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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

“I Decided to Get a Plane Ticket and Fly 8,700 Miles From Singapore to Take Part.”

Corpus Christi Watershed · July 1, 2022

M The following email was sent to us
M by a Singaporean musician who
M attended the FSSP Symposium last week:

HEN I HEARD THAT the Sacred Music Symposium was going to be held this year after a hiatus of the past two years (due to Covid-19) I immediately decided to obtain a plane ticket and fly 8,700 miles from Singapore to take part. I had attended the 2018 and 2019 symposiums. Those experiences were so wonderfully enriching—singing and learning from the best people in Catholic liturgical music—that I just wanted to learn some more.

Richly Resplendent: I had such an amazing time! Sure, the schedule was packed full from 8:00AM to 8:00PM … but there was so much to learn and so little time! The enthusiasm of Jeff Ostrowski was palpable. From his great love of Bach’s Die Kunst der Fuge (“Art of Fugue”), he took us through the Stretto, the Canon, and other tools used by the best composers. Then he carefully pointed out all the amazing ways in which Bach and Palestrina and Guerrero made incredible music, so that we could understand that there was a depth of intricate artistry, craft and genius that went into this music (which we were about to sing at the symposium). It was awe-inspiring to know that our Catholic heritage is richly resplendent with music that is crafted and made with such beauty and with such holy intent. These are the musical treasures that everyone needs to know about. These are the beautifully crafted musical masterpieces that are so fitting for the worship of God in our churches—and I do hope more people come to know about this music.

Dr. Calabrese: Dr. Alfred Calabrese was also very inspirational in his conducting classes. I loved how he approached music with all the senses, encouraging us to be able to feel the music, to ‘touch the music’ so as to convey it to the senses. I loved how he was so finely attuned to how tempo and rhythm and the cadence of musical phrases all work together to serve the deeper meaning of each musical piece. I saw each piece anew under the conducting guidance of Dr. Calabrese.

Composer Kevin Allen: Kevin Allen was as usual a joy to listen to. Humble, good-natured and immensely gifted, his beautiful pieces truly reflect the beauty of the reality hidden beneath the sacraments that we celebrate. I wish we had gotten to sing ‘Lead Kindly Light’ again. Every piece by Kevin Allen is so beautiful that one just wants to sing it again and again.

Andrea Leal: Andrea Leal gave really good tips on how to start a children’s choir, and Charlotte Lansberg shared how to make the best of a small choir. I truly appreciated all the very useful tips that they both gave. (The presenters also made it clear the symposium could not happen without the generosity of Andrea Leal.)

William Fritz: William Fritz was wonderful to learn from; especially when it came to organ techniques for pianists and I’m thankful for his tips on how to accompany Vespers on the organ, not to mention how helpful he was in kindly letting the symposium attendees have the space at St. John the Baptist church for the symposium.

Professor Clark: Richard Clark gave some truly inspiring, earth-shaking, jaw-dropping organ improvisations that truly brought forth the glory and majesty of the music that evening at Mass. What a humble and deeply talented musician he is! I loved how he spoke to us about sacred silence and how we should foster that silence during the prayers at vespers. He taught us how to say a quiet ‘Ave Maria’ in between the vesper verses, so as to plunge into that silence, just for a little while.

Vatican Calls: We even had a live ‘video call’ from the Vatican’s organist, and it was uplifting to hear him talk about how we needed courage and fortitude in the face of adversity, to offer up the best music for the worship of God!

The Zenith: And the highlight of it all was being able to sing altogether at Mass on the very last day to celebrate the Feast of the Sacred Heart—and what a celebration it was, especially since it was also the very day that Roe Vs. Wade was overturned. Thanks be to God for His infinite Mercy!

'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium
'22 Sacred Music Symposium

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

Filed Under: Articles, Featured Tagged With: Sacred Music Symposium 2022 Last Updated: July 1, 2022

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

Nothing should be allowed that is unworthy of divine worship, nothing that is obviously profane or unfit to express the inner, sacred power of prayer. Nothing odd or unusual is allowable, since such things, far from fostering devotion in the praying community, rather shock and upset it—and impede the proper and rightful cultivation of a devotion faithful to tradition.

— Pope Paul VI • 10/13/1966

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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