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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

Ratzinger’s 1987 Letter to a Former Catechism Student

Fr. David Friel · April 3, 2018

89622 RATZINGER ORMER students have always held a dear place in the heart of Pope Benedict XVI. This is attested most clearly by the so-called “Ratzinger Schülerkreis,” which has convened annually since 1978. The word Schülerkreis means “circle of students,” referring to a group of alumni who were once doctoral or post-doctoral students of Professor Ratzinger at the universities of Bonn, Münster, Tübingen, and Regensburg. The group seeks to honor Ratzinger’s academic and spiritual legacy by promoting discussion of important theological topics.

The fondness of the Pope Emeritus for his erstwhile students extends, apparently, even to members of a fourth-grade catechism class he taught as a newly-ordained priest in Bogenhausen. Pope Benedict XVI’s description of the year he spent as a curate in Bogenhausen is equally fond: “That year was actually the loveliest time of my life.” 1

An essay posted this week (2 April 2018) on the website of America magazine presents the warm memories of Elisabeth Haggblade, an English and linguistics professor, who praises Pope Benedict for his gentleness as a catechist and for having responded to each of three letters she has sent him since the early 1950’s. Although the focus of Haggblade’s article is the Holy Father’s generosity in always responding to her letters, it is the content of one of his responses that I consider most interesting.

The second letter written by Haggblade received a response dated 4 February 1987 from then-Cardinal Ratzinger, who was serving as Prefect of the Congregation for the Doctrine of the Faith at the time. A photo of the original letter, composed in German, is included with Haggblade’s essay. Below is a translation of this letter: 2

February 4, 1987

Dear Mrs. Haggblade,

I was very pleased to hear once again, after such a long time, from a former Bogenhauser student. If I could determine your maiden name, perhaps it would stir up an image in my mind, for which your first name could not lend me enough of a clue.

Naturally, I am glad that you have a good memory of the religion classes from that time, and I am also glad for you, that, after the poverty of your youth, you can live now in good and humane circumstances in the United States. That you found it difficult or nearly impossible to accept the transition from the festive, Baroque form of Bavarian liturgy to the sobriety of post-conciliar American liturgy, with all its often rather banal improvisations, I can well understand. Church music remained for you a deep connection to the faith, in which you not only hear the sounds of your youth, but rather you listen more deeply to the call of the eternal and seek the nearness of Jesus Christ. So I hope that, from this innermost center of church music, there might open again a bridge to the liturgy of the Church, in which the same mystery—albeit under such meager forms—is hidden and, indeed, present in a lively way, and can thus become the source of new inspiration. With this same post, I am sending you a little book of mine, which touches upon these questions.

Heartfelt blessings for your further journey and friendly greetings.

Yours,

Joseph Cardinal Ratzinger

ATZINGER has often been accused, of course, of being unduly nostalgic with respect to his childhood experience of the liturgy. Concomitant with this accusation is typically a general rejection of Baroque forms as overwrought, unpastoral, or devoid of spiritual meaning.

The significance of this letter, I believe, is that it implicitly rejects this assessment of Ratzinger’s cherished memories of the liturgy of his youth by offering a theological vision of the interconnectedness of liturgical forms, sacred music, and personal faith. What emerges from this brief correspondence is not a sense of nostalgia, but rather a penetratingly theological approach to liturgical singing.

The Pope Emeritus presents church music as something central to life. It is a bridge, he contends, capable of uniting the faithful more deeply to the liturgical action. He describes this ability as an essential quality of church music that cannot be negated even by the relative wealth or poverty of liturgical forms.

HIS LETTER is certainly charming evidence of Pope Benedict XVI’s warmth and generosity in maintaining correspondence with his former students. It is, moreover, another confirmation of his profoundly ecclesiological vision of sacred music.




NOTES FROM THIS ARTICLE:

1   Peter Seewald, Last Testament: In his own words, Pope Benedict XVI with Peter Seewald, trans. Jacob Phillips (New York: Bloomsbury, 2016), 88.

2   The original letter (in German) is available here. This unofficial translation is my own.

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

Filed Under: Articles Tagged With: Joseph Cardinal Ratzinger Liturgy, Young Cardinal Ratzinger Last Updated: January 1, 2020

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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).

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Corpus Christi Watershed

President’s Corner

    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
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

“As often as possible they gathered together the children of the village and sat them down in the cabin. Father Brébeuf would put on a surplice and biretta and chant the Our Father, which Father Daniel had translated into Huron rhymes, and the children would chant it after him. Next, he taught them the sign of the cross, the Hail Mary, the Apostles’ Creed, and the Commandments.”

— Biography of St. Jean de Brébeuf

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