Views from the Choir Loft

The Pope Who Had … A Child?

Jeff Ostrowski · January 17, 2016

OPE GREGORY XIII was a great supporter of Palestrina, who returned the favor by frequently dedicating musical scores to him. Palestrina also dedicated compositions (on occasion) to the pope’s natural son. Wait…his son?

Yes, it turns out that—during his early life—Gregory XIII had a son (Giacomo Boncompagni) with an unmarried woman. Someday, I’d like to learn more about this, because it must have been hard for Gregory XIII to encourage Catholics not to break the 6th Commandment, considering his past. For the record, Palestrina seems to have been a very holy man.

The Diario of 1594 records an interesting anecdote about Pope Clement VIII. The pontifical choir sang “In diademate capitis” by Giovanni Maria Nanini. This motet seemed to displease Pope Clement, and he asked whose composition it was. They told him it was Nanini.

Because Nanini was known as a great composer, ¹ the pope attempted to soften his criticism, declaring that it was the words of the motet he objected to. However, the maestro di cappella responded that these words came from the Bible…and Pope Clement fell silent!

NOTES FROM THIS ARTICLE:

1 I’m told Nanini was even a colleague of Palestrina at a special music school.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

“Gloria in Spanish” • Free Accompaniment

Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!

—Jeff Ostrowski

How Well Does ICEL Know Latin?

This year, the Feast of Saints Peter and Paul (29 June 2025) will fall on a Sunday. It’s not necessary to be an eminent Latin scholar to be horrified by examples like this, which have been in place since 1970. For the last 55 years, anyone who’s attempted to correct such errors has been threatened with legal action. It is simply unbelievable that the (mandatory) texts of the Holy Mass began being sold for a profit in the 1970s. How much longer will this gruesome situation last?

—Jeff Ostrowski

Is the USCCB trolling us?

I realize I’m going to come across as a “Negative Nancy” … but I can’t help myself. This kind of stuff is beyond ridiculous. There are already way too many options in the MISSALE RECENS. Adding more will simply confuse the faithful even more. We seriously need to band together and start creating a “REFORM OF THE REFORM” Missale Romanum so it will be ready when the time comes.

—Jeff Ostrowski

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