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Views from the Choir Loft

Remembering Cardinal Virgilio Noè

Aurelio Porfiri · July 8, 2014

AM NOT SURE if the name of Cardinal Virgilio Noè is familiar to my readers. I think it should be. Virgilio Cardinal Noè (30 March 1922 – 24 July 2011) was an Italian Roman Catholic prelate. In 1970, he was appointed the first Master of Pontifical Liturgical Celebrations by Pope Paul VI, and continued on for some time under John Paul II. Indeed, if you look at a photo from 1979, you will see Saint John Paul II celebrating Mass at Yankee Stadium on one of his trips to the USA with Virgilio Noè at his side.

He was very involved in liturgical reforms, considered always on the progressive side, and served in several high level positions in the curia, including being Secretary for the Congregation of Divine Worship and the Discipline of the Sacraments. John Paul II made him a cardinal in 1991 and it is because of this that I came to know him quite well.

In 1990 I started singing in the Capitular Choir at Saint Peter’s Basilica, and there in 1993 I was offered the position of substitute organist for the Vatican City Vicariate. Cardinal Noè became Archpriest of the Basilica in those years and was my superior. Maybe you think that he did not care, as many prelates, about who was playing and what was played. You would be hugely wrong. He would listen to everything that was sung and played, and at the end of the Mass would wait for the singers and organist in the sacristy to present them with a list of mistakes, according his own judgment. You may also think that he would just talk in general terms: you would be hugely wrong a second time. He would include the smallest of details, down to the number of seconds the organist should wait before starting the second part of a reciting tone in a psalm. One day, he was waiting for me in the sacristy and commented that my left hand did not know what my right hand was doing. It was his way of saying that I did not play very well that day.

CARDINAL NOÈ WAS AN IMPOSING FIGURE, respected and feared in the Curia. He was very kind in his dealings with other people, but wasn’t easy to approach. There was always a clear distance between him and others. Even if my liturgical sensitivity has developed in a way that is different from that of Cardinal Noè, I cannot deny that he taught me a lot. Among the things I cannot forget is the attention to detail and the need for care regarding the décor of liturgical rite.

He retired from his position as archpriest in 2002. He started to have health issues and was forced to a wheelchair. I visited him often, even after I relocated to Macau where I currently reside. Every time I visited Rome I would call and visit him in his apartment in Piazza della Citta’ Leonina, the same building as Cardinal Ratzinger. During my visits his attitude was different; I feel he was grateful that I still remembered him and he was always very happy to receive my books, many of them having something to do with liturgy. We talked about many things, including my difficulties and challenges in Asia. I enjoyed listening to him recall the people he met, many of them of historical importance.

Cardinal Virgilio Noè died in July of 2011, at the age of 89. He was a man of great culture, strong positions and ideas, and was one of the protagonists of a turbulent period in church history. What his legacy is will be asked to future historians.


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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.

Filed Under: Articles Tagged With: Cardinal Virgilio Noe 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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President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    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

Random Quote

I am convinced that if the Church is to prosper in the present age, it cannot hesitate to embrace and support traditional Catholics, traditional liturgies and traditional moral values. “Do not conform yourself to this age,” St. Paul warned followers of Christ. (Rom 12:2)

— Most Rev. Thomas Tobin, Bishop of Providence (12 August 2022)

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