• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

“I’ll be back next year … but with my entire choir!”

Jeff Ostrowski · July 8, 2022

M The following email was sent to us by a
M North Carolina choirmaster who attended
M the Symposium. She’s a wife, pediatrician,
M and mother of six children.

HIS WAS MY FIRST TIME attending the Sacred Music Symposium. I was hopeful I’d learn a lot, and that it would be a fruitful experience. The symposium exceeded all of my expectations. As the music director of a small volunteer choir in a diocesan church (which offers the Traditional Latin Mass) I was looking to nurture my conducting and choral skills. I found the break-out sessions extremely helpful in this regard, especially the conducting sessions, they were informative and practical. Many of the talks really delved deeply into the treasures of Sacred music. The speakers had a genuine passion for Sacred music that was refreshing and uplifting. Being able to attend daily Mass and sing Vespers was spiritually uplifting.

I came back to my home parish (and to my choir) and was able to immediately apply several practical tips I learned during the symposium. The choir members were aware that I went to the symposium—and as we were practicing and preparing for Sunday Mass, I shared some treasures that I learned at the symposium. Indeed, I was able to implement many things I had learned at the symposium during the rehearsal that helped myself and the choir. The difference was palpable; our chanting improved as did our polyphony. One of the members of the choir approached me after Holy Mass and said, “that must have been some kind of symposium! You brought us to a new level just today with all you learned and taught us.” Thank you for all of your efforts! I will continue to utilize everything I learned every week as I prepare, practice, and assist at Holy Mass. I will be back … but next time I will (hopefully) have members of my choir accompany me!

*  PDF Download • Participants & Faculty
—Sacred Music Symposium 2022 • “high resolution image.”

M The following email was
M sent to us by a choirmaster
M from Colton, California.

LORIA IN EXCELSIS DEO! Truly the music sung at the Sacred Music Symposium exhibits glory in such a perfect, stately way. The music overflows with glory when it ascends to Christ as the incense rises up to the heavens above. A Sacred Liturgy deserves Sacred Music! And there was so much to be found here at the Sacred Music Symposium—maybe a little too much as I found myself singing 4-6 hours a day! It was exhausting, but also rewarding. It was challenging, yet so profoundly peaceful. There was so much information crammed into our four (4) twelve-hour days together—and it truly felt like no time was wasted.

It was my first time attending the event. The thing I found the most rewarding was the consolation that there are other Catholics like me who are so passionate about Sacred Music in the Liturgy. I recently found myself beginning to despair at my efforts to implement (at a higher standard) Sacred Music in the liturgy. Due to my lack of experience with Gregorian Chant and polyphony, it often seemed a daunting task. The symposium gave me a good indicator that what I was doing was on the right path, and even one of the greatest missions I have as a musician. To restore Sacred Music to the Church will be one of my life’s goals, and attending the symposium reminded me of the value of that mission. Meeting all my fellow Christian brothers and sisters also grounded and supported my psyche. Having the best composers, conductors, directors, and musicians just really shows you what’s possible, and brings new excitement to our work. Every waking minute I found myself soaking in every little technique and note they gave us!

The climax of having solemn high mass on Friday was so powerful, rich and glorious! Everything commingled into a beautiful offering to the most Sacred Heart of Jesus, as he gave himself to us in the Eucharist that day. Such profound glory! Such beauty!

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

Filed Under: Articles, Featured Tagged With: Alfred Calabrese Conductor, Dom Mocquereau, Sacred Music Symposium 2022 Last Updated: July 8, 2022

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

“In my opinion, there should be reached the aim that all priests could continue to use the old Missal.”

— ‘Cardinal Ratzinger, Letter to Wolfgang Waldstein (14 December 1976)’

Recent Posts

  • 2-Voice Arr. • “Creator of the Starry Height”
  • PDF Download • Christmas Piece (SATB) — “Angels We Have Heard on High” with Text in Latin
  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.