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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.”

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Views from the Choir Loft

Can These Youngsters Save Catholic Music?

Jeff Ostrowski · July 8, 2020

CAN DECLARE myself the King of France, but that doesn’t make it so. I can say I’m an Olympic Gold Medalist, but that doesn’t make it so. Similarly, calling a composition “a canon” doesn’t make it a canon. Canons are the most difficult composition to write because they follow strict rules; indeed, canon means “rule.” I thought this was basic knowledge until I came across a shameful book published by GIA Publications called 59 Liturgical Rounds. In this book, editor William Tortolano has taken a whole bunch of tunes and pretended they are rounds (canons). The trouble is, many aren’t. When something is not a proper canon, labeling it as such is pure folly. Such contemptible rubbish—published by a company that was formerly called “Gregorian Institute of America”—makes me wonder whether our current culture is still capable of appreciating even basic realities about the craft of music. Is there any hope left? Such ignorance is enough to tempt one to despair.

…but then I encounter something like The Brébeuf Virtual Choir.

These youngsters—who met one another at the Sacred Music Symposium—recently recorded a piece by Father Tomás Luis de Victoria which contains a perfect canon between the two Soprano lines. These youngsters are doing amazing things; and I am filled with hope.

To download the score free of charge, visit Lalemant Polyphonic and search for #7412. Rehearsal videos for each individual voice are posted there, too.

August 6th is the feast of the Transfiguration; but the piece also works well for Benediction of the Blessed Sacrament. You can learn more about this amazing piece here:

*  Online Article • “Resplenduit Facies Ejus”

If you don’t really understand what a canon is, listen to the following section with Tenor & Bass muted:

The top two voices form the canon: “Canon ad unisonum” and “Resolutio.” Canons are often employed for this text because the previous verse says: “Jesus took Peter and James and his brother John with him, and led them to a high mountain…” Anytime Renaissance composers hear someone “leading” someone else, they try to employ a canon.

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

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Filed Under: Articles Tagged With: Brébeuf Virtual Choir Last Updated: July 8, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 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 (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

“It will not be Rome to tell you what you should do, no: because you have the charism. …you have the Holy Spirit for this. If Rome were to begin to make the decisions it would be a blow to the Holy Spirit, who works in the particular Churches.”

— Pope Francis (27 March 2023)

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