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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

How did your Holy Week go?

Veronica Brandt · April 11, 2015

candle OLY WEEK IS A MASSIVE EVENT. Singing for the Sacred Triduum and Easter ceremonies is an awesome privilege. The more you think about it, the more enormous it seems. And after it passes there is an enormous relief. Coming out the other side can be very sweet indeed, even when things didn’t always go quite as planned.

In the spirit of a overwhelmed and collapsed inarticulate person, I’ll proceed in disconnected recounts:

Most memorable moment:

The Litany of the Saints when miss 2 demands help with her socks. The three of us leading were kneeling in the back pew, well out of view. I tried as best I could between invocations to figure out what she wanted and keep her happy. It must have impressed her because she started singing along with “ora pro nobis”.

Of course everyone complimented her on how well she behaved throughout the week.

Favourite music:

The Reproaches. We only sang from Popule meus down to the end of Sanctus Immortalis. My eldest son was choir 2. I was choir 1. Have I mentioned we could use some more choir members?

My introduction to this piece of music was by way of Victoria’s polyphonic setting, which is awesome. I was disappointed at first with the plainchant original, but it has definitely grown on me since then. The more you get into the chant the more it gets into you.

Trickiest music:

Easter Sunday Day Mass offertory and communion – but mostly because I overlooked practising sufficiently for them. Fortunately my mother was there with more experience and I could lean on her. The rest of the choir had been focused on learning the Ordinary parts of the Mass. After that we had only got as far as the Introit and Haec Dies. You do what you can.

Notes for next time:

Remember that they use incense for Holy Thursday so make use of the extra verses for the Introit. Booklights for the Easter Vigil Canticles and make sure there are no page turns while singing. Also pick the recessional hymn ahead of time and tell any potential singers about it a good week in advance. Also have someone with you while you play the organ who can keep an eye on what’s happening up the front. If you’ve run out of verses and you’re still waiting for the priest to come past then it could just be some slow servers.

And get a T-shirt made with the slogan: “Silence is Always an Option”

After all that, there were many, many compliments. Lots of people enjoyed the music.

Happy Easter! Christos Anesti!

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

Filed Under: Articles Tagged With: Beauty, Holy Week Last Updated: January 1, 2020

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About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. She lives near Sydney, Australia, with her husband and six children.—(Read full biography).

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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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

Quick Thoughts

    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’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “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

Random Quote

“As often as possible they gathered together the children of the village and sat them down in the cabin. Father Brébeuf would put on a surplice and biretta and chant the Our Father, which Father Daniel had translated into Huron rhymes, and the children would chant it after him. Next, he taught them the sign of the cross, the Hail Mary, the Apostles’ Creed, and the Commandments.”

— Biography of St. Jean de Brébeuf

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