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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

Reflections On A Prophetic Document

Dr. Gregory Hamilton · September 10, 2021

RECENTLY, while staying at a friend’s house during our rough weather in Texas, I was browsing their bookcase, as I am rudely wont to do when in other people’s houses. I noticed that they had on their shelf a collection of the churches’ historical documents on Liturgy and Music. Most of the newer ones I was familiar with, however, when I encountered the Motu Proprio of Pius the X (promulgated in 1903), I realized it had been many years since I had read it. As I delved into this document, I realized that there is much here to contemplate, written by a man with a deep reverence for the Sacred Liturgy and Music of the church, and that there was a great deal of good here that could be applied regarding our present-day liturgical situation. What follows here are some assorted reflections and especially pertinent excerpts from this notable document. What strikes me about this document is the prophetic nature of the vision, and how it clearly speaks to us in our time as well.

Background

The musical praxis of the universal church, when Pius became pontiff on August 4, 1903 was in a very depressed condition. At the turn of the century, and of course, considering the culture of Italy and the city of Rome, opera reigned supreme as the musical genre that was most imitated and admired. This genre, with it’s compositional style, tradition of solo singing, and all the culture surrounding the ethos and tragedia of stage music, had infected the church and her liturgy like a kind of cultural parasite. For many years, Gregorian Chant, Sacred Polyphony such as Palestrina, Victoria and Lassus was replaced by psalms written in the style of romantic opera arias, the chanting of psalms to modal psalm tones of ancient use was replaced by opera singers soloing with psalm pieces written in the style of cavatina, barcarolles, arias, marches and other such secular compositions. Choirs, when they existed, performed music inextinguishable from opera choruses of Meyerbeer and Rossini. At Low Mass, desultory and saccharine vernacular hymns reigned. The practice of Gregorian Chant was almost totally curtailed, and where chant was actually sung, it’s performance practice had nothing to do with an historical interpretation, as indeed, a performance practice based on historical models had been lost. As we can observe, the chief nemesis of the Holy Father’s struggle was…popular music.

The mission of Renewal

It is clear that the pontiff considered carefully about what was needed to restore musical dignity to the liturgy. He sought no temporary measures, but in effect, desired a total overhaul and renewal of the practice of sacred music. It seems that the pontiff must have known what an enormous undertaking that this was. But he needed help, allies in this mission, and he decided to enlist the order of Solesmes, and charged the Solesmes with nothing other than the entire restoration of the corpus of Gregorian Chant , to musicologically investigate the manuscripts of ancient chant, to produce a reliable, universal and useful performing edition, and to reclaim the style of interpretation that was proper to the genre. This took … at least fifty years for this gargantuan task, a task that the Solesmes are still involved in, for their work did not end with the pontiffs’ passing, but of course remains a powerful facet of the charism of their order.

Another observation that occurs when reading this document is that this in no mere cold pronouncement of liturgical law as one might encounter in a folio of canon law. Rather it is a plea, an extortion, a charge to the faithful and their ministers. In beautifully written and often poetical language the pontiff sets forth his sacred vision for renewal. By many phrases, one can see the great affection and esteem that the pontiff held for Chant and the musical treasury of the Church.

Our first quote here, is so commanding, that it struck me that I have never found a better statement which sums up what Sacred Music should be. NOTHING else is needed, and if this advice was heeded, no other instruction would be necessary.

Nothing should have place, therefore, in the temple [which is] calculated to disturb or even merely to diminish the piety and devotion of the faithful, nothing that may give reasonable cause for disgust or scandal, nothing, above all, which directly offends the decorum and sanctity of the sacred functions and is thus unworthy of the House of Prayer and of the Majesty of God.

Tra le Sollecitudini, Pius X, November 22, 1903

Can a better summa be found? Just imagine, if this first principle had been followed, what ugliness, bad and painful music, what bad taste and unworthy music would have been avoided! In one paragraph, the pontiff artfully encapsulates the matter.

However, reading on, we find indeed, that the pontiff has a few specific bones to pick, even in a charitable but straightforward way. He levels his sights at the influence and practice of theatrical and operatic liturgy:

6. Among the different kinds of modern music, that which appears less suitable for accompanying the functions of public worship is the theatrical style, which was in the greatest vogue, especially in Italy, during the last century. This of its very nature is diametrically opposed to Gregorian Chant and classic polyphony, and therefore to the most important law of all good sacred music. Besides the intrinsic structure, the rhythm and what is known as the conventionalism of this style adapt themselves but badly to the requirements of true liturgical music.

There is much here to elucidate, but I merely point out what has been pointed out by others, that musical genres which originate outside the church and are ‘dragged in’ often do not adapt well to the liturgical requirements and the sacred sense of the liturgy, the “sensus ecclesiae” mentioned by St. John Paul II.

On the other hand, the Gregorian repertoire is indigenous, to the Roman Rite, and indeed, originated from it in an organic and complimentary way, and so needs, no ‘adaption’ to be suitable.

He laments the “fatal influence on Sacred Art by profane and theatrical music” Continuing, he expresses his personal frustration with the hard heartedness concerning his sheep, the flock in his charge sheep, which as their universal pastor, desires their spiritual well-being, however, in vain:

Even a little reflection on the end for which art is admitted to the service of public worship, and on the supreme fitness of [1.] offering to the Lord only things in themselves good, and [2.] where possible excellent, will at once serve to show that the prescriptions of the Church regarding sacred music are but the immediate application of those two fundamental principles. When the clergy and choirmasters are penetrated with them, good sacred music flourishes spontaneously, as has been constantly observed, and continues to be observed in a great many places; when on the contrary those principles are neglected, neither prayers, admonitions, severe and repeated orders nor threats of canonical penalties suffice to effect any change; for passion, and when not passion a shameful and inexcusable ignorance, always finds a means of eluding the will of the Church, and continuing for years in the same reprehensible way. The liturgical prescriptions of the Caeremoniale Episcoporum and the beautiful musical traditions of the classical Roman school are no longer to be found. For the devout psalmody of the clergy, in which the people also used to join, there have been substituted interminable musical compositions on the words of the psalms, all of them modeled on old theatrical works, and most of them of such meager artistic value that they would not be tolerated for a moment even in our second-rate concerts”

OW! Not tolerated in even a second rate concert?

Any doubt that this pontiff was prophetic can be dispelled by this paragraph…Indeed the French have a saying….the more things change, the more they stay the same.

So, while we have established that the good pontiff wishes for a return and restoration of the treasures of the ‘deposit’ of the past, you might think, that based on his comments and preferences that he would certainly like to purge the Holy Mass of all modern expressions, and banish all modern music from the temple… But wait!

Consequently modern music is also admitted to the Church, since it, too, furnishes compositions of such excellence, sobriety and gravity, that they are in no way unworthy of the liturgical functions.1

I close with this final quote – comparing the need for reform in the Liturgy to the cleansing of the temple by Christ:

And it is vain to hope that the blessing of heaven will descend abundantly upon us, when our homage to the Most High, instead of ascending in the odor of sweetness, puts into the hand of the Lord the scourges wherewith of old the Divine Redeemer drove the unworthy profaners from the Temple.

So, with this beautiful letter to the church, I end my little reflection, and hope that you might consider these issues that the Pontiff puts forth – so apropos for today, written 118 years ago!

NOTES FROM THIS ARTICLE:

1   St. John Paul II takes this thought even further: in his Letter to Artists that…“contemporary music even of the most modern kind should be permitted in the liturgy”

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

Filed Under: Articles Tagged With: Tra le sollecitudini Last Updated: September 11, 2021

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About Dr. Gregory Hamilton

Dr. Gregory Hamilton is a composer and performer currently on the faculty of Holy Trinity Seminary in Dallas TX.—(Read full biography).

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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —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

“Vatican II did not say anything about the direction of the celebrant. […] I love both directions of celebrating Mass. Both are full of meaning for me. Both help me to encounter Christ—and that is, after all, the purpose of the liturgy.”

— Christoph Cardinal Schönborn (February 2007)

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