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Views from the Choir Loft

“Let’s Not” . . . a small moment of reverence

Veronica Moreno · March 11, 2020

T IS ALWAYS THE SAME RESPONSE: “The Reverence.” When asked why we started going to the Traditional Latin Mass, we have a hard time putting this idea of “reverence” into words.

When holy priests celebrate the Ordinary Form to the best of their abilities, it is often very difficult to describe the difference in “reverence” when comparing it to the Extraordinary Form. But I think it’s in the custody of the eyes. It is hard to explain the contrast in “reverence” when there are no liturgical abuses or extreme examples of silliness. To our curious friends, we explain further, concede, and then qualify by adding that there is “more reverence” at the Extraordinary Form. We double down for emphasis, “It’s hard to describe, but there is a different kind of reverence.”

Here is a small moment to highlight that difference. Cardinal Dolan celebrating without any liturgical abuse, a deacon making a tiny mistake, parishoners adjusting. Technically nothing “wrong” with any of this according to the Ordinary Form. But why does this short video stop me in my tracks and make me feel despondent?

As I wrote this brief note today, Fr. David Friel posted this quote about custodia occulorum:

“By the raising of the eyes,
the celebrant, following the example
of our divine Lord, more expressly
directs his prayer of offering,
thanks, or petition to God;
and so his eyes are to be raised…
to the image of the Crucified.”

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

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Filed Under: Articles Last Updated: March 11, 2020

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About Veronica Moreno

Veronica Moreno is married to a teacher and homeschools five children. She has been cantor at her local Catholic parish for over a decade.—(Read full biography).

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Quick Thoughts

Alabama Assessment!

We received this evaluation of Symposium 2022 from an Alabama participant:

“Oh, how the Symposium echoed the words of Cardinal Merry Del Val: …choosing only what is most conformed to Thy glory, which is my final aim. In one short and fast paced week, the faculty and attendees showed me the hand of God and our Lady working in our lives. The wide range of education—from Gregorian Chant, jazz modes in organ improvisation, to ‘staying sane’ while leading a choir—were certainly first-class knowledge from the best teachers of the art. However, the most powerful lesson was learning how to pray as a choir. The sacrifice of putting songs together, taking time to learn the sacred text, meditating on the church teaching through the chants, and gaining the virtues required to persevere in these duties were not only qualities of a choir but of a saint. The sanctification of the lives of the attendees was a beautiful outcome of this event … and that in itself is worth more than a beautifully-sung Solesmes style chant!”

—Jeff Ostrowski
PDF Download • Trinity Sunday (22 pages)

Feel free to download this Organ Accompaniment Booklet for Trinity Sunday (Second Vespers). Notice how the modes progress by number. Psalm 1 is mode 1; Psalm 2 is mode 2; Psalm 3 is mode 3; Psalm 4 is mode 4; Psalm 5 is mode 5. I am told by an expert that other feasts (such as Corpus Christi) are likewise organized by mode, and it’s called a “numerical office.”

—Jeff Ostrowski
10 June 2022 • “Official” rhythm of plainsong

I continue to search for the most beautiful way to present the “pure” Editio Vaticana scores. (Technically, the “pure” rhythm of the official edition is what everyone is supposed to use.) You can download my latest attempt, which is the Introit for this coming Sunday: Feast of the Most Holy Trinity. Because this is not an ancient feast, the Introit had to be adapted (perhaps around 750AD). Prior Johner says the adaptation is “not an entirely happy one.”

—Jeff Ostrowski

Random Quote

“The Chasuble, or upper garment, represents the purple garment which the soldiers put upon Jesus Christ, and the heavy cross that He carried on His blessed shoulders to Mount Calvary.”

— Guide for the Laity (1875)

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