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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

What the Ordinary Form Could Be: The Vienna Oratory

Dr. Peter Kwasniewski · June 5, 2014

HE INTERNATIONAL Theological Institute 1 in Trumau, Austria, invited me to give an intensive course this past May on the theology of sacred music. On the Sunday that fell within my visit, a dear friend of mine took me into Vienna to attend Mass at the Oratorian parish of St.-Rochus und Sebastian. My friend had assured me that the experience would be worth it―and he was quite right.

The Oratorians in Vienna worship in a lovely Austrian Baroque church, which, I was happy to see, features a well-executed portrait of Blessed John Henry Newman.

Although the Oratorians vary a great deal from country to country, many Oratories in England and America have acquired a deserved reputation for the beauty and reverence of their public worship. The Oratory in Vienna was no different. Their Sunday celebration reminded me of something I do tend to forget, namely, the heights to which the Ordinary Form can rise when, as it were, the planets are properly aligned―when the clergy, animated by a deep knowledge of and respect for ecclesiastical tradition, are unequivocally committed to the hermeneutic of continuity, and, following from this commitment, when all the fine arts, from the architecture to the vestments and vessels to (above all) the sacred music, are worthy of their exalted function.

Thus, I was thrilled when Mass began with the Gregorian Introit, which was complemented later by the Gregorian Alleluia after the first reading, the Paschal Alleluia after the second, and the Offertory antiphon, all sung extremely well, in a manner that was conducive to prayer. As Dr. William Mahrt (among others) has demonstrated, each of the Gregorian antiphons serves a specific liturgical function, to which the words and music are perfectly attuned, and I found that to be really obvious when I had the luxury of being down in the congregation listening rather than up in the choir loft directing, which is my usual lot (not that I’m complaining!).

But the thing that delighted me the most, from a ceremonial point of view, was the magnificent five-part polyphonic Mass, the Missa doulce memoire by Cyprian de Rore (1515–1565), sung by the choir of the house, the Capella San Filippo. The soaring Kyrie and triumphant Gloria could not have been better suited for the joy of Paschaltide, and as my ears drank in their beauty, my soul rested in the Lord. It was quite as the Byzantine prayer says: “Now set aside all earthly cares…” The music helped me to step out of the mad world for a moment and give myself to God, who is my only rest and my eternal home.

THERE WERE SOME INTERESTING THINGS I noticed. Because of its great length, the Sanctus was split, with the Benedictus sung after the Consecration, with the people still kneeling and the priest standing at attention before the Sacratissimum. When the choir had finished, the priest intoned the “Mysterium fidei” and all made the response “Mortem tuam.” It seemed a serviceable, though perhaps not rubrically accurate, solution to one particular challenge with the polyphonic Masses of yore. Again, when the time for the Agnus Dei arrived, the choir and people together chanted a Gregorian setting; the choir then sang the polyphonic Agnus Dei while communion was being distributed. I had heard of this practical approach to the choral Agnus Dei but had never encountered it “in the field,” so it was good to experience it as a successful (and of course permissible) solution to the problem of utilizing the beauty of a lengthy choral setting within a form of the Mass that is generally ill-suited for expansive sacred music.

The congregation sang the dialogues and made the responses without fuss. Credo III was sung with gusto by every man, woman, and child. And although the church was crowded with faithful of all ages, there was an astonishing silence at the Canon, hardly disturbed by the priest, who prayed sotto voce. All of which bespeaks a true participatio actuosa of the kind envisioned by Vatican II. To round everything out, there was a fine use of the pipe organ, the monarch of church instruments.

MIDST ALL THIS NOBILITY, there were a few things that seemed discordant. The readings were merely recited instead of being sung, and that made for an odd contrast with the sung Ordinary and Propers, since the readings have quite as much dignity as they have. Similarly, in keeping with what has become an unspoken rule, the General Intercessions were read out instead of being sung―a practice that has the effect of lowering the general tone of a solemn Mass, as if one has just got to make it through this list of petitions in order to move on to the real business of worship. The moment one sings the petitions, they are utterly transformed into a formal liturgical act of communal supplication. Lastly, and most strangely, the Communion antiphon was simply omitted. There would have been time to sing it at least once. It was as if the family of Gregorian antiphons had lost a brother or a sister.

But these are minor points in what was a most resplendent celebration of the modern Roman Rite, and one that powerfully moved me to the four great acts of prayer: adoration, contrition, thanksgiving, and supplication. I thank the Lord that He reminded me, at St.-Rochus, of how great an abyss separates the ruptured celebration of the Novus Ordo from its celebration in continuity with tradition. I know that, even in the best of circumstances, there are massive internal differences between the Ordinary and Extraordinary Forms, and nothing I say should be construed as downplaying those differences. Still, if the Oratorian model had been followed everywhere and by all, could anyone seriously maintain that the crisis in the Church and in her liturgy would look as it does today?

Someone once observed how strange it is that Christians spend so little of their time in this world practicing for what they will be doing forever in heaven: worshiping the Lord in the beauty of holiness. Cyprian de Rore and the Capella San Filippo helped me to do just that; may the Lord reward them. I could not suppress an occasional melancholy thought as I realized how few Austrians would be attending Mass that morning, although nearly all of them are baptized, and, of those few, how very few would be assisting at a Mass this beautiful, reverent, and solemn, so deeply centered on the mystery of Christ our God.

Friends, now is the acceptable time. In celebrations according to the Ordinary Form, let us do all that we can to worship the Lord in the beauty of holiness, in the fullness of faith, with tradition as our model and guide. We may confidently take as our pattern the faithful disciples of St. Philip Neri.



NOTES FROM THIS ARTICLE:

1   For the International Theological Institute’s website, click here.

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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President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Johann Baptist Singenberger (d. 1924) held in trust a letter from Pius X giving him permission to use men and women in his festival choirs. He neither published it nor used it, lest he embarrass the Holy Father.”

— Monsignor Francis P. Schmitt (August 1957)

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