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Corpus Christi Watershed

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

Colloquium Update I

Fr. David Friel · July 3, 2014

OGETHER WITH Andy Motyka, I have been enjoying some wonderful first days at the CMAA Sacred Music Colloquium in Indianapolis. This is my third Colloquium, and all the things I love about the experience are here in force: an extraordinary faculty, magnificent liturgies, good fellowship, etc. Here are a few random thoughts about highlights thus far.

We were treated to a marvelous choral evensong at Christ Church Cathedral (Anglican) on our first evening. The tone and unity of the choristers were of the highest quality and very much appreciated by those who attended the service.

I am singing in the men’s chant schola under the directions of Scott Turkington, who is returning to the Colloquium for the first time in a few years. It’s fascinating to learn from a man who is one of the true experts in the field of Gregorian chant.

Also, the number of priests in attendance is noteworthy & encouraging. There are approximately 15 priests here, which is a much larger group than usual.

When I saw on the preliminary schedule that Dr. Denis McNamara would be delivering a plenary address this year, I was very excited. In addition to all his work as an architect, Dr. McNamara has also done quite a bit of writing on the topic of sacred architecture, which is where I have chiefly encountered him. What most excited me is the fact that I don’t remember such an inter-disciplinary lecture at the other Colloquia I have attended. So, while my expectations were high, they were still far exceeded. McNamara’s presentation was engaging, fast-paced, humble, rich in theology, and filled with hope. When all is said and done, I think this may be my personal highlight for Colloquium 2014. Too soon too call? Maybe, maybe not.

One of the other highlights has been the morning solfege warm-ups with Jeffrey Morse. I regret that I was not trained in solfege at an early age, but I can notice how, in just a few days time, Jeffrey’s presentation of the Ward Method has significantly improved my solfege facility.

Finally (for now), I had the chance on Wednesday afternoon to attend a breakout session with Adam Bartlett, who presented on “Chant in English & Spanish.” After some discussion of the challenges with composing vernacular chant, Adam traced a bit of the history of the various resources that have become available in recent years for singing the propers. The group received many insights into the Lumen Christi project, which is one of the greatest recent contributions to the field. (For an good, albeit informal, review of Barlett’s latest Lumen Christi Simple Gradual, click HERE.)

Many exciting things still lie ahead this week. I’m grateful to be in this terrific city, surrounded by so many people who want to sing with the heart of the Church!

Colloquium Update II

Colloquium Update III

Colloquium Update IV

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

Filed Under: Articles Tagged With: Sacred Music Colloquium Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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’ with regard to 1960s switch to 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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

“How on earth in the [post-conciliar] liturgy for the dead should there be no more mention of sin and expiation? There’s a complete absence of imploring the Lord’s mercy. […] Although the texts were beautiful they were still lacking in the sense of sin and the sense of mercy. But we need this! And when my final hour comes, ask for mercy for me from the Lord, because I have such need of it!”

— Pope Saint Paul VI (3 June 1971)

Recent Posts

  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?
  • “Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough

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