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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

The Real Enemy: Mediocrity

Aurelio Porfiri · March 17, 2015

154 B16 T IS NOT INFREQUENT to read or hear, in church debates, about fights between conservative and progressive Catholics. Especially the last two pontificates—Benedict XVI and Francis—have polarized much of the Catholic world; as if we must select one side or the other to feel part of “society.” Of course liturgy and liturgical music have known similar situations, intensified after Benedict’s promulgation of the Motu Proprio Summorum Pontificum on 7 July 2007. The “liturgical wars” (to use the Anglo-Saxon term) became more and more violent, and the recent 50th anniversary of the first vernacular Mass by Pope Paul VI in the roman church of Ognissanti has once again brought the “liturgical problem” to the forefront.

Our liturgies—are they more effective and spiritually appealing in recent decades? I would say a clear “no.” The liturgy supposes a rite, and the rite assists passage from the DAILY LIFE DIMENSION to another dimension: the dimension of God. Anthropology has said a lot about rites of passage, especially in the studies of Arnold Van Gennep (1873-1957) and Victor Turner (1920-1983). In Italy, Aldo Natale Terrin and Roberto Tagliaferri—taking inspiration from Van Gennep and Turner—have presented to the liturgical community the problem of the rite and the importance of the limen (“threshold”). Having considered all the important contributions brought by these scholars on the topic of liturgy, we come to realize that the real problem is not between progressive and conservative Catholics, but between the attention to the dynamics of the liturgy and mediocrity.

MEDIOCRITY IS THE REAL ENEMY of liturgy and of liturgical music. In every diocese wherein we contribute, we must ask: where is the balance here? On the side of attention to the needs of the rite? Or is everything dominated by mediocrity? But what is mediocrity?

Mediocrity is the “virtue” of those who choose the medius; staying in a sort of limbo between good and evil. I mean, they are not bad…but not even good. They don’t access the limen; they prefer to stay on our side of the limen—a more comfortable position that does not disturb the dull existence they’re leading.

How many liturgies in our dioceses are the result of mediocrities? The causes are legion. For instance, we don’t have the courage to tell people they’re incompetent, so the liturgy pays for our lack of courage. When everyone—without any study or serious analysis of the liturgy and its needs—can decide how the rite should be performed or which songs should be sung you have mediocrity arising as the sun in the east. Experts may be dangerous, too; but you can imagine how dangerous are the ones who talk without any serious consideration of the liturgical discipline.

The situation, then, is dramatic. Some people are using the liturgy not to seek Christ, but for reassurance. They want to be confirmed on their (already accepted) medius state, continuing to use religion as a tool to feel better and avoid looking inside themselves. They refuse to accept that religion—and especially the meeting with Christ—is not a cup of tea every day at 5:00pm 1 but falling from a horse and accepting the blindness of sin and torment of “otherness.” Real liturgy is for daring hearts, not for uninspired mediocrities. If you don’t accept that in order to find yourselves you must lose yourselves, you will simply lose what you think you have found.



NOTES FROM THIS ARTICLE:

1   That is a rite, too, and in some cultures may have a very deep meaning.

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

Filed Under: Articles Tagged With: Reform of the Reform, Renewal of the Renewal 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

    Music List • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“Franz Liszt was an eminent keyboard virtuoso but a dangerous example for the young. … As a composer he was terrible.”

— Clara Schumann

Recent Posts

  • Music List • (Palm Sunday, 2026)
  • Easter • Would You Sing This Hymn?
  • “Priest Saying Mass” • Medieval Illumination
  • From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass
  • Pipe Organ “Answers” in Plainsong?

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