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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

NBC “Meet The Press” & Catholic Church Music

Jeff Ostrowski · August 25, 2014

930 meet OME OF YOU KNOW I’ve been quite ill for a number of months. I’m starting to feel better now, but sometimes the pain has been so intense that I’ve watched television to help distract my mind. One show I watched several times was Meet the Press, which I found to be utterly absurd. For one thing, they begin each program with ludicrously theatrical music, during which the host knits his eyebrows and attempts his most “serious” facial expression. Frequently, the “major issues” chosen are farcical. Even the show’s technicians are incompetent: e.g. the background music is often much too loud in relation to the speech. Worst of all is the utterly pretentious panel of “experts” who dress in their Sunday best and spew inane clichés. 1 Their brilliant solutions always seem to involve phrases like “more could be done in such-and-such an area” or “we must begin a conversation about such-and-such.” At the program’s conclusion, I feel dumber than when I started watching!

Believe it or not, the format of Meet the Press overlaps with Church music. Please let me explain.

THE MODERATORS ON SUCH PROGRAMS frequently ask the panelists absolutely idiotic questions. Even more disturbing is the serious—almost grave—manner in which such questions are asked. The guest is then faced with a dilemma. One possible response (the most honest, in fact) would be to say, “Yours is a brainless question, and I reject your bizarre premise.” However, this approach makes you look foolish, because you’re the one who chose to appear on this television show. (Moreover, you knew in advance the type of person who’d be asking you questions.)

I’ve often appeared on Catholic radio shows, and the questions are sometimes horrible. One radio host asked me: “Mr. Ostrowski, you’ve visited a number of parishes in your city. Please explain what’s wrong with these local music programs, analyzing their mistakes and bad choices.” Can you imagine? I think I sheepishly said something to the effect of, “It’s not really my place to do such a thing, and I prefer to focus on positive ways we can improve Church music.” But that was very difficult for me to say, because anyone reading through the lines understood that I was basically saying, “Boy, you don’t have a clue how to ask intelligent questions, do you?”

YEARS AGO, I ENJOYED “spontaneous” interviews, but my love for such things has diminished. Does this mean I’ve become less human? Or have I been influenced by today’s YOUTUBE CULTURE, wherein stupid comments are amplified horribly by being shown over and over on YouTube? On the other hand, I must admit technology can be very effective. For example, anyone asking “how bad the old ICEL translations really were” can be sent the following PDF, and the conversation ends immediately:

      * *  PDF Download: The 1970s (discredited) Translation by ICEL

Speaking of spontaneous interviews, truly great pianists rarely gave them. When Rachmaninov was asked why he never gave interviews, he responded: “Because my parents told me never to lie; yet I cannot tell the truth.” Even when great pianists grant interviews, they never discuss “what they were going for” with a particular interpretation: such a thing would be unthinkable. Yet, I’ve seen hundreds of imprudent pianists (who will never be great pianists) engage in such discussions. Consider the following excerpt, which is so absurd it’s almost obscene: 2

S I MENTIONED BEFORE, I was suffering. In the first place, the recordings took place on the day after I had played a varied and difficult repertory a concerto by Tchaikovsky, Ravel’s Gaspard de la Nuit, another concerto, and a sonata by Beethoven. So there was an element of fatigue. Then, at the moment of the recording, there came a sudden flash, a sudden impression of all the experiences, all the interpretations of all of the pianists of the past who had ever played Bach, whoever had played him in an interesting and unusual way—Dinu Lipatti, the Romanian pianist who died; Glenn Gould, and all of the others. As I sat in the studio, I knew that before me was a task so enormous and so painful, yet a task I did not want to avoid. I wanted desperately to achieve it; I had it in my hands, but I needed to have it everywhere, in the air, in the atmosphere, in my whole being. It came very close to being a total religious feeling, even a painful feeling. I did eleven hours of recording a day because for every piece I wanted to have the highest electrical charge. I wanted to sustain the uppermost level that I could achieve; no dimmer switches. I wanted to get the most out of the experience, and for that I suffered physically, because just the playing is very, very hard.

This guy is describing his recording the Bach English Suites, which are without question utterly gorgeous and tremendous music. But the way he’s speaking about himself is laughable. I’ve heard his recording, and it’s fine … but nothing special. I imagine that if Josef Hofmann—who once played 255 different works (by memory, of course) in a series of twenty-one consecutive concerts—read a paragraph like this, he’d just shake his head at such gibberish.

Getting back to Meet the Press, the Catholic Church isn’t immune from inane and meaningless statements. The worst example I’ve seen involved a disgraced archbishop who was finally exposed, after committing a number of horrific acts spanning several decades. When his disturbing autobiography was published in 2009, his archdiocese released this statement:

“The book will undoubtedly spark a variety of emotions in Catholics throughout southeastern Wisconsin. Some people will be angry about the book, others will support it.”

It would be difficult to imagine a more bland, weak, meaningless statement than that one.

The inordinate amount of information (both good and bad) assaulting us these days is overwhelming and extremely scary. Carefully-produced artistic works for the liturgy are becoming quite rare. That’s one reason I believe the Jogues Illuminated Missal is so special and worthy of consideration. As a member of the editorial team, I can affirm that every single page required hours of careful work. Please consider purchasing them for your parish; it might help your parishioners raise their hearts and minds to God in spite of this crazy age we live in.



NOTES FROM THIS ARTICLE:

1   When they do invite a panelist who starts to make sense, the host usually interrupts him in a rude and condescending fashion.

2   This quote was taken from a spontaneous interview with a successful pianist (but not a great one). He reminds me of some people I met in college: the ones who never studied or worked hard. Yet, at the last minute, they’d stay awake all night working on something … then spend the rest of their life bragging about “how hard they exerted themselves” during their college years. Intelligent people realize that their results would have been much better if they’d applied themselves throughout the semester.

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

Filed Under: Articles Tagged With: Meet The Press Sacred Music, The Old ICEL Translation of the Mass Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(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

Although the New Testament is now so much more important to us than the Old, we must remember that the archetype of the Canon of Scripture is the Old Testament. At first that was the whole Bible, to Christians as to Jews. When the apostles speak of “Scripture” they mean the Old Testament only. Indeed, the way in which the books of the New Testament came to be considered canonical was by making them equal to those of the Old.

— Rev’d Doctor Adrian Fortescue

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