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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

Catholics Get The “Chants” of a Lifetime…

Guest Author · September 18, 2019

This article by Peter Jesserer Smith appeared in the National Catholic Register on 6 July 2019.
Corpus Christi Watershed was granted permission to reprint on 31 July 2019.

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81596 sperabo ORE THAN SEVENTY Catholic men and women gathered from across the United States and countries abroad for an intensive week at the Sacred Music Symposium to bring alive a powerful form of evangelization in their parishes: sacred chant at Mass and vespers.

“The marriage of music and the word is incredibly powerful and transforms people’s lives,” Richard Clark, director of music for the Archdiocese of Boston and one of the conductors teaching at the week-long music-immersion program, told the Register.

The Sacred Music Symposium is a joint project of Corpus Christi Watershed and the Priestly Fraternity of St. Peter (FSSP) held yearly in Los Angeles. The event is geared toward choir directors and choristers, especially those who sing at Roman Rite liturgies in both the ordinary or extraordinary form of Mass and vespers. The theme for this year’s symposium, which was held June 24-28, focused on “Hymnody and Your Volunteer Choir.” Participants immersed themselves in the singing of medieval music, plainsong (unaccompanied Western chants), hymnody (the singing of hymns), and polyphony (music with two or more lines of independent melody) throughout the week and sang solemn vespers every day.

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Students had opportunities to sing a new composition by Kevin Allen, as well as sacred music written by medieval and Renaissance composers such as Palestrina and Father Cristóbal de Morales. The week also gave participants the opportunity for private study in composition and conducting, and included break-out sessions on topics such as how to propose and implement successfully Gregorian chant in parishes and schools, or how singers and choir directors can thrive amid the challenges of the sacred-music vocation. At the end of the week, participants sang for the first Mass of a newly ordained FSSP priest, Father Luc Poirier, at the Mission San Fernando founded in Los Angeles in 1797. The final day concluded with the production of a rehearsal video by the students, which was later selected to be used as #84 for the Saint Jean de Brébeuf Hymnal project.

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Sound Evangelization

Clark said sacred music is “an important part of evangelization” and that, for him and the other conductors and composers, it was a “privilege” to teach the students at the symposium. “The purpose of sacred music, as Pope Pius X talked about, is the sanctification and edification of the people.” Sacred music reaches back in sacred history to the Israelites chanting the Psalms in Hebrew in the Temple.

The symposium gathered people of all ages, but Clark said it was significant that participants, on average, were in their 20s and committed to carrying on this beautiful tradition. “What they’re doing with music is helping the transmission of faith,” he said. “It’s an incredible experience to get them all to sing in one voice,” Clark also said, adding that after 24 hours the unified sound of the participant choir emerges, and “after three to four days it’s incredibly powerful.”

Thomas Quackenbush, dean of students and a teacher at St. Monica’s Academy in Montrose, California, told the Register he is directing the high-school choir program next year and joined the symposium “to immerse myself in the beauty of sacred music with Catholics who believe what they sing.” — “Probably more than anything, it has been a real experience of the sacred,” he said, and a “huge blessing.” Quackenbush said it was a “wonderful experience” to sing sacred music as a form of prayer. The experience introduced him not only to Gregorian chant, but also to vespers.

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Practical Approach

The symposium’s teachers aimed to give participants, whether they were choristers or music directors, “the best tools” that would empower them to pass on the knowledge of sacred music to their parishes—a kind of “train the trainer” approach—according to Kevin Allen, conductor of the Schola Laudis at the Monastery of the Holy Cross in Chicago and one of the symposium’s teachers. “The most important reason was to give people in parishes, people in the trenches, real tools from practitioners who are quite accomplished in the field,” he said. The conference was also an excellent platform for networking, fellowship, and shop-talk among its participants, Clark said. “You make a lot of friends, and it feels like you’ve known them forever, even though it’s been three or four days,” he said.

Nicole Sutherland, who is directing a children’s choir at St. Sebastian School in Santa Paula, California, told the Register that the symposium provided ample time, particularly around lunch and dinner, to talk with others who are passionate about sacred music and form friendships. Overall, she said, the symposium was eye-opening. “I was expecting a lot, and it was more than I expected,” Sutherland said. “Personally being immersed in the music, singing all day every day, I feel that my skills have been really developed with this focus,” she added.

Allen said it was also humbling to see participants’ enthusiasm and eagerness to learn, because they clearly intended to absorb this knowledge to share it with others. Their aim is to help people realize the beauty of what takes place on the altar at Mass by immersing them in the beauty that comes from the choir loft. “The absolute best tool for evangelization is the Mass, and the Mass is the most beautiful thing we can do to soften and win souls for Christ,” he said.

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A Church in Harmony

Allen said the Sacred Music Symposium aims at fulfilling the vision of the Second Vatican Council in Sacrosanctum Concilium that called for the restoration of Gregorian chant, as well as the Church’s Liturgy of the Hours, morning prayer (lauds) and evening prayer (vespers), in regular parish life.

“Church documents state very clearly that vespers should be offered for the people, particularly at the cathedral,” Allen said. Most people know, he added, that vespers is “a very rare occurrence at cathedrals, let alone our parishes,” but the hope is that training people to chant vespers “would help that practice become more widespread, as the Church wants us to do.” Clark said anyone can pick up sacred music with the right direction and instruction. Whether it is “simple or more ornate,” sacred music is a prayer that speaks to people about God, and choirs are meant to take that prayer out into the world.

Clark said, “I tell people that you’ll affect people in ways you may never know.”


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

    PDF Download • 3 September
    According to the MISSALE RECENS, the Feast of Saint Gregory the Great occurs on 3 September (the date Gregory became pope). Formerly, his feast was celebrated during Lent, on 12 March (the day Gregory died). In Latin, the feast is: Die 3 Septembris: S. Gregorii Magni, papæ et Ecclesiæ doctoris. you can download the Latin Introit, the Latin Offertory, as well as the Communion with gorgeous fauxbordon in English. Abbat Joseph Pothier—along with Dom André Mocquereau, Bishop Laurent Janssens, Father De Santi, and other Gregorian superstars—sang with a choir of 1,210 voices (from 36 different Roman colleges) under the direction of Monsignor Antonio Rella. That Mass included the “Alma cohors,” a special SEQUENCE for Saint Gregory…much to the dismay of those who believe in strict adherence to rubrics. The Mass on 11 April 1904 was celebrated by Pope Saint Pius X, at the great GREGORIAN CONGRESS held in Rome “to mark the 13th Centenary of the death of Saint Gregory the Great.” Someday, there’s much I’d love to say about this congress. We even have recordings (!) from it (made in 1904 by the Gramophone Company) with choirs conducted by Dom Pothier, Dom Mocquereau, Dom Janssens, Monsignor Rella, Baron Kanzler, and others.
    —Jeff Ostrowski
    New Bulletin Article • “7 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 is called: “Professor Bouyer’s Regret.”
    —Jeff Ostrowski
    Cardinal Ranjith on “Active Participation”
    From 2005–2009, Malcolm Cardinal Ranjith served as Secretary of the Congregation for Divine Worship and the Discipline of the Sacraments. He was considered ‘papabile’ during the last conclave. On 8 December 2008, he wrote this powerful statement concerning Gregorian Chant, participatio actuosa, celebration “ad orientem,” and other subjects. When it comes to the question of what “sacred” means, Monsignor Robert A. Skeris provides a marvelous answer.
    —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

“The chapter decides that henceforth neither singers nor instrumentalists may be loaned to any outside individual or organization, any more than can the chalices or copes owned by the cathedral. This prohibition applies to all those days of the church calendar for which polyphony is designated.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (13 June 1561)

Recent Posts

  • PDF Download • 3 September
  • PDF Download • “Full, Conscious, & Active Participation” (12-page pamphlet)
  • New Bulletin Article • “7 September 2025”
  • Online Breviary With Chant
  • “Dynamic Equivalence” • Serious Problems with the Forthcoming Lectionary Translation

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