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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

St. Francis and Sacred Music

Andrew Leung · October 6, 2016

CTL St. Francis and Sacred Music HIS PAST TUESDAY was the feast day of St. Francis of Assisi. He has always had a very special place in my heart. St. Francis was introduced to me when I was very young. I have seen movies about him and read his stories many times. And when I grew up, I went to Franciscan University of Steubenville which is run by the Franciscan TOR friars.

St. Francis is often accused of being a “hippie” because of his love for nature and his “free spirit.” But when it comes to the liturgy, he is definitely very straight and only offers the best to God. A good example would be the Portiuncula chapel outside of Assisi that St. Francis rebuilt. If Francis was a “liturgical hippie” as people said, he wouldn’t have built the chapel and the Franciscans would be worshiping in caves. But instead of celebrating the Mass in a cave, St. Francis rebuilt the Portiuncula with the best material (not to mention that it actually looks like a church instead of a rocket).

Another example demonstrating the love St. Francis had for the liturgy is how he and his brothers adopted the Old Roman Liturgy as the rite of their order. When the pope asked Francis which western rite the Franciscan would like to adopt, the saint decided to take the Old Roman Rite even though the Galican Rite was the most popular liturgy at the time. Because of his decision, the Roman Rite was preserved and the Church Fathers of the Council of Trent were able to “make Roman Rite great again.”

ROFESSOR NICHOLAS WILL, one of my teachers when I was studying for my undergrad degree in sacred music at Franciscan University of Steubenville, was interviewed by the National Catholic Register a few days ago. The full article entitled, Revealing the Real Music of St. Francis of Assisi, can be found here.

I was very surprised by the last part of the interview. The last question is: “Was St. Francis involved in polyphony?” And the answer to that question is “Yes.” Professor Will says paintings from the Basilica of St. Francis may indicate that polyphony was part of the Franciscans life because the friars are depicted singing with their mouths forming different vowels. I never expected that Franciscan friars may have been contributors to the development of the polyphonic music!

Here’s what Will said in the interview regarding Francis and polyphony:

Saint Francis very well could have been a practitioner and admirer of sacred polyphony. It was still in its early stages in his time, but frescoes from the Basilica of St. Francis may indicate that polyphony was part of early Franciscan life. Friars are depicted singing with their mouths forming different vowels. This would seem to indicate they were not all singing the same part, but would have been singing independent vocal lines simultaneously—a hallmark of polyphony. It seems safe to say that, even if St. Francis himself didn’t participate in polyphony, at least some of his early friars (many of whom were musicians) did.

So, when someone accuses St. Francis of being a “liturgical hippie”—or create some sort of “spirit of St. Francis”—we won’t be confused again. St. Francis loved the Church’s liturgy and gave to God the very best.

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Editor’s Note :

It’s worth considering what St. Francis wrote in his Epistola ad clericos about the Mass:

Let us all consider, O clerics, the great sin and ignorance of which some are guilty regarding the most holy Body and Blood of our Lord Jesus Christ and His most holy Name and the written words of consecration. For we know that the Body cannot exist until after these words of consecration. For we have nothing and we see nothing of the Most High Himself in this world except [His] Body and Blood, names and words by which we have been created and redeemed from death to life.

But let all those who administer such most holy mysteries, especially those who do so indifferently, consider among themselves how poor the chalices, corporals, and linens may be where the Body and Blood of our Lord Jesus Christ is sacrificed. And by many It is left in wretched places and carried by the way disrespectfully, received unworthily and administered to others indiscriminately. Again His Names and written words are sometimes trampled under foot, for the sensual man perceiveth not these things that are of God. Shall we not by all these things be moved with a sense of duty when the good Lord Himself places Himself in our hands and we handle Him and receive Him daily? Are we unmindful that we must needs fall into His hands?

Let us then at once and resolutely correct these faults and others; and wheresoever the most holy Body of our Lord Jesus Christ may be improperly reserved and abandoned, let It be removed thence and let It be put and enclosed in a precious place. In like manner wheresoever the Names and written words of the Lord may be found in unclean places they ought to be collected and put away in a decent place. And we know that we are bound above all to observe all these things by the commandments of the Lord and the constitutions of holy Mother Church. And let him who does not act thus know that he shall have to render an account therefore before our Lord Jesus Christ on the day of judgment. And let him who may cause copies of this writing to be made, to the end that it may be the better observed, know that he is blessed by the Lord.

ALSO : Could St. Francis of Assisi read music? Probably! Before his conversion, he grew up as a member of a rich and prominent family. At that time, the education of a nobleman would have included how to read music. That was considered “normal” for anyone in a wealthy family—in addition to astronomy, philosophy, and many other subjects. It would not be surprising if St. Francis could indeed read music.

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 Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (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

Quick Thoughts

    “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
    “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

“We wish to express the hope that students of Gregorian Chant come back to the pure Vatican Edition, in the ancient block-note form, without the addition of any signs whatever, in order to achieve Gregorian unity.”

— Josef Gogniat (12 March 1938)

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