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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

Stumped by Psalms? Try This

Keven Smith · November 29, 2023

N A PERFECT WORLD, those of us who sing liturgy in Latin would understand each word as well as if we were singing in our native tongue. The more we understand the words, the more effectively we can pray. The alternative is simply to focus on forming beautiful Latin vowels and presenting the music of the Mass according to the highest artistic standards. To adopt this hollow approach would be to miss the point of worship.

And so we strive to go ever deeper with the text. I almost never hand out a Latin motet that doesn’t provide an English translation somewhere on the page. Especially in a choir like mine with so many young singers, it’s essential to make sure everyone is not just forming words, but being formed by the words.

Of course, our challenge is to do more than simply know the translations of all our Latin texts. Nearly every word we sing comes from Scripture—and we Catholics recognize the danger of being one’s own interpreter. We defer to higher authorities for insights into the often obscure meanings of Biblical texts. That’s why I keep my Haydock Bible at the ready. It provides commentary from a variety of sources and keeps me from gliding through Masses with only a childish understanding.

If your choir, like mine, sings the full Gregorian propers at each Mass, then you’ve probably noticed that most propers come from the Psalms. Who among us understands the Psalms? Some of them seem transparent enough at first reading. But many contain symbolism that’s not apparent to the typical layperson. And even the Haydock Bible doesn’t explain every verse.

Turn to St. Robert Bellarmine

I don’t remember how I stumbled across it, but at some point I became aware that St. Robert Bellarmine—a Doctor of the Church—wrote an in-depth commentary on all 150 Psalms. Simply titled A Commentary on The Book of Psalms, this hefty tome provides the great saint’s insights on each verse of every Psalm.

As St. Robert explains in the dedication of the original edition, when he was called from his religious order to serve as a Cardinal, he vowed never to let his increased public duties interfere with his study and contemplation of sacred matter. He decided to focus on the Psalms for his meditation and explanation because he believed that although all clerics read the Psalms daily, few understood them. St. Robert explains:

“Nor was I deterred by the number of those who had already taken great trouble in explaining the Psalms; for such is their obscurity that no amount of labor in explaining them would seem to be superfluous. I, therefore, spent any time I could spare from public duties, especially in the quiet of the night, in meditating on the Psalms of David, and not without pleasure and advantage to myself.”¹

By his own admission, St. Robert gives more attention to some verses than to others:

“[I]f I am not mistaken, all the Psalms have been explained with sufficient clearness, though not at equal length; and, no doubt, complaints will be made of my having been too sparing in my notes on some of the Psalms, especially on some of the first, fair enough withal and perhaps too diffuse, with some; but one’s devotion is not equally ardent at all times, nor is his mind equally active.”²

Nevertheless, I’ve found that St. Robert’s commentaries provide a depth of insight on the Psalms that I haven’t encountered elsewhere. I now consult his book as I prepare the propers for every sung Mass at my parish.

How to Use This Book

This past summer, I bought the Preserving Christian Publications edition of St. Robert’s commentary. It’s a solid, no-nonsense hardcover. Flip through the pages and you won’t see any woodcuts or fancy fonts. But you’ll see something much more important: each psalm is provided first in its entirety, and then broken out verse by verse with commentary under each verse. With this edition (and perhaps with others, but I haven’t shopped around), you won’t need to keep jumping back to your Bible. Everything you need will be right there on the page.

As I’ve mentioned in previous articles, my choir sings the propers from printouts of Graduale Renovatum. For each proper, I’ll read St. Robert’s commentary, identify what I believe are the most helpful and least obvious tidbits, and then write notes on my propers. During our Sunday rehearsal, before we sing each proper, I’ll announce St. Robert’s description of the Psalm (for example, Psalm 24 is “A prayer for grace, mercy, and protection against our enemies”) and then summarize the saint’s commentary based on my notes.

My choir members listen with rapt attention. Several of them have mentioned how much they appreciate knowing more about the Psalms we sing. And while I’m hardly qualified to teach anyone Scripture, I figure that as long as I paraphrase St. Robert as carefully as possible, only good can come out of this new exercise within our rehearsals.

Now here’s the bad news: this book costs about $50. But you’ve been good this year. Consider asking Santa to bring you St. Robert’s A Commentary on The Book of Psalms—and then prepare to walk with King David through the new liturgical year.

NOTE: St. Robert’s commentary is available online for free here. But the website I’ve linked doesn’t include the text of the psalms—only the commentary. I don’t like having to jump back and forth between a Bible and the screen, but maybe it won’t bother you. At the very least, the website gives you a chance to preview the commentary and decide whether you want to invest in the book.

¹ St. Robert Bellarmine, A Commentary on The Book of Psalms. (Boonville, New York: Preserving Christian Publications, 2008), v.
² Ibid, v.
Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

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Filed Under: Articles Tagged With: psalms Last Updated: November 29, 2023

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “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 which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —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

I want to say one thing to you strongly, especially today: virginity for the Kingdom of God is not a “no,” it is a “yes!”

— Pope Francis (10/4/2013)

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