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Corpus Christi Watershed

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

    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

“Finally, let us not forget that listening especially is active participation. When we listen to the performances of Bach’s Saint Matthew Passion, we can fully participate actively in the Passion of Christ. And so, if we listen attentively to the singing and organ music during the celebration of the divine services, our participation is not less complete. The real significance of this objective and very important aspect is insufficiently understood.”

— Flor Peeters

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