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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 One Thing That Unites Church Musicians

Jeff Ostrowski · April 19, 2015

900 Pope Benedict XVI Ratzinger VER THE YEARS, I’ve taken note of “Who’s Who” in the world of sacred music; something completely natural & normal. I’ve done this in spite of the fact that—when all is said and done—each of us is eminently dispensable. If the movement succeeds, it will do so because GOD DESIRES IT.

Over the years, I’ve seen magnificent church music projects begun, but never finished. 1 I’ve seen other projects—which started out small—grow to massive proportions. I’ve seen talented people become so concerned about copyrighting & selling their products they ended up killing them. I’ve seen people who loudly demand that others “make a commitment” leave the movement, get bored, or fall away from the Faith. I’ve seen people who had (in my view) sparse talent rise to the highest levels—which shows how much I know!—just as I’ve seen people with tremendous potential become stubborn, vindictive, and prideful beyond belief. I’ve been a choir director since the mid-1990s and I’ve seen a lot.

PEOPLE WHO SUPPORT OUR MOVEMENT have different opinions. Readers know I don’t care for Viennese classical Masses, yet Pope Benedict XVI loved them…and I have great respect for B16. Moreover, we musicians are usually highly opinionated and difficult to work with. In the early 2000s, I asked the question, “What unites us, who are so different?”

We all have one thing in common: our appreciation for the Graduale Romanum.

Nobody can force another to love the Gradual. The power of the Gradual is what does it. Recently, I googled the Weber Propers, to see what kind of reception his book was receiving. On a website I won’t be linking to, there was discussion about it. I was astonished to observe folks there using this new publication to disparage the Graduale. Pretty insane, huh? Fr. Weber’s book is based entirely on the Graduale and makes no sense without reference to the Graduale. 2

Years ago, I studied with a wonderful professor of piano: Alice Downs. During a seminar, Mrs. Downs told the male students that careers in music are only good for mothers desiring to make extra cash. Somebody asked her, “Are you saying that no man should ever do music professionally?” She replied with words I’ll never forget: “I’m not saying that. But only men who cannot live without it should pursue music.”

Those of us involved in this movement love the Graduale Romanum. In fact, we cannot live without it. But our lives are not easy. As a great church musician used to say, “The life of a church musician is a life of sacrifice.” Let us recall the words of our Savior in the Gospel of St. Luke (17:10):

When you shall have done all these things that are commanded you, say: “We are unprofitable servants; we have done that which we ought to do.”



NOTES FROM THIS ARTICLE:

1   I call this the “Advent syndrome.” Many people declare that they will be setting the complete proper of the Mass; but after they get through Advent, they realize how difficult it is and give up.

2   The administrator of this particular website formerly claimed to support Gregorian chant, but changed his view following the reign of Pope Benedict XVI.

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 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

    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    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 which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —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

“The chapter decides to penalize singers or instrumentalists who are tardy by a few minutes at the same rate as if they had been absent the whole hour.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (2 June 1563 )

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