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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

One Man I Would Give My Right Arm To Meet In Person

Dr. Lucas Tappan · August 20, 2015

LMT Colin Mawby N AUGUST 2, Andrew Leung posted an article about Colin Mawby, the former Master of Music at Westminster Cathedral, London, and suggested I might be able to add to the discussion. Unfortunately, I have never actually been to Westminster Cathedral (God willing, that mistake will be corrected before I die), but I have had a couple of email conversations with Mr. Mawby about his time at Westminster and I would like to share part of one with you here.

I am doing this for two reasons. The first is to highlight the fortitude of an incredible church musician and the second is to encourage that same virtue of fortitude in myself and all other musicians toiling in the field of sacred music. It is easy to become discouraged at the infinite challenges confronting us, but take heart, even the best of us has “been there and done that.”

HEN I BECAME MASTER OF MUSIC in 1961, Westminster Cathedral sang or recited the complete daily Roman Office and had a daily Capitular High Mass. The choir also sang daily Vespers. There were many low Masses; and when the changes of Vatican II were introduced, those went into English—but the High Mass remained in Latin. The Archbishop, Cardinal Heenan, said to me that it would be unthinkable for the Cathedral not to have a daily Latin High Mass. This was highly controversial and many clergy opposed his view, desiring the Cathedral to be at the forefront of liturgical experimentation: “giving a lead” to the rest of the country. There was also divided opinion on “participation.” Some people were happy with external participation, while others looked for internal participation. I continually stressed that one could participate and worship the Creator through listening to great music.

When the changes were introduced, many choirs—including Cathedral Choirs—were disbanded and many fine musicians were sacked (and in many cases totally disillusioned). In light of this, I decided that the Cathedral should best give a lead by preserving the great heritage of Catholic music as demanded by the Council’s Liturgical Constitution. This attitude was roundly condemned by the reformers who did everything that they could to make the Cathedral liturgy a beacon of the new.

There were many attempts made to disband the Cathedral Choir and there was one very serious threat to the continuation of the Choir School. The chorister’s parents were informed that it was to be disbanded. It was saved by the vision of Cardinal Heenan’s successor, Cardinal Hume. The professional men were even given three months’ notice on one occasion on financial grounds—the Cathedral couldn’t afford a professional choir. However, I was able to find sufficient money to keep it going and eventually Cardinal Hume ensured that the money was available to keep the professional men in place.

It was Cardinal Heenan’s unswerving support that enabled me to preserve the music and the Cathedral traditions through 11 years of extreme difficulty—I never knew from one day to the next if the choir would still exist in 6 months’ time!

Cardinal Hume, a Benedictine, understood the spiritual value of the Cathedral’s music and established it on a firm foundation.

About ten years after I left, Bishop Victor Guazelli (an auxiliary in Westminster) said to me at the large reception following George Malcolm’s Memorial Requiem: “Colin, you were completely right, we were completely wrong. We owe you a great debt of gratitude for what you did.” This honest, magnanimous, and public statement made my struggle totally worthwhile.1



NOTES FROM THIS ARTICLE:

1   Taken from a personal email to the author on June 11, 2013.

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 Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

In the United States, Archbishop Kenrick had said in his “Moral Theology” that it was acceptable to sing the “Véni Sáncte Spíritus” before the sermon.

— Monsignor Schmitt (1977)

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