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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

“Colorado Sacred Music Conference” August 9-10 (2023) • Highlands Ranch, CO

Patrick Torsell · June 2, 2023

RUTH, BEAUTY, AND GOODNESS: the Transcendentals. The underpinnings of any faithful Catholic music program. Some parishes are blessed to have long-established sacred music programs with Gregorian Chant scholas, polyphonic choirs, professional organists, and well credentialed directors. For these lucky few, the support and resources are there to make building on the Transcendentals second nature. But what about the ordinary parish musician? The budding accompanist who desires to develop his/her skills? The cantor who wants to be more prayerful when chanting? The parish priest who desires beautiful sacred music at his church? The seminarian who wants to understand what the Church expects of sacred music programs? They all want a faithful and quality sacred music program. But how do they learn about the Transcendentals? The Church’s instruction and legislation on sacred music? The practical application of these ideas? How do they learn to chant? To encourage congregational participation? A wonderful opportunity to learn will be offered in Colorado with the 2023 Colorado Sacred Music Conference, a first in what will hopefully become an annual event.

Conference Overview • On August 9th & 10th, Diana Corliss, in conjunction pastor Fr. Greg Bierbaum, will host the 2023 Colorado Sacred Music Conference at St. Mark Catholic Church in Highlands Ranch, CO.  The intensive, two-day conferencewill immerse attendees in the foundations of building up a parish music program. The conference offers something for church musicians and clergy of all backgrounds, whether your music program currently sings Gregorian Chant or contemporary music, or any combination in between. The primary aim is to introduce directors, musicians, accompanists, singers, clergy, and seminarians to Catholic sacred traditions and relevant practical musical knowledge, and provide a fantastic networking opportunity with fellow Catholic musicians. Programming will include:

  • Understanding the powerful role of beauty in our spirituality and what the Church teaches about sacred music in the Mass.o How to build a sacred music repertoire based on the Three Transcendentals of Truth, Beauty, and Goodness.
  • Learning basic voice pedagogy, including: Improving the sound of your choir through a theological and holistic approach to vocal technique, and helping your choir to grow in skills like sight-reading, key familiarization, and tuning.
  • The fundamentals of Gregorian chant.
  • Basic and advanced accompaniment techniques.
  • The opportunity to sing a variety of sacred music for Mass and Vespers.
  • Breakout sessions for clergy and seminarians on the integral role of music in the Mass and how to become more confident singing particular Mass parts.
  • Conversations about the joys, challenges, and questions that arise in music ministry.

Conference Faculty • Our conference faculty includes keynote instructor: Dr. Jennifer Donnelson-Nowicka, Associate Professor and Director of Sacred Music at St. Patrick’s Seminary in Menlo Park, CA; Diana Corliss, Director of Sacred Music and Liturgy Coordinator at St. Mark Catholic Church in Highlands Ranch, CO; Richard Wheeler, Director of Music at Our Lady of Mt. Carmel Catholic Church in Littleton, CO; and Patrick Torsell, Associate Organist at Our Lady of Mt. Carmel, Littleton, and Staff Substitute Organist at the Cathedral Basilica of the Immaculate Conception, Denver, CO. VIP speakers and Mass Celebrants include Bishop James Golka of Colorado Springs and Fr. Greg Bierbaum of St. Mark, Highlands Ranch.

For the full schedule and registration details, visit:

*  https://stmark.regfox.com/2023-colorado-sacred-music-conference

Author’s Note • While my professional life has brought me back to a full-time role in the ski resort industry in Colorado, I’m thrilled to remain active in the world of sacred music, and honored to be a part of this conference! Since moving back to CO in 2020, I’ve returned to Our Lady of Mt. Carmel (FSSP) in Littleton, CO as an associate organist, and fill in as a substitute director as needed. I’ve also joined the staff at the Cathedral Basilica of the Immaculate Conception in Denver, CO as a substitute organist where I have the joy & privilege of playing the magnificent and mighty French-style Kimball-Morel organ in a stellar acoustic. I also sing tenor (and occasional countertenor) for Gaudium Verum, a Denver-based professional liturgical choir.

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

Filed Under: Articles Tagged With: Gaudium Verum Denver Liturgical Choir, Patrick Torsell Organist Last Updated: June 3, 2023

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About Patrick Torsell

Patrick Torsell is a staff substitute organist at the Cathedral Basilica of the Immaculate Conception in Denver, CO, and associate organist at Our Lady of Mt. Carmel (FSSP), Littleton, CO—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“Angularis fundamentum” is typically sung at the dedication or consecration of a church and on church anniversaries. For constructions too numerous to list in recent generations, it would be more appropriate to sing that Christ had been made a temporary foundation. A dispirited generation built temporary housing for its Lord, and in the next millnenium, the ease of its removal may be looked back upon as its chief virtue.

— Fr. George Rutler (2016)

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