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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

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

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The local church should be conscious that church worship is not really the same as what we sing in a bar, or what we sing in a convention for youth.

— Francis Cardinal Arinze (2005)

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