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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

The Marvels of Choral Singing

Andrew Leung · December 21, 2017

CTL The Marvels of Choral Singing ONG KONG is probably one of the most crowded and busiest cities in the world. To be honest, that is not something that I enjoy so much. However, Hong Kong is also one of the best-known international cities, and many artists like to visit this “Pearl of the Orient”. In the past few months, I have had the privilege to work with world-class musicians like John Rutter, Peter Philips and Paul Phoenix in Hong Kong. I also got to listen to The Sixteen and the Choir of King’s College; and I am very looking forward to see the Choir of St. John’s College next spring. It is wonderful to be able to sing and hear beautiful choral music!

As I give thanks to God for these amazing opportunities, I also ponder on the marvels of choral singing. Listening to these world’s best choirs was a “heavenly” experience; it must be the best human experience one can get on earth! After experiencing the perfect harmonies of choral singing, it would only make sense that human voice be the principle instrument in worship. The human voice is more powerful than any other instruments on earth because it can pray, sing and communicate to God in such a direct and clear manner; it is also the most fragile because one could loss his voice easily due to accidents or bad health. And choral singing requires even more efforts and teamwork. If one person in the group sings flat, losses the rhythm, sing too soon or cut off too late, the mistake will ruin the moment.

As I meditate deeper into the mystery of choral singing, I see an image of the Church in choirs: people, with different voice ranges, tone colors, etc., coming together united through singing. Our voices are all so unique that it can even be used to identify each of us; and yet people can disregard the differences and try to blend with one another, just like people with different talents come together in Christ.

The key to accomplishing the perfect harmonies and blending is by “constant conversion”. We must do self-reflection, then modify and perfect our singing. A good choral singer doesn’t compete with his teammates, but competes with himself. Each time when he sings, he tries to sing better than the last time. It is like the personal sanctification that all followers of Christ are called to do. A good singer also accepts humbly the assistance and guidance from the director and his fellow singers; just as we receive grace and strength from God. Through self-modification and humility, one can advance in choral techniques and produce the “heavenly” music.

In case some of you are curious of the beauty I have experienced, here is an example on Facebook. And of course, there are many more examples and we can all be one of them.

Soli Deo Gloria!

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

    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
    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. 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.
    —Jeff Ostrowski
    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —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

“Contradictions place us at the foot of the Cross, and the Cross places us at the gates of Heaven.” (Saint John Mary Vianney)

— Cardinal Merry del Val’s Prayer-Book

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  • “Music List” • 14 September (Holy Cross)
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  • Charlie Kirk’s Fascination with Traditional Catholic Liturgy

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