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Views from the Choir Loft

In Defense of the “Sistine Screamers”

Andrew Leung · August 1, 2017

CTL In Defense of the Sistine Screamers WO DAYS AGO, Crux posted an article about the Sistine Chapel Choir’s first tour to the USA in 30 years. In the article, the author and Msgr. Massimo Palombella, the current choirmaster, mention about the choir’s old reputation as the “Sistine Screamers” and how the choir has abandoned their old way of singing. As I have mentioned before (here and here), I think that the Sistine Chapel Choir has taken a more British choral approach and their musical quality has improved greatly. However, there are a few things I would like to point out in defense of their old approach.

First of all, allow me to point out that most people nowadays consider the choral sound of the English Cathedrals as the standard and our ears are more used to this sound of the choral approach of British school. But that might not have always been the case. In the old days, it would have been harder for people to compare and exchange ideas about choral singing since there was no internet and the technology wasn’t as developed.

Let us also consider the cultural background of the choir. In the past, most of the singers of the Pope’s choir were Italian and were probably recruited from opera houses. They were all trained in operatic singing and probably considered it the best way, and a very noble way, of singing. Following that logic, that would be how they sing in the Pope’s churches because they wanted to offer the best to God; and the local Catholic faithful influenced by the Italian culture would probably think it is appropriate. (And this is probably why Pope St. Pius X wants to make sure that we keep operas out of the liturgy.)

Finally, one of the reasons they sang in their full and operatic voices was to make sure that their voices can be projected throughout the basilica. St. Peter’s Basilica is the largest church in the world (over 700ft long, 500ft wide with a 448ft-tall dome) and you can imagine the effort it takes to fill the whole church with music without using microphones. They had to sacrifice the quality of the music in order make sure that they can be heard.

I am very glad that the Sistine Chapel Choir has abandoned their old way of singing and is now making angelic music. But let us not condemn their old approach without first understanding the reasons behind it.

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

    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

Random Quote

When Christ gave the bread, he did not say, “This is the symbol of my body,” but, “This is my body.” In the same way, when he gave the cup of his blood he did not say, “This is the symbol of my blood,” but, “This is my blood.”

— Theodore, Bishop of Mopsuestia, writing in the 5th Century

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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.

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