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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

[re-post] • “Famous Italian Actor Regrets Aborting Son”

Jeff Ostrowski · September 6, 2021

NDREA RONCATO is an Italian actor, comedian and television personality. He aborted his son approximately 30 years ago. He now opposes abortion: “I miss having a child. It was the mistake of my life. When I was very young, I had the chance to become a father, to have a child…but I had him aborted. Now, I’ve become very strongly against abortion. I even wrote a book for this child who was never born, which I called: I Would Have Liked You.”

A few lines from a poem he wrote to the child whom he murdered long ago:

I would have liked you to be small, so I could hug you.

I would have liked you to be big, so I could lean on you.

I would have liked you to be looking out the window in winter, watching the snow begin to fall.

I would have liked you to be lying under the covers during a storm, silent so you could hear the sound of the rainfall.

I would have liked you to be kind to dogs, so you could pet them, and affectionate with the elderly, so you could love them.

I would have liked to sing to you, to make you fall asleep, and continue the dream that woke you up.

I would have liked you to be at my side, so the two of us could walk in silence, trying to understand what the other was thinking inside and couldn’t manage to say.

I would have liked to teach you all the things I don’t know how to do.

I would have liked you to leave someday, so I could have the pleasure of seeing you come back home.

I would have liked you near me on the day I must leave this world.

Paolo Antônio Briguet, a Brazilian journalist, also regrets aborting his child. He wrote this letter:

Dear Son,

Today, you would be turning 27 years old, if I had allowed you to be born. Each day is born, flowers are born, the morning star is born […] but you were not born, through my fault, my most grievous fault.

Your mother, who today lives in far-off lands, really hesitated. A doctor that we knew tried to dissuade us from that fateful idea—now I see clearly he was an angel of God—but we refused to be moved. I even got angry at that friend, for saying “no” to the crime that I was about to commit. Oh, how I would like to go back in time and say to him, “Thank you, doctor! Thank you! You are going to be this baby’s godfather.”

But time machines don’t exist; they aren’t part of the structure of our reality. The only way we have to travel in time […] is our own soul. In those days, however, I didn’t believe in the existence of the soul. I was crazy, crazy with egoism and vanity.

You were just waiting to see the light, my son; however, what came was darkness. I denied you the morning, the afternoon, the night, the dawn, water, heat, cold, books, symphonies, poems, friendship, the bridge in our city, the smell of rain falling on the earth, lullabies, bread and wine. I denied you smiles and tears. I denied you eyes, hands, a heart. I denied you the right to cry out in the darkness, “Mom!” I denied you the right to be born. The only thing I didn’t deny you, was that which I could not: The Passion of the Resurrection. That already belonged to you. If only I had known. If only I had known that it hurts. If only I had known that it hurts so much, son. I was your Herod.

I write these words at the distance of a quarter of a century, but it seems as if my sin (my crime) had been committed yesterday. Your goodbye is omnipresent, your presence is an eternal goodbye in my life. Yes, the wound was cured by the hands of the merciful doctor, but the scar is so great that it fills my whole soul. I am the scar of my sin. Look: everything I do is an act of reparation. One day I hope to meet you, son. According to Saint Thomas Aquinas, all of us will be reborn at the age of Christ. Today, somewhere in the universe, you exist at the age of 33. You have a name, a face, and a voice that are unknown to me. Sometimes I wonder who you would have been: a doctor, an engineer, a musician, a mathematician, a philosopher, a professor, a priest, a worker, a carpenter? How you would love your youngest half-brother, born so many years later! It doesn’t matter now, son. Your profession will always be to be born. On the day we meet, my son—after leaving behind the sorrow of this life—I will hold your hands in mine, and hug you with all my strength. And you already know what my first words will be: “Forgive me.” Son, sometimes I think that you exist to forgive me. That’s the only way I would be able to contemplate the face of God. And so, every day for me is the day of the unborn child. Every day is the day.

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

Filed Under: Articles Tagged With: Sin of Abortion Last Updated: September 6, 2021

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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

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

If then Dom Pothier has sometimes adapted authentic melodies found elsewhere in the manuscripts to texts of the Mass it is not, as Mr. X. maintains, because he has “composed them from scratch and declared them as traditional.”

— Most Rev’d Henri Laurent Janssens (25 November 1905)

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  • Fascinating Interpretation of the “Regina Caeli” (Solemn Tone)

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