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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

“It’s not just the singing of certain notes”

Wilfrid Jones · March 1, 2020

Many of our readers will already be aware of the Monastere Saint Benoit, a small and growing Benedictine foundation in the Diocese of Frejus-Toulon. Having been invited by the diocesan bishop, Monsignor Dominique Rey, the founding Prior, Dom Alcuin Reid, initially had a rocky time establishing a stable monastic life, but his efforts are beginning to show fruit with more young men joining the foundation. This of course brings its own problems. Their current building is not their own, and their church is shared with a parish and the community is at the point where if it is to continue to grow, it must find its own space. Having been incubated in La Garde Freinet, this band of monks is seeking somewhere set apart from the world in which to sing the praises of God.

These are the “real deal” when it comes to monks: they take their Christianity neat. I owe a particular debt of gratitude to the monastery as they have often invited me and my friends to spend some time in the summer singing for them, initially as a way of offering a musical gift to their host village, and subsequently as participants in the Sacra Liturgia summer schools. I have written two dissertations in their library and I have seen the effect that spending time with the monks has on singers who have had little or no exposure to the Catholic faith. With a twinkle in his eye, Dom Alcuin will sometimes claim that he doesn’t do pastoral work. In a metaphor in action, I have a habit of sustaining mild injuries when I stay with them, the monks have always patched me up. The community “get” musicians and young people, and though it takes a little while, young musicians tend to “get” them.

As monks throughout history have supported the musical arts, this community has, from its outset, had music as a part of its mission. They live within Gregorian chant, and so within scripture. When you spend a few days there, you realize that the chant is blocking out the other thoughts when you’re cutting vegetables or mopping a floor and that one line has got stuck between your ears. I’m sure many readers will have had similar experiences of meditation mediated by music, but in a monastery that is faithful to the traditional daily schedule, there is more opportunity for Jesus to speak to you in the liturgy. When a choir gets the chance to live that for a few days, they get the chance to understand what all the music we do in church is really about.

As part of their ongoing fundraising, the monastery has released a YouTube video that gives us a glimpse of their life. Whilst obviously hoping that you will take the opportunity to give to their project this Lent, I would also like to draw your attention to some of what Dom Alcuin (one of the most prominent scholars of the New Liturgical Movement) has to say.

The greatest pastoral work of any monastery is that the Divine Office is sung: day in, day out, morning, noon and night. Some people will come to us because it’s [the proposed property] an historic site and [they will] be tourists and if they encounter the Office being sung to Gregorian chant, that will transfix them. That already happens where we are when people stumble across us. It speaks of God in a very busy and secular world… After all the liturgy is the word of God living and acting in the world today. It’s not just the singing of certain notes and using of certain words; it’s Christ himself acting in the Church today. Speaking to us through the psalms, through the readings, through the gestures and rites.

Perhaps we can take something of that for our own choirs, allowing beauty to touch where truth and goodness struggle to reach.

You can see the whole video below.

 

Something that comes across in the video is the charm of the community that has formed its prior. That is a lesson for choirs too. We must be attractive as a group of people, as well as for our singing. These monks take the worship of God seriously, but not themselves. Singing with others knocks the corners and smooths the rough edges of all of us, including the conductor.

 

 

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

Filed Under: Articles Last Updated: March 1, 2020

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About Wilfrid Jones

Wilfrid Jones is a PhD student in the theology faculty of the Albert-Ludwigs University of Freiburg, studying the theology and practice of sacred music.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    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
    “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

Random Quote

“The free space which the new order of Mass gives to creativity it must be admitted, is often excessively enlarged. The difference between the liturgy with the new liturgical books, as it is actually practiced and celebrated in various places is often much greater than the difference between the old and new liturgies when celebrated according to the rubrics of the liturgical books.”

— Cardinal Ratzinger (1998)

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