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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

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Obey, then, these prescriptions sincerely and calmly. [viz. clerics must pray their office in Latin.] It is not an excessive love of old ways that prompts them.”

— Pope Saint Paul VI (15 August 1966)

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