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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

PDF Download • “Brief Choral Alleluia” (Suitable for the Ordinary and Extraordinary Form)

Jeff Ostrowski · May 6, 2023

OMETHING THAT TROUBLES me deeply is when liturgical conferences spend virtually no effort on the music. At such gatherings, the music seems an “afterthought.” I won’t name names—because doing so would get me in trouble!—but I have witnessed liturgical conferences which cost more than $100,000 (with numerous bishops and cardinals in attendance) where the music is provided by only a handful of musicians, rather than a spectacular, robust, fullsome choir. Some priests mistakenly believe that it’s okay if the music is unimpressive, tedious, monotonous, poorly executed, and boring. Their argument is as follows:

“Sacred music is about honoring God; it’s not about giving delight to the faithful. Therefore, even if the music sounds terrible, that’s okay because God sees the heart.”

My response would be: “If what you say is true, Father, are you willing to wear a poorly-made, misshapen, ugly Chasuble? After all, sacred vestments aren’t meant to give delight to the congregation, right?”

Rapprochement • Not long ago, I suggested that what’s needed between priests and musicians is a “rapprochement.” Too many priests are ignorant of the glories of authentic sacred music. On the other hand, too many musicians don’t realize that church music must be presented well if we expect priests to fall in love with it. I have encouraged choirmasters to select music which is not too lengthy and to make sure it is sung with utter perfection. The following “Alleluia Polyphonic Extension” is based on an arrangement I made twenty years ago, from one of my favorite composers: Giovanni Gabrieli (d. 1612). We created the following rehearsal video (simulation), for this glorious piece that will be sung by 85 singers at this year’s Sacred Music Symposium:

M Rehearsal videos and free PDF score await you at #40710.

Coming From Somewhere • In another article, I attempted to explain how important it is (in my humble opinion) to build on authentic traditions of the past. I try to look at things as they really are. For example, I feel one of the greatest Masses ever composed—one for which I would give my life—is Missa Mille Regretz by Father Cristóbal de Morales (d. 1553). Some claim it’s inappropriate, since it was based on a secular melody. In the past, I’ve made many arguments against that allegation, and I won’t repeat them all here. However, it’s worth pointing out that other composers—in the wake of the COUNCIL OF TRENT—disguised their “secular” Masses. For example, Palestrina wrote a l’Homme Armé Mass as late as 1582AD, which he disguised by calling it “Missa Quarta.” Other composers disguised their Masses by calling them “Sine Nomine.” Again I say: Let us always examine the intrinsic characteristics of the music!

Those Who Hate Tradition • One thing that annoys me is the way the reformers of the 1960s seemed to have no regard for the ancient traditions of the Catholic Church. CARDINAL ANTONELLI was—one could argue—the “prime mover” of all the liturgical reforms of the 20th century, owing to his Memoria Sulla Riforma Liturgica (1948), which he got Pope Pius XII to approve. Antonelli had much more veneration for history than Annibale Bugnini, and yet the statements made by Antonelli often reveal unthinkable hubris, ignorance, and naiveté. For example, Antonelli told that pope that everyone who resisted the reforms did so “from indolence or lack of liturgical sensibility.” In the late 1940s Antonelli said: “Everywhere and by everyone it is recognized that today in the Catholic world, especially among the clergy, there is a desire, indeed even a conviction of the need for liturgical reform.” Indeed, Antonelli even said that the essence of the sacred liturgy “unfortunately, had been lost for centuries.” How arrogant it is to pretend that we, who are alive now, are so much more enlightened than all the Catholic saints of the past!

On the other hand, Cardinal Antonelli did have the honesty—in retrospect—to admit the flaws of the reformers, saying: “they have only been able to demolish and not to restore.” Indeed, regarding the post-conciliar liturgical changes, Antonelli wrote in his diary: “Time will tell whether all this was for better or for worse, or merely indifferent altogether.” As far as I can tell, Ferdinando Giuseppe Antonelli never served in any pastoral role. During his entire (very long) life he was never a pastor; he never had a congregation of his own. Perhaps this lack of experience explains why he allowed himself to be seduced by the reform zeitgeist, which demanded change for the sake of change.

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

Filed Under: Articles Tagged With: Alleluia Polyphonic Extension, Cardinal Ferdinando Giuseppe Antonelli OFM, Catholic Composer Cristobal de Morales, Giovanni Gabrieli Composer, Giovanni Pierluigi da Palestrina Last Updated: May 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

    “Music List” • 19th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 19th Sunday in Ordinary Time (10 August 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 feasts website.
    —Jeff Ostrowski
    This Sunday’s Communion Antiphon
    This coming Sunday—10 August 2025—is the 19th Sunday in Ordinary Time (Year C). The COMMUNION ANTIPHON is really gorgeous, and two of its features are worth mentioning. First of all, the Gospel reading assigned is from Saint Luke, whereas the the antiphon—although it matches the account—comes from Saint Matthew. (If anyone can point to a similar example, please notify me.) Furthermore, if you look at the authentic Gregorian Chant version posted on the feasts website, you’ll notice that it’s MODE III but ends on the ‘wrong’ note. A comparable instance of such a ‘transposed’ chant would be KYRIE IV.
    —Jeff Ostrowski
    Using “Ye” Vs. “You” Correctly
    Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.
    —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

“The plea that the laity as a body do not want liturgical change, whether in rite or in language, is, I submit, quite beside the point. … (it is) not a question of what people want; it is a question of what is good for them.”

— Dom Gregory A. Murray (14 March 1964)

Recent Posts

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  • This Sunday’s Communion Antiphon
  • Using “Ye” Vs. “You” Correctly
  • Installment #3 • “Serious Problems with the Lectionary Translation”

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