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Views from the Choir Loft

Sacred Music Colloquium XXV — Update III

Andrew Leung · July 1, 2015

CTL Colloquium 5 N THE THIRD DAY, the Colloquium is going pretty well so far. Participants are definitely getting to know each other more and we are all in “Heaven”, the musical heaven on earth. This afternoon, Fr. Jeffrey Keyes celebrated his first Solemn High Mass according to the 1962 Missale Romanum. After an hour of practice, he, the deacon and the subdeacon entered the Sanctuary and offered a beautiful Mass for us. I apologize for not being able to take any picture during the Mass because I was one of the altar servers.

The keynote today was given by Fr. Richard Cipolla from St. Mary’s Church in Norwalk, CT. Unfortunately, I missed almost half of the talk; but it was very fortunate that I got to have a conversation with Mr. Richard Rice, the great composer. Even though I was not there for the whole talk, I would like to share what I heard.

Fr. Cipolla’s talk was entitled: “Liturgical Music: The Medium and the Message”. Fr. Cipolla had some really strong opinions in his talk that not everyone may agree with him, but I think there are truth in his points and they are worth sharing. He clearly defined Gregorian Chant as the liturgical music of the Catholic Church because of its “Pride of Place”, and polyphony as another form of liturgical music because of its organic development from Chant. Both of these forms were mentioned in many documents of the Church. He defined orchestral Masses, hymns and other forms of music as religious music. He even went on and said that the Masses by Mozart and Schubert were “unfaithful” to the spirit of liturgical music.

The emphasis of liturgical music is on the text, but no so much on the music. Gregorian Chant, with the Latin text, is the best way to communicate and express the text. Fr. Cipolla thinks that Gregorian Chant is like an icon. God speaks to us through Chant and we venerate Him through Chant too. The simplicity (rhythmic, dynamic, dramatic) of Chant allows us to contemplate on the text; on the other hand, the complexity of the melody shows the beauty of God’s words. Fr. Cipolla suggested that all readings, no matter they are in Latin or vernacular, should be sung in the traditional Chant Tone. Because when the scripture is sung, it speaks to us on a much higher level and draws our attentions. Liturgical music is not meant to accompany the Liturgy but is an integral and necessary part of the liturgical action and event.

He also talked about the important of the Latin language in the Liturgy. Latin, as a “dead language”, do not develop anymore. The grammar and the vocabulary will stay the same. And because of that reason, it is the perfect language for the Liturgy and Gregorian Chant. We often have to deal with the problem of bad translations, or just translation in general. When the text is translated from Latin to the vernacular, it is being “imperfected” at the same time. Latin in the Liturgy has always been a different and higher-leveled language. Even back in the days when Latin and Greek were the main language, the Latin in the Liturgy was a higher class language, different from the one that people use to communicate. Latin language is the foundation of the Liturgy and Gregorian Chant.

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 Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —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

“We must remember that the important elements of a rite are not the things that will first be noticed by a casual and ignorant onlooker—the number of candles, colour of the vestments and places where the bell is rung—but just those things he would not notice: the Canon, fraction and so on, the prayers said in a low voice and the characteristic but less obvious rites done by the celebrant at the altar.”

— Fr. Fortescue explaining that Anglicanism does not preserve Sarum

Recent Posts

  • Simplest “Agnus Dei” Ever Published
  • Bishop François Charrière Vs. Hannibal Bugnini
  • 14th Sunday in Ordinary Time (Year C)
  • “My First Year with the Latin Mass” • A Music Director’s Perspective
  • Boston Auxiliary Bishop: “In offering the Traditional Mass for the first time, after removing the vestments, I knelt in the back pew and wept.”

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