• 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

In Search of the Deeper Meaning

Dr. Lucas Tappan · June 25, 2019

LMT Domspatzen ay a garland on her hearse…Upon her buried body lie lightly, thou gentle earth.

Pearsall’s setting of these mournful lyrics came to a gentle close, but no one spoke… no one could speak. Never before had I experienced a work so beautifully sung and the experience will remain with me as long as my mind endures. Everyone that day knew he had taken part in something incredible, something otherworldly that might never be repeated. Such was and is the power of music.

I have heard it said that magic shows up at every concert but usually goes home disappointed and George Guest, the legendary conductor of the Choir of St. John’s College, Cambridge, noted that those otherworldly moments in music were rare indeed. Nevertheless, in striving for those moments I believe we raise our choirs to an unbelievably high standard and create music  worthy for the temple (if ever we could do such a thing), music that possesses the power to move minds and hearts. Of course this begs the question, How does one do that?

Fr. William Finn, whom I wrote about last week, noted that most conductors who came to him for advice usually wanted nothing more than a few tricks they could take home to their choirs. They rarely desired to learn those things necessary to breathe life into the music. Yes, choirs need to sing on key, to come in together and to cut off together. They should blend their vowels and produce their consonants rhythmically, but a choir might do all of this and still never reach the outer bounds of beauty’s realm. In short, such a choir would utterly fail to communicate. It isn’t enough to merely understand the words, one must needs enter into the words and ultimately into THE WORD. Quite frankly, this is a herculean task that requires a lifetime of education. For those of you who have read David Clayton’s The Way of Beauty (which I highly recommend), you will understand when I say that it also requires the gift of grace. Regardless, I do believe it possible to point the budding musician into the Way of Beauty.

First of all, it must be said that the mechanics of beautiful music must be present. The right notes matter, as do a host of other things. Beyond the mechanics, however, especially if I were pressed to give one piece of advice, I would point to the text. The text is paramount. Unfortunately, though, we inhabit a very un-poetic world unable to cope with anything deeper than the merely technical in language, which has crippled our ability to understand and finally to communicate.

I would like to delve more into this topic next week, but I will leave the reader with this very simple example. Below is a video of the Regensburger Domspatzen singing two verses of Adeste fideles, the first verse in Latin and the second in German. Listen specifically to the way in which the words and phrases are shaped as well as the way in which the rhythm moves the text. Is there a deeper understanding we gain of the carol’s meaning through the way in which this choir sings it? How does the way in which it is sung convey that deeper meaning? This is where the true are of the choir master begins.

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

About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

Primary Sidebar

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

At the Council of Trent, the subject was raised whether it was correct to refer to the unconsecrated elements of bread and wine as “immaculata hostia” (spotless victim) and “calix salutaris” (chalice of salvation) in the offertory prayers. Likewise the legitimacy of the making the sign of the cross over the elements after the Eucharistic consecration was discussed.

— ‘Fr. Uwe Michael Lang, Cong. Orat.’

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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.