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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

Archbishop Sample’s Letter On Sacred Music (2 of 8)

Aurelio Porfiri · June 17, 2014

361 Archbishop Alexander K. Sample F WE READ the 2013 Pastoral Letter on sacred music by Archbishop Alexander K. Sample to his past diocese of Marquette, I think we need to notice three instances of good news, but one of bad news.

      * *  Pastoral Letter by Archbishop Sample

Let us begin with the good news.

The first instance of good news is the Archbishop’s framework when dealing with sacred (or liturgical music). He is presenting to his diocese the exigency of continuity, the hermeneutic of continuity (Benedict XVI) that will be the happy key to solve many of the problems raised by the wild interpretation of Sacrosanctum Concilium.

The second instance of good news is that the Archbishop does not defend the tradition against Vatican II, but with Vatican II. Church teachings are not like going to the supermarket deciding what we like and what not. Of course as sinners we made many times wrong choices, but we should always know where the line is. I am always surprised by the many interpretations of Vatican II that say we really shouldn’t pay too much attention to this Council. It is a Council of the Church, in continuity with all the other Councils before. Probably not everything in the Vatican II documents was clear, and some formulations were plainly the outcome of painful negotiations. So, where there are doubts, the tradition should supply the answer.

The third instance of good news is that a Catholic Archbishop nowadays understands the importance of music in the liturgy. After reading the opening lines, you should already be aware of where he stands:

In any discussion of the ars celebrandi (the “art of celebrating”) as it relates to the Holy Mass, probably nothing is more important or has a greater impact than the place of sacred music. The beauty, dignity and prayerfulness of the Mass depend to a large extent on the music that accompanies the liturgical action. The Holy Mass must be truly beautiful, the very best we can offer to God, reflecting his own perfect beauty and goodness.

I may disagree on the use of some terminology, like “sacred music”, not because it’s wrong, but because I think the debate around correct nomenclature for liturgical music (ritual music, church music, etc.) should always be considered carefully. But out of that, the words of the Archbishop are really agreed upon by everyone. I’ve just mentioned three instances of good news, but I could mention more.

BUT NOW I MUST CONSIDER THE BAD NEWS. The bad news is that the letter looks weird. Let me explain.

This is an Archbishop who presents the correct interpretation of the documents on the music for the liturgy — without being an opponent of Vatican II — and promotes the Council according its own true spirit. And all of this sounds so strange in the current landscape when most of the Bishops think that it’s not useful to talk of sacred music or we risk losing our beloved “contemporary liturgical music groups.”   1

Most of the Bishops will talk about everything from global warming to the latest cure for cholesterol, but they leave the issue of liturgical music to some priests who think that saving people means dying with them; drinking the same poison that corrupts us in the deepest part of our soul.

Please Archbishop Sample, no more letters on sacred music (treating this issue with such seriousness and boldness): nowadays it sounds too strange. In case you don’t change your mind, even after my advice, may God give you the strength, the courage, and the passion to remain standing in the boat adrift.


This is part of an 8-part series on Archbishop Sample’s historic letter:

FIRST REFLECTION • Jeff Ostrowski

SECOND REFLECTION • Aurelio Porfiri

THIRD REFLECTION • Andrew Motyka

FOURTH REFLECTION • Peter Kwasniewski

FIFTH REFLECTION • Richard Clark

SIXTH REFLECTION • Veronica Brandt

SEVENTH REFLECTION • Fr. David Friel

EIGHTH REFLECTION • Gwyneth Holston



NOTES FROM THIS ARTICLE:

1   Contemporary? Really? But most of that music reflects pop music of the 60s …

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

Filed Under: Articles Tagged With: Archbishop Alexander K Sample 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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Corpus Christi Watershed

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

Participation at Mass must be “above all internal” (§15), and: “The faithful must be taught to unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God.”

— Musicam Sacram (5 March 1967)

Recent Posts

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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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