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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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

“Franz Liszt was an eminent keyboard virtuoso but a dangerous example for the young. … As a composer he was terrible.”

— Clara Schumann

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