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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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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

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“How on earth in the [post-conciliar] liturgy for the dead should there be no more mention of sin and expiation? There’s a complete absence of imploring the Lord’s mercy. […] Although the texts were beautiful they were still lacking in the sense of sin and the sense of mercy. But we need this! And when my final hour comes, ask for mercy for me from the Lord, because I have such need of it!”

— Pope Saint Paul VI (3 June 1971)

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