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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

    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’ with regard to 1960s switch to vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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 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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

Ambrose and Prudentius took something classical and made it Christian; the revisers and their imitators took something Christian and tried to make it classical. The result may be pedantry, and sometimes perhaps poetry; but it is not piety. “Accessit Latinitas, discessit pietas.”

— Fr. Joseph Connelly (1954)

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