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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

Sir Richard Terry: Hymns, Congregational Singing, and Avoiding “Violence” to the Elders

Jeff Ostrowski · September 4, 2020

IR RICHARD Runciman Terry (d. 1938) was an English organist, choirmaster, composer, and musicologist. He has often been mentioned on Views from the Choir Loft because he was a great writer and musician. We might not always agree with everything he says, yet his writing is always interesting and provocative. Sir Richard’s words below (in some ways) seem to apply to our current situation:

Biography of Sir Richard Terry

Richard Terry was born in 1864 in Ellington, Northumberland. At the age of 11 he started playing the organ at the local church. He studied at Oxford and Cambridge. At Cambridge, he was much influenced by the Professor of Music, Charles Villiers Stanford and the King’s Chapel organist Arthur Henry Mann who taught him the techniques of choral singing and the training of boys’ voices. Terry left Cambridge in 1890 without taking a degree. Terry underwent conversion to Roman Catholicism in 1896. In 1896, he was appointed organist and director of music at the Roman Catholic Benedictine Downside School in Somerset. (Dom Gregory Murray says Terry was his choirmaster, but this was years later at Westminster.) It was here where he began the massively important work of reviving the Latin music of Tudor English composers such as William Byrd and Thomas Tallis. He was greatly inspired by the revival of Gregorian chant by Dom Prosper Guéranger at Solesmes Abbey in France, which was to be an important part of the Downside musical repertoire.

In 1899 Terry took his Downside choir to Ealing for the opening of the new Benedictine church, where they sang William Byrd’s Mass for Five Voices and motets by Palestrina, Philips, and Father Allegri. The Roman Catholic Archbishop of Westminster, Cardinal Herbert Vaughan (d. 1903), was the preacher on the occasion and he decided that he would have Terry as his Master of Music at the newly built Westminster Cathedral. Terry’s time at Westminster Cathedral was marked by admiration and praise, as well as frustrations. While Terry’s relation with Cardinal Vaughan was excellent, it was less so with his successor, Cardinal Francis Bourne. Bourne’s different view on church music, a continual shortage of financial means to support the choir, the decrease in the number of lay clerks during and after the World War I, together with Terry’s engagements in other things outside the Cathedral led to a prolonged period of tension.

Terry was forced to resign from the Cathedral in 1924, after coming under increasing criticism for his erratic behavior and neglect of duty (including neglecting administrative work, taking off without leave for weeks at a time, cancelling choir rehearsals without notice, dismissing Lay Clerks without proper procedure, taking on too many engagements outside his Cathedral work, and tensions due to his inconsistent approach to congregational singing at the Cathedral). Nonetheless, during this time he was able to establish a choral tradition of great merit at the Cathedral, developing a repertoire of both Gregorian chant and polyphonic music.

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

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Filed Under: Articles Tagged With: Sir Richard Runciman Terry Last Updated: September 5, 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 • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

“After the Second Vatican Council, the impression arose that the pope really could do anything in liturgical matters, especially if he were acting on the mandate of an ecumenical council. Eventually, the idea of the givenness of the liturgy, the fact that one cannot do with it what one will, faded from the public consciousness of the West.”

— Joseph Cardinal Ratzinger

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  • New Bulletin Article • “14 September 2025”

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