• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
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

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

Primary Sidebar

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

To the extent that the new sacred music is to serve the liturgical celebrations of the various churches, it can and must draw from earlier forms — especially from Gregorian chant — a higher inspiration, a uniquely sacred quality, a genuine sense of what is religious.

— Pope John Paul II (June 1980)

Recent Posts

  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies
  • “Music List” • 14 September (Holy Cross)
  • Do You Recognize This Hymn? Do You Like It?
  • Charlie Kirk’s Fascination with Traditional Catholic Liturgy

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.