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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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President’s Corner

    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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

Palestrina wrote two Masses in honor of the Blessed Virgin—one “a 6” before the Council of Trent, consequently with the tropes, and first published in 1570. In 1599 it was republished in Palestrina “Missarum Liber III” with the tropes removed, and in their place the liturgical words of the “Gloria” reiterated.

— Henry Coates

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