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Corpus Christi Watershed

“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

150 Years of Sacred Music

Fr. David Friel · May 25, 2014

N THE EARLY CHURCH, particular Churches were noted for specific strengths (and, sometimes, specific weaknesses). The same is true even now. There are certain dioceses throughout the world that are especially notable in one fashion or another, for example: Venice, Manila, München und Freising, Westminster, New York, Paris, Montreal, Calcutta, Armagh, and so many others. These sees have become notable on account of various factors. In some cases, what makes the place noteworthy is its historical or political import. In other cases, the significance is the cultural richness of the place. In still other places, it is the saintly figures the territory has produced that make it stand out.

Within the United States, even, there are some dioceses that stand out in unique ways: St. Louis, Los Angeles, Baltimore, Boston, etc. Similarly, within every diocese, there are certain parishes that are especially remarkable, whether on account of history, architecture, outreach, or some other unique feature. As members of a hierarchical Church, none of this should surprise or upset us. After all, when one member of the Body is honored, all of us share in that member’s joy (c.f., 1 Corinthians 12:26).

Philadelphia is my home, so I naturally have a fondness for the place. My predispositions notwithstanding, Philadelphia is objectively a local Church of great richness. It is home to a Latin Rite diocese and a Ukrainian archeparchy. It claims both St. Katharine Drexel and St. John Neumann as its own. Philadelphia set a model for the rest of the country with its Catholic school system and its Forty Hours devotions. It is the birthplace of freedom and the nation’s first capital. Philadelphia has hosted a Eucharistic Congress and a papal visit (from St. John Paul II), and the archdiocese is presently preparing for next year’s World Meeting of Families, expected to bring Pope Francis to these shores.

All of these factors contribute to the richness I see in the Church of Philadelphia. When we celebrated our bicentennial as a diocese in 2008, these blessings were all collected and organized in a history book that was distributed through our parishes. Another factor that distinguishes the tradition of our archdiocese is its long history of sacred music. What is it about sacred music in Philadelphia that is worthy of note? I encourage you to check out this recently published brief booklet to see for yourself.

Beyond the contents of that booklet, there are many other notable facts about this city’s contributions to sacred music. It was in Philadelphia, for instance, that the first American Catholic hymnal was published (Litanies and Vesper Hymns and Anthems as They are Sung in the Catholic Church Adapted to the Voice and Organ, John Aitken, 1787). Philadelphia was home for more than 40 years to Nicolai Montani, famous for his St. Gregory’s Hymnal, which used to be standard issue for Catholic choirs. Lorenzo Perosi, former Maestro of the Sistine Choir and co-writer of Pope St. Pius X’s Tra le Sollecitudini, had connections with St. Charles Borromeo Seminary, for which he composed a Mass. For decades, liturgical music in Philadelphia was under the helm of the incomparable Dr. Peter Lamanna, once dubbed “Mr. Church Music” by a local newspaper. Today, Philadelphia boasts a terrific Archdiocesan Choir, Archdiocesan Boys Choir, Archdiocesan Girls Choir, and a Cathedral Concert series that attracts serious ensembles of the highest quality.

Many great things could be said of every local Church. Collecting a history such as this one might be a worthy endeavor for your diocese.

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 Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

It is clear the Church is facing a grave crisis. Under the name of “the new Church” and “the post-conciliar Church,” a different Church from that of Jesus Christ is now trying to establish itself: an anthropocentric society threatened with imminent apostasy which is allowing itself to be swept along in a movement of general abdication under the pretext of renewal, ecumenicism, or adaptation.

— Cardinal Henri de Lubac (29 August 1967)

Recent Posts

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  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

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