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Corpus Christi Watershed

Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Attack on “Female Organists” • (Not Kidding)

Jeff Ostrowski · June 17, 2021

HOSE WHO HAVE HEARD recordings of the Texas Boys Choir as directed by George Bragg in the 1970s (or the Vienna Boys Choir, or the London Oratory Schola, or similar groups) already know boys’ choirs can produce a splendid sound. At the same time, I’ve had the pleasure of conducting of choirs consisting of young women—and I would put those gorgeous voices up against any choir; period. In terms of whether women’s choirs are inferior to boys’ choirs: certainly not! That’s an old wives’ tale (pardon the pun). A boys’ choir has a particular sound, and so does a women’s choir. Competent conductors know the value of each. For serious musicians, “different” doesn’t necessarily mean “better.”

Confusing Controversy: A fascinating controversy raged for many decades after Pope Pius X issued Tra le sollecitudini in 1903. Confusion reigned regarding whether women were allowed to sing during High Mass…and hundreds of articles were published. One article was written by a bishop claiming to have spoken personally to Pope Pius X, who supposedly confirmed women could sing in choirs if insufficient boys were available. Others—such as Father Carlo Rossini—violently disagreed that women could sing in choirs. The controversy raged until Pope Pius XII officially permitted female singers in §74 of “Musicæ Sacræ” (25 December 1955), a decision confirmed again in 1958. The 1955 decision, which ended the controversy, was sometimes called “The Choirmaster Christmas Present,” since it was issued on 25 December.

Proof: In 1938, Bishop Henry J. Althoff of Belleville (Illinois) gave an excellent example of what I’m talking about. Was the most serious problem in those days nuns playing the organ? Here’s what Bishop Althoff declared:

Preposterous Proposal: In September 1906—that is to say, eight years before the outbreak of World War I—someone using the fake name of “Wigornia” published an article promoting ideas I consider cockamamie. Essentially, WIGORNIA was saying females could never sing in the choir, but it would be praiseworthy for them to spend a lifetime studying music so that they could teach boys how to sing in the choir. Again, I find such an idea bonkers:

Our Ladies Sing Vespers: What’s interesting is that the article by WIGORNIA explicitly allowed women to sing the “psalms and hymns” at Vespers—which is what we do here in Los Angeles. The women alternate with the men…and it’s the most glorious thing you’ll ever hear! This is very traditional; singing Vespers by lay Catholics existed right up until the Second Vatican Council.

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

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Filed Under: Articles Tagged With: Pius X Banned Women Singers, Pius X Girl Singers, Pope Pius X Female Singers, Pope Pius X Forbid Women, Tra le sollecitudini, Women Singing In Choirs Last Updated: March 19, 2024

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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

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Johann Baptist Singenberger (d. 1924) held in trust a letter from Pius X giving him permission to use men and women in his festival choirs. He neither published it nor used it, lest he embarrass the Holy Father.”

— Monsignor Francis P. Schmitt (August 1957)

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