• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

A Different Kind of World Youth Day

Fr. David Friel · August 7, 2016

ANY THINGS coalesced to make this year’s World Youth Day celebration historic. It was held within the context of the Extraordinary Jubilee Year of Mercy (2016), in the city of Divine Mercy (Kraków), inviting pilgrims to follow in the footsteps of the pope of Divine Mercy (St. John Paul II) at the event that he, himself, created (WYD).

There was one truly remarkable part of the WYD celebrations that did not receive as much attention as these other details, yet it was revolutionary. I am speaking about the music used at the major English-speaking catechesis sessions.

For those who are not familiar, World Youth Day is not really a day, but a week. During the days leading up to the main weekend events with the Holy Father, WYD pilgrims attend morning & afternoon catechesis sessions. These presentations are given in a multitude of languages at various venues throughout the host city. Not surprisingly, one of the largest groups of pilgrims at every WYD comes from the English-speaking world, so there is typically one very large English catechesis center.

This year, the main English-speaking catechesis was held at Tauron Arena, renamed “Mercy Centre” for the week. Each day, roughly 15,000 pilgrims packed the arena to hear keynote talks by Cardinal Seán O’Malley, Cardinal Tagle, and Cardinal Dolan. At the conclusion of the morning session, Mass was celebrated in the arena.

Nothing is new about the general structure of the catechesis I have just described. The revolutionary part was the music used at the Masses in Tauron Arena. Typically, these Masses feature pop concert-style praise & worship led by an on-stage band. This year, however, the preparations for these large-scale liturgies were made in conjunction with the Dominican Liturgical Centre in Kraków. Rev. Łukasz Miśko, O.P., a Dominican friar from Poland (who presently works in Salt Lake City), was entrusted with the musical preparations for these large-scale liturgies, and he worked closely with his confreres at the Dominican Liturgical Institute in Kraków. Fr. Łukasz Misko, OP served as Director of Music for the English-language liturgies, and he, in turn, invited fellow-blogger Christopher Mueller to serve as conductor for all of these liturgies (as he announced here). The result was an experience very different from the norm.

Notably, not a single hymn was sung during Mass on Wednesday or Thursday. Praise & worship songs were used throughout the day at the arena, before and after Mass, but no garden variety metrical hymns or songs were sung during Mass, from the Sign of the Cross to the Final Blessing. On Friday, two very tasteful hymns (Welcome, Bread of Life and Jesus, Thou Joy of Loving Hearts) were sung amid other chant and polyphony during Communion, which, because of its length, required a great deal of music. The musical decision to essentially dispense with hymnody is itself revolutionary

During the entrance procession, offertory, communion, and recessional, a variety of musical forms were used. Most of the music at these points were responsorial texts written in four parts. A Gregorian alleluia and the Pater noster were chanted each day, and the first piece during communion each day was in Gregorian plainsong. The polyphonic pieces included: Jesu, Rex admirabilis (G.P. Palestrina), Anima Christi (Stefan Stuligrosz), Lift Me Up, O Jesus (Jacek Sykulski), In Te, Domine, speravi (Hans Leo Hassler), Per Crucem Tuam (Piotr Palka), Salve, Mater Misericordiae (arr. Mueller), Adoremus in aeternum (Gregorio Allegri), and Totus tuus (Msgr. Marco Frisina).

The Mass setting used each day was the Missa Orientalis by Jacek Sykulski. This was sung in four parts, and the text (interestingly for the English-language catechesis center) was in Latin.

On the final day of catechesis, Chris and his wife, Constanza, led a breakout session entitled: “How to Promote Polyphony and Chant at Your Parish.” For many of the pilgrims, this was their first experience of chant and polyphony. One hopes that some of them have been energized to learn more and to bring the music of the Church back to their parishes.

The singers for these Masses were children and young adults. The instruments included violin, viola, cello, clarinet, and flute, all played by young adults. Nothing about this music was specialist or elite or out-of-reach.

At the conclusion of the week, the musicians were acknowledged and thanked by the Mercy Centre host, Chris Stefanick, who described how deeply moved he was by the beauty of the sacred music. This sentiment was corroborated by thunderous applause from the 15,000 other attendees. Enough of the argument that we have to do praise & worship at Mass because “the kids love it”!

This sea change is not insignificant. It means that the project of advocating truly sacred music within the present liturgical movement is bearing practical fruit. Even three years ago, at WYD 2013 in Rio de Janeiro, no one would have expected what transpired at the Mercy Centre in Kraków.

That the Dominican Liturgical Centre was involved in the preparations for these English-language liturgies is an enormously important step. That Christopher Mueller was selected to serve as conductor is equally important. These surprising choices would not have been possible some years ago. What graced decisions they turned out to be!

Each day’s Mass had an accompanying printed program for music. In each program, the following explanation was printed:

These English-language liturgies are the fruit of a long and ongoing collaboration between Dominican Friars in Poland and their Dominican brethren in the United States. And one of the first impressions you may have is, a lot of this music is unfamiliar. What we hope you’ll take away from these Masses, though—alongside the presence of Christ in the Eucharist and the camaraderie of thousands of new Catholic friends from around the globe—is a sense of how beautiful the music of the Mass can be.

Dominicans especially cherish Gregorian chant, and yet they believe that the beauty of sacred music does not belong to one particular genre. It flows from a basic requirement found in different musical styles, which might be summed up as, “it’s all about God, and He’s a Mystery.” Inexpressible and ineffable, the Mystery of God is always ahead of us, approached but never comprehended, and therefore our liturgical music—filled with awe and love for Him—should reflect that fundamental humility. This week we are drawing from a wide variety of the Church’s music, including Gregorian chant, sacred polyphony, traditional hymnody, and contemporary praise and worship.

The overarching aesthetic, though, is a sound specific to Dominicans in France and Poland. You’ll notice several compositions by French priest André Gouzes, OP, in which he hearkens back to Byzantine chant with its circular four-voice harmonic progressions. Several contemporary Polish composers are also represented, who employ a similar aesthetic (sometimes called the “Gouzentine” sound). Most of this music is antiphonal, where a short refrain is repeated several times, interspersed with Scriptural verses. It’s a bit like having multiple Responsorial Psalms packed into a Mass.

That’s because the Mass propers (e.g., the antiphons at Entrance, Offertory, and Communion) are responsorial in their construction, and these antiphonal pieces reflect the underlying musical structure of the Mass itself.

And it’s all about God, and He’s a Mystery. The unfamiliarity of this beautiful choral music gives us a chance to experience God anew at each liturgy. We can’t apply our usual “traditional music = conservative” or “contemporary music = liberal” thinking. We must become open to the vastness of God, and beauty offers us a powerful means of doing that; true beauty calls us out of ourselves, orients us to something greater, and stirs up a longing for the transcendent. Sacred music, the expression of the deepest human yearning for the most profound Mystery of Love, creates in us a special dimension whereby we can be permeated and transformed by the Eternal beauty of God, Himself.

With voices raised and hearts opened, let us pray.

Fr. Łukasz Misko, OP
Director of Music for English-language liturgies, WYD 2016

Finally, let me offer an unsolicited advertisement. The Mercy Centre at Tauron Arena was generously sponsored by the Knights of Columbus, who do wonderful work for the Church. Every Catholic man should consider becoming a Knight. The arena was also staffed all week by the Sisters of Life, a remarkable order of women religious. Much gratitude to both of these groups for their support of the English-speaking catechesis!

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

Filed Under: Articles Tagged With: Authentic Liturgical Renewal Reform, Beauty, Beauty in the Catholic Liturgy, Catholic Youth Choirs, Giovanni Pierluigi da Palestrina, Hymns Replacing Propers, Proper of the Mass in English, Propers, Reform of the Reform, Secular vs Sacred Music at Mass Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski
    Kids’ Choir Sings Thomas Aquinas
    Last Sunday, a children’s choir I’m teaching sang with us for the very first time at Sunday Mass. Females from our main choir sang along with them. If you’re curious to hear how they sounded, you can listen to a ‘live’ recording. That’s an English version of TANTUM ERGO by Saint Thomas Aquinas. That haunting melody is called GAUFESTRE and was employed for this 2-Voice Arrangement of a special hymn for 9 November (“Feast of the Dedication of the Lateran Basilica in Rome”) which replaces a Sunday this year.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of September (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Church officials frequently asked Tomás Luis de Victoria for his opinion on cathedral appointments because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist, and never accepted any extra pay for being a chapelmaster. Held in great esteem, his contract allowed him frequent travel away from the convent, and he attended Palestrina’s funeral (in Rome) in 1594.”

— ‘Dr. Robert Stevenson, 1961 (mod.)’

Recent Posts

  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?
  • “Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough
  • “Music List” • 27th in Ordinary Time (Year C)
  • Kids’ Choir Sings Thomas Aquinas

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.