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Views from the Choir Loft

Father Robbie Low: “The State of Catholic Music”

Guest Author · February 8, 2024

We’re honored to publish this guest article by FATHER ROBBIE LOW, a Catholic priest serving in Cornwall (England), about two hours from TRURO, where a famous hymn tune was written which will be familiar to many of our readers.

Y EXPERIENCE of liturgical music began during my time at Anglican Seminary in Cambridge in the 1970s. There Plainsong was holding on by its fingertips and, as a new convert to Christianity, I was amazed to find the growing tendency to replace the beautiful and heart lifting with the banal and settings of the ‘Mass’ that were increasingly directionless and incoherent, that seemed to have no grasp of the power or import of the words they were carrying. My first parish, as a new curate, was deep in the poorest part of the capital. There, to my delight and astonishment, there was a brilliant organist, BRIAN HAGGER, a local boy become bank manager, who ran a small but wonderful choir. The breadth of their work was extraordinary. It will give you some clue if I say that I was able to request Messiaen’s Vision of the Eternal Church for the recessional music at my first Anglican ‘Mass’. From this Anglo-Catholic redoubt—where we were doing all the things that the post-conciliar Church was ditching in its enthusiasm for lowest common denominator ‘participation’—I was moved to St Alban’s Cathedral where, under the masterly hand of STEPHEN DARLINGTON, I would be carried on a tide of musical glory, wondering what I had done to deserve this daily foretaste of Heaven. Later, I came to my own parish for fifteen years where my friend and noble organist, Val, conducted a small choir in modest but beautiful works.

Cultural Schizophrenia • When I converted, over twenty years ago, to the Catholic Faith, I was struck immediately by the state of the music in many places. My first PP asked my reaction to the setting he had inherited from a belligerent modernist choir director. I was truthful but understated. He responded simply, ‘It’s demonic.’ When I was subsequently ordained as a Catholic Priest, people were hugely encouraging and supportive. The one area where they were at a loss was in the music. I remember being asked, by a good man and now longstanding friend, why I had chosen such a Protestant hymn at a particular service. I had to point out that the tune was 3rd century and the words were by St Paul. That hymn, like so many great Catholic hymns, was now unknown to even the most faithful of the faithful. Another lifelong regular, highly educated Cambridge graduate, complained about my use of Latin and always wanted to sing sentimental modern stuff. On enquiry it transpired that, outside of Church, she belonged to a choral society that sang all the great classic works of the Faith and she was brushing up her own Latin in order to enhance her understanding of and participation in the secular concerts of Sacred music. She was not alone in this cultural schizophrenia. Many seemed to fear that the patrimony of Catholic Music was a form of rebellion against the totemic power of the Second Vatican Council. Of course it simply meant that they had never read SACROSANCTUM CONCILIUM.

Water In The Desert • For me, therefore, encountering the website of Corpus Christi Watershed has come as Manna in the Wilderness. Jeff Ostrowski’s enthusiasm, devotion, immense productivity and sheer ‘can do’ attitude, has been a regular treat for me. The fact that he can get a group of people, some musically illiterate, to resurrect the great works of the Faith is little short of amazing and inspiring. He has single-handedly proven that there is absolutely no need for a parish to settle for regurgitating emotionally incontinent doggerel set to nursery rhyme tunes. There is still a treasure trove of divinely inspired beauty and gems that glorify the Lord of Glory accessible to the ordinary parish. We owe this, after 60 years of ‘dumb-down’ self expression and ‘camp-fire’ songs, to the future, our children and grandchildren. Anyone entering the Church of God ought to pick up on the fact that something serious and wonderful is going on. Music has an immense part to play in this perception of the divine reality and the heavenward leanings of the soul. If they simply encounter kindergarten cacophony, they will rightly assume the worst and this is not a religion for grown-ups and, tellingly, certainly not for men.

*  Seminar • Secrets of the Conscientious Choirmaster

Exciting News • Now Jeff has produced a nine hour lecture series (!) encapsulating his experience of how a committed choirmaster may best go about the missionary task of producing the kind of music that is truly worthy of the Source and Summit of our Faith. I wish it were possible to bottle Jeff’s dynamic apostolate of Music and infuse the parishes with it. This is the next best thing. Visionaries come in all shapes and disciplines. Jeff’s vision for the music ministry of our beloved Catholic Church is inspiring and daunting, encouraging and daily uplifting. For the price of a couple of bits of decent altar linen this resource is now available to all—along with the wonderful website.

I commend ‘Secrets of the Conscientious Choirmaster’ to you, and I commend Jeff Ostrowski and his remarkable ministry to your prayers.

We hope you enjoyed this guest article by Fr Low.

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

Filed Under: Articles, Featured Last Updated: February 8, 2024

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Corpus Christi Watershed

President’s Corner

    “Music List” • Pentecost Sunday
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for Pentecost Sunday (8 June 2025). If such a thing interests you, feel free to download it as a PDF file. Because our choir is on break this week, the music is relatively simple.
    —Jeff Ostrowski
    “Truly Great Processional” • (Pipe Organ)
    I stumbled upon this live recording of a PROCESSIONAL I played on the pipe organ in 2002. It’s an excerpt from a much longer composition by Sebastian Bach. In those days, there weren’t sophisticated recording devices allowing one “fix” wrong notes. (Perhaps they existed, but we didn’t have machines like that.) So it was necessary to play the entire piece from beginning to end. If you’re a church organist, feel free to download the PDF score. I suppose it’s only a matter of time until some joker uses “artificial intelligence” to play music at church … but there’s something so satisfying about playing an organ in real life.
    —Jeff Ostrowski
    Proof Which All Can Immediately See!
    “A little knowledge is a dangerous thing,” as the famous maxim goes. Over the years, I’ve observed malicious attacks on the Brébeuf Catholic Hymnal. Rather than scoring a ‘hit’ on the Brébeuf Hymnal, its attackers often reveal profound ignorance. I’ve been advised never to reply … but I break that rule today. Certain voices online assert that the Brébeuf Hymnal is “untraditional” because it includes both the Urbanite and pre-Urbanite versions of the hymns. But if only they would glance at a copy of the 1913 VESPERALE (printed by order of Pope Saint Pius X) they would see how mistaken such statements are.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“…it would be a very praiseworthy thing and the correction would be so easy to make that one could accommodate the chant by gradual changes; and through this it would not lose its original form, since it is only through the binding together of many notes put under short syllables that they become long without any good purpose when it would be sufficient to give one note only.”

— Zarlino (1558) anticipating the Medicæa

Recent Posts

  • “Music List” • Pentecost Sunday
  • “Participation” • Recovering its Receptive Dimension
  • “Breathtaking Photographs” • First Mass of Father Michael Caughey, FSSP (Muskegon, MI)
  • “Truly Great Processional” • (Pipe Organ)
  • “Re: Vigil Masses” • Reader Feedback (3 June 2025)

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