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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

A Lesson in Chant from the Late Fr. Foster

Dr. Charles Weaver · January 31, 2021

N CHRISTMAS DAY, the renowned Vatican Latinist Fr. Reginald Foster, OCD, passed away. In addition to his work in the Latin language for four successive popes, Fr. Foster was known as a unique and extremely gifted pedagogue. Since his death, many of his former students have written elsewhere on his passionate and effective teaching. I wish I had had the benefit of studying Latin with him, but I did not. But my one encounter with him left a strong impression, which I will share here, since it has a direct bearing on our calling as musicians for the Church.

In May of 2013, the Paideia Institute sponsored a weekend event for Fr. Foster’s students in New York. At the time, I was singing at two different parishes (in both forms of the Roman Rite) in Connecticut and New York. After my evening Mass in New York, the end of a long and difficult Pentecost Sunday, the celebrant mentioned that Fr. Foster’s group was visiting the parish that evening for a Mass. I stayed in order to meet him, and eventually offered to sing some of the proper chants for the Mass.

The experience was unique. Long-time readers of the blog know that Fr. Foster was not interested in the liturgical trappings that usually go along with the concept of “the Latin Mass,” indeed he was quite opposed to the return of the Traditional Mass. Instead, this Mass was celebrated with the bare minimum of ceremony, although it was conducted entirely in Latin. Indeed, it felt very much like a vernacular Mass, since the language of the prayers and readings was all directed toward the kind of immediate comprehension that we expect when conversing among native speakers of a modern language. When I sang the sequence Veni, Sancte Spiritus, surely one of the most perfect of all melodies, I was immediately asked to sing it again, so that all those present could appreciate certain niceties of the Latin poetry.

I have written before in this space on the transcendent and magnificent power of chant, able to carry us far beyond anything that could be accomplished with words alone. Isn’t it true that the most exalted moments in our sung prayer come when the words are momentarily left behind, as in the melismas of the Gradual, or especially in the jubilus of the Alleluia? Still, Fr. Foster’s approach to that Mass forcefully reminded me that the language in which we sing was also once spoken for communication and comprehension. And of course, the Biblical and Medieval poetry, of which our chant is the vehicle, is powerful and salutary on its own.

Here is the challenge that Fr. Foster gives us, as singers of chant, we should always know what we are singing. I tell my students this in approaching any vocal music, but it is easy, when toiling in the vineyard, to tune out and let the ecstatic melody carry us away. Instead, let us strive always to know what each word means. For some people, this might involve a simple step like studying the proper texts the night before the Mass or even writing in the translations along the side (or using helpful editions that do this for you). The language of the propers is vital and comprehensible, even as we plumb its depths for new knowledge year after year. Taking the time to make sure we know exactly what we are singing can only deepen the prayerfulness of our singing. Fr. Foster did much for his students to advance the cause of the Latin language, which is so vital to what we do.

Requiescat in pace.


NOTES FROM THIS ARTICLE:

Editor’s Note:   Readers are encouraged to explore the Saint René Goupil Website, which attempts to provide verbatim vernacular translations underneath the Latin words. This idea was stolen from a 1909 German Graduale by Dr. Karl Weinmann (d. 1929), a Catholic priest who studied with Liszt’s friend, Monsignor Franz Xaver Haberl (d. 1910).

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

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Filed Under: Articles Tagged With: FATHER REGGIE, Fr Reginald Foster Latin Last Updated: January 31, 2021

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About Dr. Charles Weaver

Dr. Charles Weaver is on the faculty of the Juilliard School, and serves as director of music for St. Mary’s Church. He lives in Connecticut with his wife and four children.—(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

“I have a great quarrel on with Dom Mocquereau over a very stiff book of his which we have translated & which a stupid American woman wants to be adapted to her understanding & terminology. It will be a little difficult to persuade the dear old man, for the lady is going to pay the piper. Truly money is at the root of all evils!”

— Dame Laurentia (talking about Justine Ward)

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