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Corpus Christi Watershed

“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

I Am Not A Contemporary

Aurelio Porfiri · July 15, 2014

HERE ARE SOME MOMENTS in which we feel compelled to be satisfied. This does not happen frequently, but in that rare blissful moment we try to enjoy it. So I want to tell you why I find myself in that “upper home of bliss” (Father Faber).

The life of a liturgical musician is very difficult, we find ourselves struggling to find the right place for us, one where we can affirm our own rights, which we have come to believe are also the rights of the liturgy. But there is a point we reach when we are tired, where we decide to go elsewhere, hoping that in other places we’ll at least be respected. So I looked at job offers, and that is why, (as you will see) I now find myself in the “upper home of bliss” (always Faber).

In many American parishes there are priests that look for someone able to conduct the “contemporary” choirs. It seems these choirs flourish in many parishes and colleges. “Good,” I say to myself, “contemporary means that choirs involved in the liturgical reform are singing good liturgical music of our time.” — “Indeed,” I reason, “there are composers that have the tools and knowledge to make good liturgical music in vernacular languages, music that must be considered contemporary.” In my heart however, I have some doubts about that. I think: “maybe they use contemporary in the sense of Stockausen, Berio, Ligeti?” Or maybe they will force me to conduct a Mass of John Cage (did he write a Mass?), with a communion song called 3’45” where we just open the score and stay in silence (considering the quality of most of the communion songs you can hear today in churches, that is already an advantage).

BEFORE APPROACHING THE MULTITUDE of priests and pastoral councils that are wholeheartedly offering these wonderful opportunities to people like me, I turn my eyes to YouTube trying to find comfort for my devastating doubts about what being “contemporary” means. I need to tell you: I feel I am contemporary, as I feel I am alive (at least most of the time). So, looking in hope to my beloved YouTube, I search for contemporary choirs in churches and a multitude of videos pour down from tiny strands of the web! Feeling blessed and more and more curious, I click on one, hoping not to get any casual music or abstract sonorities but good liturgical music from good contemporary composers that follow the requirements for good liturgical music confirmed in many documents and pastoral letters.

But… wait… “What is this?” I asked, as some kind of 70s music began with roaming guitars and invading percussion, and someone singing a contorted melody with a microphone implanted directly in his throat! “No,” I say, (double checking the video description) “despite its good quality, this is some old video.” But I am wrong, the video was uploaded one month before. So… this is contemporary Catholic music for many American priests. In this case then, I am not a contemporary musician, because my music for the church still obeys rules. Rules, that make the same music sound completely different from this. But accepting the framework these priests establish, it is not contemporary.

OKAY, okay! I will walk as a wanderer trying to figure out who I am! But before submerging myself in the darkness of time, I have a question for all these priests and pastoral councils that are so supportive of contemporary groups: how come all the Popes thunder against consumerism in our society and you are accepting one of its pillars, commercial music, right in the heart of our liturgies?


BOTTEGA • Aurelio Porfiri is where you can discover
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 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

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —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

“There’s a world of difference between a thoughtful, wise Catholic and a bitter contrarian. In spite of what is claimed on certain blogs, being addicted to cable news and twitter does not make one an intellectual.”

— Jeff Ostrowski

Recent Posts

  • “How to Conduct 90 Vespers Services Each Year and Live to Tell the Tale.”
  • 15th Sunday in Ordinary Time (Year C)
  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

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