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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

“From a Recent Convert” • Symposium Review

Corpus Christi Watershed · August 1, 2022

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FIRST HEARD about the Sacred Music Symposium in early 2021, at a time when many events were still suspended owing to Covid-19. After stumbling across a testimony from a participant on the Corpus Christi Watershed website, I was immediately intrigued. I made a promise to myself that as soon as Covid-19 relented enough to allow this event to take place, I would attend. In my heart, I knew how beautiful and awesome an experience it would be for me as a musician.

Spontaneous Tears: Even though I “knew” what I was in for, I was nevertheless overwhelmed by the ethereal and transcendent moments. (I was not prepared for the tears that spontaneously began streaming down my face during Vespers one evening.) As a recent convert to the Faith, the Symposium exposed the beauty of the Mass in a new light, and highlighted the importance of authentic church music.

My Father’s Death: The Symposium was a faith-deepening experience. My dad had passed away the previous week, and the Symposium brought me closer to God at a time when I needed it the most. It also united me with fellow Catholics through music and the sacred liturgy.

The Greatest Week: I would recommend this conference without hesitation. It was one of the greatest weeks of my life. I made friends and connections that will last a lifetime, and was moved to tears by the presence of the Holy Ghost among us in that beautiful church. I was inspired by the holy people surrounding me, both clergy and lay. I was blown away by the talent, brilliance, enthusiasm, and intellect of the presenters and directors. From them, I learned an immeasurable amount of information about chant and polyphony, as well as church history in relation to liturgical music.

What More Could One Ask? Truly, what more could one ask for out of a conference this side of heaven? Many thanks to Mr. Ostrowski, Mrs. Leal, the priests of Saint Vitus, and all the presenters and directors. It was truly the experience of a lifetime!

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

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

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President’s Corner

    (Part 2) • Did they simplify this hymn?
    Choirs love to sing the resplendent tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1929, I discovered what appears to be a simplified version of that hymn. Their harmonization is much less complex than the version found in the Father Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1929 harmonization (PDF) and let me know your thoughts. As always, the Germans added an organ INTRODUCTION. For the record, I posted a different harmonization a few months ago which was downloaded more than 2,000 times.
    —Jeff Ostrowski
    PDF • “Lectionary Comparison Chart”
    Various shell corporations (in an effort to make money selling Sacred Scripture) have tinkered with the LECTIONARY texts in a way that’s shameful. It’s no wonder Catholics in the pews know so few Bible passages by heart. Without authorization, these shell corporations pervert the official texts. Consider the Responsorial Psalm for the 1st Sunday of Advent (Year A). If you download this PDF comparison chart you’ll notice each country randomly omits certain sections. Such tinkering has gone on for 60+ years—and it’s reprehensible.
    —Corpus Christi Watershed
    Monsignor Klaus Gamber Speaks!
    An interesting quotation from the eminent liturgist, Monsignor Klaus Gamber (d. 1989): “According to canon law, a person’s affiliation with a particular liturgical rite is determined by that person’s rite of baptism. Given that the liturgical reforms of Pope Paul VI created a de facto new rite, one could assert that those among the faithful who were baptized according to the traditional Roman rite have the right to continue following that rite; just as priests who were ordained according to the traditional Ordo have the right to exercise the very rite that they were ordained to celebrate.”
    —Jeff Ostrowski

Quick Thoughts

    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
    “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 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

Random Quote

On 26 July 1916—during the German occupation of Belgium—a student choir led by Van Nuffel performed his setting of the psalm “Super flumina Babylonis” in Saint Rumbold’s Cathedral. The text and the musical setting very aptly expressed the depressed and rebellious mood of the population. The acclaim was enormous, and it laid the foundation for Van Nuffel’s formation of the Saint Rumbold’s choir.

— Unknown

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  • (Part 2) • Did they simplify this hymn?
  • PDF • “Lectionary Comparison Chart”

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