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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

Getting the most from your choir: Passion

Dr. Alfred Calabrese · September 24, 2015

259 Gloria In Excelsis N LITURGICAL MUSIC, based as it is on biblical faith, there is, therefore, a clear dominance of the Word; this music is a higher form of proclamation.” (The Spirit of the Liturgy, Joseph Cardinal Ratzinger, p.149)

This statement really gets my juices flowing! It makes me passionate about what we do each week in choir rehearsals and Sunday Masses. The texts that we are privileged to sing are truly the focus of our work. How we prepare and present those texts, couched so often within masterfully crafted music, is a crucial element in the success of a liturgical choir or schola. Here are just a few of the things I try to keep in mind when preparing to conduct music for the liturgy:

Look deeply into the text. Often in singing Renaissance polyphony, too many people think of the music as ‘old’ or ‘ancient,’ and end up producing a perfect but antiseptic rendering of the piece. But early music was new once! Remember, Renaissance composers are people too. They had feelings. How does Victoria’s priestly vocation affect how he sets a text? Can Byrd’s status as a persecuted Catholic in reformed England be heard in his music? Study the life of composers. Do they have a special devotion? How does their age at the time of composition affect the piece?

Fall in love with what the choir is singing. Why did you choose this piece? What do you love about it? It could be the texture, the beautiful chord structure, the overall affekt, or just one special phrase. Whatever it is, find it, teach it, and communicate it with heartfelt passion.

Be passionate about diction. Take great care to teach and insist on round, classical vowels, devoid of regional accents and colloquial pronunciations. The most formal approach to diction lends beauty and importance to the text, which is, after all, what we are presenting. If we value beautiful vestments and vessels, expect precise and practiced gestures from liturgical ministers, and insist on art and architecture that speaks to a New Heaven and New Earth, then only our very best efforts at a pronunciation that is elevated from the mundane will suffice for the Holy Mass.

Passion for words and for the work of preparing and presenting liturgical and sacred music is a tremendous engine for achieving the very best results. Again, from The Spirit of the Liturgy, (p.209):

“…the Church as a whole must, for the sake of God, strive for the best, for from the very nature of the liturgy—by an inner necessity—comes a culture that becomes a standard for all secular culture.”

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. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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) 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
    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
    “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

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

Like all other liturgical functions, like offices and ranks in the Church, indeed like everything else in the world, the religious service that we call the Mass existed long before it had a special technical name.

— Rev. Adrian Fortescue (1912)

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  • Why A “Fugue” Here?
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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

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