers of the Schola Cantorum of St. Rita’s in Dallas.


We hope you enjoyed this guest post by Alfred Calabrese.

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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President’s Corner

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

Quick Thoughts

    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
    “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

Random Quote

“The choir shall henceforth sing or say no anthems of our Lady or other Saints, but only of our Lord, and then not in Latin; but choosing out the best and most sounding to Christian religion they shall turn the same into English, setting thereunto a plain and distinct note for every syllable one: they shall sing them and none other.”

— 1548 Edict of King Edward VI (a heretic) for Lincoln Cathedral

Recent Posts

  • “Music List” • 29th in Ordinary Time (Year C)
  • Fulton J. Sheen + this Sunday’s “Entrance Chant”
  • Children’s Repertoire • Three More Recommendations by Keven Smith
  • Liturgical Round (“Canon”) in C-Major
  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir

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