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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

Church Music Shouldn’t Be “Headache-Inducing”

Jeff Ostrowski · February 4, 2023

UMAN BEINGS are experts when it comes to blaming others. What a contrast against someone like Saint John Vianney (d. 1859) who, when he saw others committing sin would retire to his room and scourge himself—using a little whip with sharp spikes—in order to offer sacrifice for the sinner’s conversion. If we’re honest, we must admit that our “default” is to blame others. For instance, how many times have you heard church musicians and organists blame others? They might say: “I can’t form a choir because the philistines in this parish don’t appreciate good music.” Or they might ask: “What’s the point in trying to start a choir when people in this parish lack sophistication and can’t read music?” I believe anyone can be taught to sing authentic church music.1 As Zechariah Goh once told me: “There is no student who cannot learn; only a teacher who cannot teach.” We will discuss techniques for recruiting choir members at this year’s Sacred Music Symposium.

Ear Assault! • When I was studying at the conservatory circa 2003, a professor of Music Theory invited me to attend Mass where he was organist. At that point, he’d served as organist at that church for about ten years. He promised he would play my favorite piece (Bach’s Passacaglia and Fugue in C Minor) after Mass was over. However, after Mass began, I made up some excuse to leave the building—my ears couldn’t take it. He played the organ so loud. On another occasion, he told me his choirmaster told him to play softer, but he refused because “if I play softer, the congregation starts singing softer.” Such a justification was bizarre because nobody in the church was singing! What was going through this man’s mind? He wasn’t an idiot; indeed, he was probably the world’s expert when it came to figured bass realization. Nonetheless, the volume he used on that pipe organ was excessive, reprehensible, scandalous, and headache-inducing. Yet this same person looked down on people who didn’t appreciate classical music!

“Prímum Non Nocére” • Doctors must take the Hippocratic Oath, which says: “First, do no harm.” This is the self-same motto one is to adopt when one studies musica ficta in Renaissance polyphony. I would suggest that the Conscientious Choirmaster should also strive to “do no harm.” In other words, sacred music is supposed to be beautiful. It should attract people, not drive them away. The professor of Music Theory I mentioned was doing great harm. I would certainly never attend Mass at such a place. Never forget: hearing loss is irreparable.

Musical Diversity • I have often harped (pardon the pun!) on the idea that musical diversity is a marvelous way to keep your congregation happy—and to attract singers, by the way. [N.B. Some will call me a ‘barbarian’ for what I’m about to say.] It would be wrong, in my judgment, to program THE TOURNAI MASS for your normal Sunday Mass. It’s quite beautiful, but I would argue that its length makes it a stumbling block for the ‘average’ Catholic in the pews. I also believe it would be wrong to program, for example, Ernst Krenek’s MISSA DUODECIM TONORUM for a Sunday Mass. Again, we must follow the “do no harm” maxim.

Examples from Last Thursday • I would like to take this opportunity to present what I consider a “musically diverse” Mass. The following examples were all recorded live by our parish choir—which consists 100% of volunteers. The Mass took place on Thursday, 2 February 2023. The Introit is an example of Gregorian Chant, sung by ladies (and a soloist) accompanied on the organ using the NOH. Here’s an excerpt:

*  Mp3 Download • Introit for 2 February

The KYRIE ELEYSON was a ‘tuneful’ piece based on the Ave Maris Stella by Father Tomás Luis de Victoria (d. 1611), mixed with plainsong. Here’s an excerpt:

*  Mp3 Download • Victoria KYRIE ELEYSON

The GLORIA is a very ‘cerebral’ (yet passionate) five-voice composition by Father Cristóbal de Morales (d. 1553), which also is based on the Ave Maris Stella. In a stupefying way, Father Morales makes a perfect canon between the Alto and Tenor. Here’s an excerpt:

*  Mp3 Download • Morales GLORIA

Before the Gospel, we sang a piece from the Baroque. Specifically, it was a splendidly bright SATB ALLELUIA by Johann Sebastian Bach (d. 1750). Here’s an excerpt:

*  Mp3 Download • Bach ALLELUIA

The Offertory was sung in plainchant—without accompaniment—by men. Here’s an excerpt:

*  Mp3 Download • Offertory

In the contemporary idiom, the SANCTUS was by Father Antonin Lhoumeau (d. 1920), based on the Editio Vaticana Sanctus XIII. Here’s an excerpt:

*  Mp3 Download • Father Lhoumeau SANCTUS

The AGNUS DEI, written by Father Francisco Guerrero (d. 1599), is based on the Mode III psalm tone. Here’s an excerpt:

*  Mp3 Download • Guerrero AGNUS DEI

For the Communion, alternating SATB with women in unison, we sang #792 from the Brébeuf Catholic Hymnal. That’s a hymn to Saint Joseph, whose text was written by Father Christopher Phillips, a contemporary poet:

*  Communion Hymn • In honor of Saint Joseph

Finally, for a recessional hymn, we did one of the 19th-century “greatest hits,” which is #802 in the Brébeuf Catholic Hymnal. Here’s an excerpt:

*  Mp3 Download • Recessional Hymn

Something that works very well for a recessional is a last verse harmonization or soprano descant. We often use such items. In the Brébeuf Catholic Hymnal (at the very bottom of the page) one will notice the “Last Verse” page numbers are provided from the books by Richard Lloyd and Noel Rawsthorne. This is quite convenient!

Conclusion • I don’t claim that what we did on Thursday was perfect—not at all. However, I posted it here to (hopefully) give readers some ideas about repertoire. Needless to say, what I have shown here is not everything we did. In particular, there were solo pieces played on the pipe organ using ‘colorful’ stops. By the way, we usually sing music by Kevin Allen, but it just so happens that we did not sing any of his music on Thursday. Kevin Allen is one of the most acclaimed “contemporary” composers of sacred music, and my singers absolutely love his compositions.

1 The only exception, in my opinion, is an adult who’s tone-deaf, which means that person cannot match pitch. In my view, it is almost impossible to “cure” an adult who is tone-deaf.

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

Filed Under: Articles, Featured Tagged With: Bach Passacaglia Fugue C Minor, Candlemas February 2nd, Catholic Composer Cristobal de Morales, Ernst Krenek, Father Christopher George Phillips, Francisco Guerrero Composer, Johann Sebastian Bach, Latin Mass Musical Diversity, Renaissance Polyphony, Tomas Luis de Victoria Composer Last Updated: February 9, 2023

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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

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

“One must pray to God not only with theologically precise formulas, but also in a beautiful and dignified way. The Christian community must make an examination of conscience so that the beauty of music and song will return increasingly to the liturgy.”

— Pope Saint John Paul II (26 February 2003)

Recent Posts

  • PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
  • “Music List” • 17th in Ordinary Time (Year C)
  • Flor Peeters In A Weird Mood?
  • Communion • “Ask & You Shall Receive”
  • Jeff’s Mother Joins Our Fundraiser

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