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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 • “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

“At the hour for the Divine Office, | as soon as the signal is heard, | let them abandon whatever they may have in hand | and hasten with the greatest speed, | yet with seriousness, so that there is no excuse for levity. | Let nothing be preferred to the sacred liturgy.”

— Rule of St. Benedict (Chapter 43)

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