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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

Just Released! • 2019 Pastoral Letter on Sacred Music (Archbishop Sample)

Richard J. Clark · January 25, 2019

RCHBISHOP ALEXANDER K. SAMPLE has just released a new pastoral letter on sacred music for Portland, Oregon. His Excellency freely admits that much of it was based on his previous letter released while bishop of Marquette, Michigan “since the values and ideas it promoted are both universal and enduring and are as valid today as they were then.”

      * *  (2019 Pastoral Letter) • Sing to the LORD a New Song

Notably he states:

“This is an important discussion to have, since so often the music selected for Mass is reduced to a matter of subjective “taste,” i.e. what style of music appeals to this or that person or group, as if there were no objective principles to be followed. There are indeed objective principles worthy of study and proper implementation…”

And he acknowledges the great effort of pastoral musicians and the challenge of change:

“…it must be acknowledged that pastoral musicians have labored long and hard in the wake of the Second Vatican Council to help accomplish the Council’s goals as it concerns the renewal of the Sacred Liturgy, especially the Mass. Indeed, many have made it their lives’ work to provide music for the Sacred Liturgy. The Church, including both clergy and laity, is grateful beyond words for their dedication and service…Although much of what follows may contravene the formation that many have experienced over recent years, this is in no way to be interpreted as a criticism of those dedicated church musicians who have offered their service with a generous heart and with good will.”

ESPITE ITS TITLE, notable is that Archbishop Sample states little of anything that is new. That is precisely his intention. His aim is catechesis for the sake of renewal. He bluntly states:

“Every pastor and music director has a serious responsibility to read and become familiar with the Constitution on the Sacred Liturgy of the Second Vatican Council and the Church’s teaching documents on the liturgy and sacred music.”

Furthermore, one need go no further than 2007 US Bishops’ document Sing to the Lord: Music in Divine Worship (STTL) to find parallels in Sample’s letter.

At times he evokes Pius X’s 1903 Motu Proprio on sacred music, Tra le Sollecitudini. (Pius X is not to be dismissed as a Pre-Vatican II relic; few are aware that he was was the catalyst for Vatican II reforms in music. He is even specifically named in Section VI on Sacred Music in the Constitution on the Sacred Liturgy. (see §112) To understand Vatican II reforms on sacred music — and hence this letter — is to understand Pius X.)

Archbishop Sample also reminds us of Pius X’s outline of three qualities necessary for Sacred Music: sanctity, beauty, and universality. John Paul II reaffirmed this a century later.

ON GREGORIAN CHANT SAMPLE STATES:

“Given all of this strong teaching from the Popes, the Second Vatican Council, and the U.S. Bishops, how is it that this ideal concerning Gregorian chant has not been realized in the Church? Far from enjoying a pride of place in the Church’s Sacred Liturgy, one rarely if ever hears Gregorian chant. This is a situation which must be rectified. It will require great effort and serious catechesis for the clergy and faithful, but Gregorian chant must be introduced more widely as a normal part of the Mass. Some practical steps toward this are outlined in the Guidelines section of this pastoral letter.”

Furthermore, he notes the subtle but important distinction of “preparing the liturgy”, not “planning” it. He highlights the practice of singing the Mass, something not new here, but quite familiar from Sing to the Lord: Music in Divine Worship (SttL). Also echoing SttL and the GIRM, Sample outlines the priorities of what to sing at Mass, i.e., Dialogues and acclamations, the propers, psalms, and hymn/songs. These priorities come as quite a surprise to many.

INTRIGUING IS A vocalized concern for proper pay, i.e. “economic justice,” for musicians:

”Pastors should see that musicians and those who direct them have opportunities for continuing education and authentic liturgical formation through agencies and events approved by the Archbishop. In accord with the Church’s teaching on economic justice, pastors are to ensure that those who direct sacred music in the parish receive just compensation for their time and skills, commensurate with their experience and level of training.”

F THERE IS LITTLE NEW here, why bother? The wisdom that brought us Vatican II is worthy of a new look. While universal wisdom does not change, we do. That is what Archbishop Sample is banking on.

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

Filed Under: Articles Tagged With: Archbishop Alexander K Sample Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(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

“Leave the Mass alone. Our churches are full—the Protestants, in spite of their vernacular, far otherwise.”

— Cardinal Godfrey (one of the Vatican II fathers)

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