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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

PDF Download • “A Canon Choirs Love!”

Jeff Ostrowski · May 21, 2022

HE WORLD OF MUSIC is not the same as it was 100 years ago. For example, even the most poverty-stricken American owns a smart phone these days, and can instantly listen to millions of great recordings (completely free of charge). Anyone with internet access can turn on their phone and enjoy, for example, the magnificent performance of MOZART’S REQUIEM conducted by Sir Georg Solti in Saint Stephen’s Cathedral (Vienna) on 5 December 1991, on the 200th anniversary of Mozart’s death. Has this caused a greater appreciation by Americans of classical music? Someday, I would like to address that important question.

Quality Vs. Quantity: When I was a teenager, a man was boisterously bragging about how “spectacular” his musical program was. I remember he proudly rattled off all the composers performed at his Church: Wolfgang Amadeus Mozart, Ludwig Van Beethoven, Hermann Schroeder, Gabriel Fauré, and so forth. But when I visited his church, the music sounded awful—because it was very poorly performed. I began to understand that “quantity” does not equal “quality.”

Ugly Scores: I am willing to produce ugly-looking scores if they lead to a beautiful performance. An example of such a score can be found at #53683—which is Credo VII with added polyphonic snippets by Father Francisco Guerrero. In essence, the score teaches musicians it isn’t necessary to sing the entire Creed in polyphony. One can “mix” it with plainsong. Below is an example of a “polyphonic snippet” found in that ugly-looking score. You will notice Father Guerrero takes the chant melody (“Beata Mater”) and creates a perfect canon between Soprano and Alto. Choirs really enjoy singing canons.

M Rehearsal videos for each individual voice await you at #53683.

Sadness: Most readers won’t click on the individual voice parts, and that makes me sad. And most readers won’t download the free PDF, either. When we post a “scandalous” liturgical video, we get 40,000 views. I wish we could get as many views for the rehearsal videos, because we must revive authentic sacred music!

Messing With Byrd: If one serves in a parish where only English is allowed, someone should (perhaps) create an English version of the Guerrero canon above. We have sung that canon as contrafactum with several other texts, which you can find at the Lalemant Polyphonic website. Many times, people at the university sing music they don’t realize is actually contrafactum; e.g. Byrd’s “I will not leave you comfortless” (which is an English contrafactum of Byrd’s “Non vos relínquam órphanos”).

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

Filed Under: Articles, Featured, PDF Download Tagged With: Easy Canons for Singers, Father Francisco Guerrero, Francisco Guerrero Composer, Hermann Schroeder, Ludwig van Beethoven, Wolfgang Amadeus Mozart Last Updated: May 23, 2022

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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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

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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  • PDF Download • Dom Murray Harmonies

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