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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

    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

“The argument moves from the existence of the thing to the correctness of the thing: what is, ought to be. Or, a popular variant: if a thing is, it doesn’t make any difference whether it ought to be—the correct response is to adjust, to learn to live with the thing.”

— ‘L. Brent Bozell, Jr.’

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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