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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

On Stillness

Veronica Moreno · December 2, 2015

The following is a guest article by my husband.|

968 Extraordinary Form N THE FIFTY-SECOND SUNDAY of our first year of conversion to the Extraordinary Form, my four-year old son behaved. 1 He did not crash the swat-team car on the pew. He did not crush a cereal snack underfoot, shred the folded bulletin, or even stack the disposable missals into towers or ramps. He was distracted most of the time. And couldn’t keep from commenting on and questioning the artwork he was noticing for the first time. When he “actively participated” in the Kyrie or Alleluia, he was too loud. 2 His volume is a permanent issue, and I immediately regretted asking him to count the candles he saw. (I cut him off at fourteen.)

But the boy could not have made a father more proud.

My children have taught me stillness, what Guardini describes as “the prerequisite of the liturgical holy act.” 3 It started when I first rocked our eldest and held the bottle for her during the Eucharistic Prayer. I couldn’t follow the Mass in the same way anymore because I didn’t have anymore hands to hold the missal. Even after she could hold her own bottle, I could never really focus on reading the words anymore. That’s how it started.

But it was the Extraordinary Form that made a new worshiper out of me. It forced me to grow still because it forced me to let go of so many things I thought I needed to fix. There was no liturgical abuse to plot to fix, the music was finally the Propers that the Church asked for, the Ordinary dignified, the altar servers mirrors of the priest’s dignity and purpose. Everything was our best. 4 Before, my thoughts constantly drifted to my personal actions as the savior of Tradition, as another new warrior supporting Pope Benedict’s “hermeneutic of continuity”, as a lead actor in this Reform of the Reform. How quickly this turned on its head, when confronted with the work of our Liturgy, done according to the book, to the best of our ability. It is embarrassing to consider how misplaced my attention had been for so long. I am an infant.

The conversion itself happened on the third Sunday of our first year of conversion to the Extraordinary Form. The three kids and I, looking through the sheen of the cry room window, saw the FSSP priest vesting in rose only feet away. And right there I realized there was an emptiness inside me: silence and awe. Detachment and humility. Worldly concern was gone because the priest Said the Black. Freedom to worship, how I now understand thee! Freedom to let go because my children are witnessing the fullness of the Roman Missal.

My place is behind that window—bottle-ready, arms full, pockets full of plush toys—still and empty. That window is not a looking glass. It makes my three kids holy. It makes me holy too. We are building a congregation. It will be our parish, and we will bring it home to our local Churches.

At the end of that Last Sunday of the liturgical year, my son made me proud. There was nothing anyone could do to change that. 5


We hope you enjoyed this guest article by José Francisco Moreno.




NOTES FROM THIS ARTICLE:

1   “Behaved” is a term, that for this short text, should be qualified: My son behaved at Mass. He was only removed from the main Church once, when the altar server’s altar bell jerked my son out of a distracted reverie and prompted him to involuntarily sing out ‘Ding-a-ling, Ding-a-ling’. He returned and no further problem ensued.

2   His sister is in the choir, so he knows the chants and hymns. But he does not know blending yet, so the mother and son in front of us turned around every time my son belted to sing.

3   Romano Guardini. Preparing Yourself for Mass (1939).

4   This is possible in the Ordinary Form too, except having so many options and a general tendency to demote things to “optional” makes it far more difficult. Too many loopholes. “Say the Black, Do the Red.”

5   It was irony, that after being so inspired by the completion of a year going to the FSSP Mass, a year just crowned by my son’s behavior, that a woman approached us to let us know that, “There’s a room for children in the side of the Church building.” My son’s behavior had bothered and distracted her throughout the Mass so much she felt compelled to speak to me! I said nothing, since no one was going to destroy the joy of that particular moment. But he was a good four-year-old, and deserves to meet God face-to-face, just like the rest of us. Next following week, with the one-year-old back with us, we were back in the “room for children.” Guardini on Church buildings and stillness:

What then is a church? It is to be sure, a building having walls, pillars, space. But these express only part of the word church, its shell. When we say that Holy Mass is celebrated “in church,” we are including something more: the congregation. Congregation, not merely people. Churchgoers arriving, sitting, or kneeling in pews are not necessarily a congregation; they can be simply a roomful of more or less pious individuals. Congregation is formed only when those individuals are present not only corporally but also spiritually, when they have contacted one another in prayer and step together into the spiritual “space” around them; strictly speaking, when they have first widened and heightened that space by prayer. Then true congregation comes into being, which, along with the building that is its architectural expression, forms the vital church in which the sacred act is accomplished. All this takes place only in stillness; out of stillness grows the real sanctuary. It is important to understand this.

Church buildings may be lost or destroyed; then everything depends on whether or not the faithful are capable of forming congregations that erect indestructible “churches” wherever they happen to find themselves, no matter how poor or dreary their quarters. We must learn and practice the art of constructing spiritual cathedrals.

We cannot take stillness too seriously. Not for nothing do these reflections on the Liturgy open with it. If someone were to ask me what the liturgical life begins with, I should answer: with learning stillness. Without it, everything remains superficial, vain. Our understanding of stillness is nothing strange or aesthetic. Were we to approach stillness on the level of aesthetics – of mere withdrawal into the ego – we should spoil everything. What we are striving for is something very grave, very important, and unfortunately sorely neglected: the prerequisite of the liturgical holy act.

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 Veronica Moreno

Veronica Moreno is married to a teacher and homeschools five children. She has been cantor at her local Catholic parish for over a decade.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“The recitation of the Office of the Dead, the Christmas Office, the spectacle of the days of Holy Week, the sublime chant of the Exultet, beside which the most intoxicating accents of Sophocles and Pindar seemed to me to be insignificant—all of this overwhelmed me with respect and joy, with gratitude, repentance, and adoration!”

— Paul Claudel (1913)

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