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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

“Singing Advice” • Frank Sinatra to Ronald Reagan

Jeff Ostrowski · May 23, 2023

HEY SAY Dom Mocquereau never had a good singing voice. He had been a musician, but (according to Justine Ward) his musical studies “were interrupted by the war of 1870 when the young officer was mobilized. Wounded while fighting in Belgium, Mocquereau lay on a pile of straw near the door of a barn. There he was noticed by two charitable Belgian ladies, who took pity upon him and nursed him back to health in their home.” Speaking of war, DOM PIERRE COMBE famously had a special affinity for Justine Ward, and this may be because Justine rescued him in June of 1939 from the advancing Nazi armies.

Don Bosco • Dom Mocquereau had a damaged throat. According to Dom Combe, “when passing through Paris in 1883, Mocquereau visited Don Bosco to seek healing from him [for his throat].” According to page 76 of the Bulletin Salésien, March 1930, Don Bosco told Mocquereau: “You will never have much of a voice, but you will have enough for the work that Providence expects of you.” Readers will be interested to know that it was Dom Mocquereau who “composed” (based on formulas) the Gregorian melodies for the Mass of Saint John Bosco. In the opinion of Dom Combe: “These melodies are well balanced and tuneful.”

Professor Weaver • One of the world’s leading exponents on the rhythmic theories is Charles Weaver of Julliard. Professor Weaver has been brought in as a specialist to assist the Boston Early Music Festival, but (in spite of that arduous commitment) he took time to record the plainsong pieces—according to the Dom Mocquereau method—in preparation for the upcoming Sacred Music Symposium:

*  Rehearsal Video • INTROIT “Sacerdotes tui, Domine”
*  Rehearsal Video • GRADUAL “Ecce sacerdos magnus”
*  Rehearsal Video • ALLELUIA “Tu es sacerdos in æternum”
*  Rehearsal Video • OFFERTORY “Inveni David”
*  Rehearsal Video • COMMUNION “Fidelis servus”

Ronald Reagan • Speaking of Boston, years ago we had a priest who hailed from that city. His Bostonian accent was enormously thick; we could barely understand him. Below is a clip of Boston’s representative, Thomas Phillip O’Neill (former Speaker of the House) talking about an encounter with president Ronald Reagan:

Here’s the direct URL link.

PLEASE NOTE: For the record, I am not encouraging singers to gargle boiling water! That seems dangerous. But I thought readers might be interested in what Frank Sinatra said.

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

Filed Under: Articles Tagged With: Don Bosco, Ronald Reagan, Thomas Phillip O'Neill Last Updated: May 23, 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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President’s Corner

    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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 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

Dom Vitry never claimed chant could not be used successfully with English words. No one need take my word for it. He was a pioneer on the matter of vernacular adaptation, and I need only refer you to the many publications of his own “Fides Jubilans” press. What he said was that adaptation involved some mutilation, and that we were faced with one or the other.

— Monsignor Francis P. Schmitt (1963)

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