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Views from the Choir Loft

Between Ethics And Reality: The Liturgical Musician

Aurelio Porfiri · June 3, 2014

HAVE A WEIRD QUESTION. Must those that have something to do with liturgical music be good persons? I know that people will start to think the writer of this article is crazy, and I assure you that is not completely incorrect. But writing now using the good part of my brain, I would like to say something more about the issue above.

As a Christian, as a Catholic, I know I am called to a life of holiness. So, I know that my direction is that one, and that at the end of my pilgrimage is God. But I also know, and feel, that our human nature is weak. Original sin is deeply present in our daily life. We fall many times. We are sinners. Liturgical musicians are not exceptions. We struggle with our weak nature and try to keep our eyes fixed on Christ even if our body may be tortured from sin.

Here is, I think, the important discrimination, that is helped by an argument raised by Pope Francis: We know we are sinners, we should avoid being corrupted. Who is corrupt? The one that justifies sin. I mean, I know that doing some things in my life I may go against church teachings, so after every falling I will try to stand up again. It is all falling and standing up. But the corrupt person thinks that everything is possible.

Many Catholic artists were sinners in many regards, but still able to produce masterworks of liturgical art. Why? Because, even if they were not able to win many battles in this earthly life, they were able to keep their eyes where the final battle, the only important one, will be won or lost.


BOTTEGA • Aurelio Porfiri is where you can discover
many of Mæstro Porfiri’s compositions in PDF format.

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 Aurelio Porfiri

Renowned as composer, conductor, theorist, author, pedagogue, and organist, Aurelio Porfiri has served the Church on multiple continents at the highest levels. Born and raised in Italy, he currently serves as Director of Choral Activities and Composer in Residence for Santa Rosa de Lima School (Macao, China).

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Quick Thoughts

16 May 2022 • Harmonized Chant?

This year’s upcoming Sacred Music Symposium will demonstrate several ways to sing the CREDO at Mass. This is because—for many parishes—to sing a full-length polyphonic CREDO by Victoria or Palestrina is out of the question. Therefore, we show options that are halfway between plainsong and polyphony. You can hear my choir rehearsing a section that sounds like harmonized plainsong.

—Jeff Ostrowski
14 May 2022 • “Pure” Vatican Edition

As readers know, my choir has been singing from the “pure” Editio Vaticana. That is to say, the official rhythm which—technically—is the only rhythm allowed by the Church. I haven’t figured out how I want the scores to look, so in the meantime we’ve been using temporary scores that look like this. Stay tuned!

—Jeff Ostrowski
14 May 2022 • Gorgeous Book

If there is a more beautiful book than Abbat Pothier’s 1888 Processionale Monasticum, I don’t know what it might be. This gorgeous tome was today added to the Saint John Lalande Online Library. I wish I owned a physical copy.

—Jeff Ostrowski

Random Quote

The representative Protestant collection, entitled “Hymns, Ancient and Modern”—in substance a compromise between the various sections of conflicting religious thought in the Establishment—is a typical instance. That collection is indebted to Catholic writers for a large fractional part of its contents. If the hymns be estimated which are taken from Catholic sources, directly or imitatively, the greater and more valuable part of its contents owes its origin to the Church.

— Orby Shipley (1884)

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