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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

Success! • Sacred Music Retreat in Ohio

Guest Author · October 5, 2018

87423 John Schauble FEW SHORT MONTHS AGO, I had the privilege of taking part in a Sacred Music Retreat near Cincinnati, Ohio. Hosted by the Oratorian Community of Cincinnati, the retreat featured Msgr. Wadsworth as the spiritual presenter, along with Kevin Allen and Nick Lemme as the music presenters. Fifty choir members from around the country—California to Maryland, Minnesota to Texas—came together for four days of intense Liturgy in the Extraordinary Form.

In general terms, a retreat is an opportunity to immerse oneself in meditation over conferences proposed by the retreat master, to spend time in individual and group prayer, all while focused on some spiritual end. Often, the traditional retreat is virtually silent except the periods of vocal prayer, and the focus is typically on the relationship of one’s soul with the Creator.

    * *  “Live” Recording • Kevin Allen “Jesu Dulcis Memoria”

This was almost exactly the same…but completely and utterly different.

87414 mass INTENDED FOR liturgical Martha’s more than liturgical Mary’s, our retreat was designed to probe the dignity and value of being a member of the liturgical choir and the corresponding responsibilities inherent therein. Spiritual conferences examined the Liturgy, the Sanctification of Time, the nature of pontifical ceremonies. The rehearsals were acts of prayer that sought to give us the tools to better accomplish our purpose. The liturgies were meditations in which we fulfilled our role of increasing the honor and glory rendered to God through participation in the worship of the Church.

The schedule was…ambitious. Prime at 6:15am followed by short meditation and Mass. Six hours of rehearsals bookending two hours of spiritual conferences. Visits to the Blessed Sacrament and time for confessions. Compline at 9:00pm followed by Grand Silence. Fourteen liturgies over the span of four days including the three public pontifical liturgies of Saturday and Sunday, celebrated by Bp. Slattery. Immersion in what defines our very purpose as members of the choir. Within these liturgies, we had an intentional range of the very simple to the very solemn. Low Mass and Prime in recto-tone without cantors; simple sung Compline with cantors; Solemn Vespers and Solemn Mass; Pontifical Vespers, Pontifical Matins / Lauds of the Dead, and two Pontifical High Masses—we ran a full gamut of different liturgical functions to illustrate the rich diversity of the Extraordinary Form. Throughout, our focus was on perfection of effort over perfection of performance, although we worked diligently for the latter with the public liturgies—no easy feat given the amount of music involved.

87422 Kevin Allen Conducting Several of the participants described the retreat as transformational in how they view their role as liturgical musicians. Of course, different things resonated with different people. For some, the musical and liturgical pedagogy while for others, the spiritual conferences. For some, the techniques gleaned from working with outstanding master musicians that we had as presenters while for others, the chance to form relationships with other directors and choir members. Relationships not merely as friends with common purpose but ordered toward aiding one another in the task of increasing the honor and glory of God through our music.

Feedback from participants revolved around two key statements. The first was the surprise that many had at discovering the deep and profound spirituality simply from chanting the Divine Office over the course of the retreat. For many, the Divine Office was a unique experience, and the hours of Prime and Compline quite moving and meaningful. The other statement was the recognition that we need more events just like this! “When will the next retreat be held?” was a question I heard frequently in the last day or two.

    * *  Facebook Page • Sacred Music Retreat

If you’d like more information about the Sacred Music Retreat or other similar events in the future, please visit the above link to our Facebook page. From that page, there are links to recordings and pictures from the retreat. Other groups have discussed hosting similar retreats in the future, and we will post information as we are made aware. Some of you may be interested to know that we are “in discovery” regarding a Sacred Music Pilgrimage to Europe in 2023 (exclusively Extraordinary Form). We’ll continue to post information about that as we explore the options that are available to us.

I leave you with the two mottos that define purpose in our choir:

Ad maiorem Dei gloriam. Da mihi animas, cetera tolle.

[All] to the greater glory of God. Give me souls, take away the rest.


We hope you enjoyed this guest article by John Schauble.



Source of Information: Official Letter

Source of Images: J. Senneff Facebook Page

Source of Recordings:     01   •   02   •   03   •   04

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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President’s Corner

    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st 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. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski
    “Entrance Chant” • 21st Sunday Ordin. Time
    You can download the ENTRANCE ANTIPHON in English for the 21st Sunday in Ordinary Time (Year C) which is coming up on 24 August 2025. Corresponding to the vocalist score is this free organ accompaniment. It’s set in a melancholy mode, but if you heard my choir’s female voices singing it your soul would be uplifted beyond belief. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski

Quick Thoughts

    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
    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

Random Quote

It was thought important that the song should actually accompany the distribution of Communion. A Carolingian explanation of the Mass remarks that during the Communion “soft melody should touch the ear [of the faithful] so that hearing this sound they would busy themselves less with distracting thoughts and … their hearts would be moved to humble love for that which they receive.”

— Father Josef Andreas Jungmann

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