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.

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many of Mæstro Porfiri’s compositions in PDF format.

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

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).

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

14th Sunday in Ordinary Time (Year C)

Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.

—Jeff Ostrowski

Bugnini’s Statement (6 November 1966)

With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.

—Jeff Ostrowski

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