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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

Something Unexpected

Aurelio Porfiri · October 5, 2015

236 Aurelio Porfiri OMETHING UNEXPECTED happened recently, which made me think a lot. I was walking the streets of Macau, contemplating my imminent return to Rome. 1 During my walk, I happened upon two of my students. When I met them, they were taken by surprise—but I failed to understand the reason. One of them explained me: when I hailed them on the street, they were singing one of my liturgical songs, Angele Dei qui custos es mei (for solo, female choir and organ). I was, of course, surprised and pleased by this—realizing that many Chinese students are not Christians, but that my music can break barriers and appeal also to those that were not raised in a Christian tradition.

I deeply love my students and I always think that, despite the huge limitations of the city where they have to grow up, they are bright and brilliant if given a chance to develop their talents freely. I consider yesterday’s meeting a sign of God. I really want to think that their guardian angels are tapping on their shoulders, hoping to be noticed by them amidst the noises of a city totally immersed in a gambling atmosphere. If my music can help the guardian angels, should I not be happy for this?

Indeed—as I have always mentioned—music is not and cannot be neutral. Music has a power of influence that can awaken specific cultural and social memories in a way that can lead or mislead to the desired outcomes. This is why not all music is good for the liturgy: because not all music serve the purposes of the liturgy.

I was looking at a YouTube interview with Stephen Colbert. I must tell you that I like him, and take comedians very seriously. Now, he was being interviewed by a Jesuit priest, the editor of the magazine AMERICA. This priest asked Colbert about his favorite church hymns and Colbert started listing some of the 60s favorites, even beginning to dance to one of the tunes. That is exactly the problem: most of these songs are just relying on light catchy melodies strongly relying on rhythmic elements to save the day, but with no or little substance outside rhythm. Of course rhythm is important; but when isolated from a more general musical context, starts to become a worshiper of Dyonisus, and forget that it belongs also to Apollo.

I think that my students teach me an important lesson: God works in mysterious ways…mmm…did I hear this phrase somewhere else?



NOTES FROM THIS ARTICLE:

1   I will reside there after seven years spent working here in China, composing hundreds of new pieces—most of them now published around the world, for which I am so grateful.

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 Aurelio Porfiri

Renowned as composer, conductor, theorist, author, pedagogue, and organist, Aurelio Porfiri has served the Church on multiple continents at the highest levels. Born and raised in Italy, he currently serves as Director of Choral Activities and Composer in Residence for Santa Rosa de Lima School (Macao, China).

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President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    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

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

“All those who take part in sacred music, as composers, organists, choir directors, singers, or musicians should above all give good example of Christian life to the rest of the faithful because they directly or indirectly participate in the sacred liturgy.”

— Directive issued under Pope Pius XII on 3 Sept. 1958

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