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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

Art as Affirmation and Sacrifice

Dr. Peter Kwasniewski · June 12, 2014

0319_Fra_angelico-LG-cap In his book Happiness and Contemplation, Josef Pieper writes as follows:

HE POET GOFFRIED BENN, in a significant speech on growing old, has made a penetrating remark on works of art and their meaning. It contains a statement, and a question which he does not answer. This unanswered question is the chief point. Benn says: “One thing is clear: when something is finished, it must be perfect―but what then?” This is not the tone of someone who thinks a work of art meaningful in itself. To be sure, the question “What then?” is flung into a world that promptly falls mute. “Then” we ought to be able to celebrate, festively commemorate affirmation of the meaning of the world―in the happiness of contemplating something that is not the work of art, but that is brought into view by that work. Perhaps also―in a rare, special case―it should be possible “then” to offer up the completed work as a consecrated gift and sacrifice in the precise meaning of the word. Phidias, when he completed the Athene Promachos, knew the answer to the question “What then?” Bach knew it too, and Bruckner. And probably there is no better answer.

This paragraph could be taken almost as a summary of the entire medieval understanding of works of art made to the praise and glory of God. The Gothic cathedral as such is a giant sacrificial offering to the God of light, the God of infinite majesty and glory; the Holy Sacrifice of the Mass, as Fr. Barreiro says, has the same purpose in view, only it is still more perfect by the fact that not man, but the God-man, offers Himself and the entire cosmos to the heavenly Father. That is why the cathedral was built: to house the Holy Sacrifice. It is a house of glory for the ultimate sacrifice to God’s glory. The one reflects and supports the other. An ugly “church” represents the loss of this fundamental contemplative insight into the beauty of the world and the need to bring all things in sacrifice before the God who is Beauty itself.

Catholics have a right to the full expression of their faith in the sacred liturgy and in the arts that embellish and support it; they have a right to see and hear the full measure of the Tradition that has been handed down for centuries. Corresponding to this is a duty: Catholics have a duty to preserve, cherish, and perpetuate this Tradition; they have a responsibility to come to know it and love it more and more over their lifetimes. What God gives us is not just the here and now, but the faith and love of generations who have come before us, embodied in countless treasures of writing, music, architecture, and so forth, destined for the edification of souls until the end of time. All of this has been given to us, in proportion to our capacities, positions, opportunities for action. We are the path by which tradition will reach, or not reach, our descendants.

Every Catholic who enters a church should be able to find figures of Christ and the Saints; an elevated sanctuary set apart, elevated, and beautifully furnished, with the altar and the tabernacle in a prominent place and suitably decorated. Catholics have a right to the full, authentic expression of their faith, both in the liturgy and in the arts that embellish it, especially sacred music. And as I never tire of saying, Catholics have a duty to embrace this fullness, to become acquainted with it and to cherish it.

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s Sacred Choral Works and the audio CDs that contain recordings of the pieces.

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

    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
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

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 traditions of the elders, your glory throughout long ages, must not be belittled. Indeed, your manner of celebrating the choral office [in Latin] has been one of the chief reasons why these families of yours have lasted so long, and happily increased.”

— Pope Saint Paul VI (15 August 1966)

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  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir
  • Latin Liturgy Association
  • Important Quote by a Church Musician

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