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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

Has The Church Rejected Her Inheritance?

Dr. Alfred Calabrese · March 10, 2016

“My son, you are here with me always. Everything I have is yours.” —Luke 15:31|

Prodigal HIS WAS WHAT the father of the estate said to his older son in the parable of the Prodigal Son, heard most recently this past weekend, the fourth Sunday of Lent. I’ve been thinking a lot about this parable lately, and in particular, why neither of the sons really understood what riches he had in his father’s house. Is that why the prodigal son left? Did he not realize what he had, and did he think things would be so much better elsewhere?

The father has inherited and maintained an existence that is well-ordered, successful, and respected, even coveted. The father is the caretaker of these riches, and the Prodigal Son is part of this inheritance. The rich blessings, fertile land, and beautiful adornments are his by right.

And yet, the Prodigal Son rejects all of it.

Imagine for a moment that the father and his house represent the Church. The sacraments are her wealth, and she is adorned with the richness of beautiful art, architecture, and music. The well-ordered success of the estate is akin to the Church’s time honored liturgical practices, steeped in history and tradition.

The father, clearly heartbroken by the son’s rejection, does not drastically change his house nor anything about it in an effort to lure back his son. He doesn’t rid himself of his possessions nor throw away all of his successful practices in order to join his son in the wasteful abandonment of all he knows. Rather, he remains steadfast, hoping that the son will realize what he has given up, and return to the life-giving love of the father and his house.

And yet it seems that many in the Church have not learned or understood this lesson. How many prodigal sons and daughters are still out there? Did the Church’s willingness to try to lure back her people really work? Did the abandonment of sacred tradition, of Gregorian chant, polyphony, and excellent hymnody, and of beautiful vestments and architecture, bring more people back home?

Those whose calling it is to work for the Church, those who understand what wealth really is, those who recognize the importance of beauty in the Father’s house, have a difficult task. Often they face ridicule, rejection, and heartbreak. Not an easy life. But the Gospel tells us that the prodigal children will one day return. To all of my colleagues—remain steadfast!

You are invited to experience something beautiful in Dallas,Texas this May. Please consider attending our conference on beauty and sainthood, and experience the world premiere of “A Rose in Winter” by composer Frank La Rocca. The registration fee is at an UNBELIEVABLY low price!

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 • “21 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —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

“No one can reasonably find in the dispositions of Vatican II anything out of order, or any extreme opinions or tendencies which restrict the function of sacred music exclusively to the congregational singing of the faithful or on the other hand which replace or eliminate the singing of the congregation entirely by the singing of the choir.”

— Most Rev’d Archbishop D.M.M. y Gómez, Primate of Mexico (at that time, the world’s largest archdiocese)

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