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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

A Full Choir in FSSP-Caen

Veronica Moreno · January 20, 2025

(This is part of a series of posts about a pilgrimage.)

E WERE HOME: ten thousand kilometers away. The steps up Église Saint-Michel de Vaucelles, in a gritty kind of neighborhood, do not prepare you for what is inside. We were deliberate to include visits to local FSSP parishes as a big part of our summer pilgrimage. We were regular pilgrims and tourists praying on our journey, but we sought out places where our children could see the same Tradition we live at home.

This was our first Sunday Mass with the Fraternity in Caen, France. It was heavenly!

I have to explain that for the last few years, we have attended Sunday Mass in a tent! We are parishioners at St. Vitus, the FSSP-Los Angeles parish, and we now have a building! Hurray! But we were in a tent since 2020.

This experience has really shaped our ears and our other senses. Being inside this building in Caen, it was so obvious that the liturgy had designed this building.

This is what it looked like after our Prayers at the End of Mass.

Exploring the space, we saw this notice on a pillar. Asperges, Kyrale, Credo, Salve Regina. Latin sure does something to unite us, even if the readings and some of the hymns were in French. Some choir member or the choirmaster dutifully took the time to write this all out. Modern whiteboard up on an ancient pillar! (No powerpoint screen!) French accents! Latin! The Feast of the Sacred Heart!

Sorry Mr. Ostrowski, this was not the Saint John de Brébeuf Hymnal. The French vernacular is quite alive in this place! Everyone sang!

Now, being in the St Vitus choir ten years and having sung all of the music that Mr. Ostrowski has posted for all these years, I was pleasantly surprised that there was a full choir singing chant and polyphony. You can imagine the acoustics!

But imagine how much more for this member of a choir who was delegated to a storage room in the back of the Church, who had to use microphones to get the sound to a tent without walls! So it was quite refreshing to hear such sacred music sung where it’s supposed to be sung.

This is how the local municipal government website rejoices in its Church building:

A 12th century Romanesque tower, a 15th century choir, a 16th century nave, not to mention the classical façade built at the end of the 18th century: Saint-Michel-de-Vaucelles truly appears as a synthesis of the different periods of religious art. Perched on a hill, it peacefully dominates the right bank of the Orne. The visitor is greeted by a statue of the Archangel Michael, represented as a Roman legionary slaying the dragon. (link)

Century building upon century.

This was the high altar.

This was the high altar!!

I can’t emphasize enough what it felt like to be in this old building for a High Mass. This did not look like the original altar, for all it’s beauty and history, I wonder if this Church suffered a “renovation”, so one day that official description above may need to add: “21st century altar”. For all it’s ancient beauty and history, the altar looked just like the one that our very own St. Vitus priests built with their own hands under our tent.

But it was everything. The stained-glass to stare at during Mass. The sound that leaves the sides of our tent back home, echoes back to us. The sound that had to pass from the microphones through speakers can now come directly down from the choir loft. The sound of the gospel read from the pulpit above us! The priest had to ascend those stairs! We had never seen that before! Go find it in the second picture on the right side!

I was to have this experience over and over again, but mostly when the music was purposefully chant and purposefully polyphony.

(Because in Europe, there were folk-guitars too.)

This was a side altar!

Our lives have been enriched by our visit to France. I had a really hard time keeping this short. I don’t know how my life as a cantor and choir member really fits into these pages. Mr. Ostrowski encourages my blog posts, but I am really humbled by the other contributors whose lives are musical excellence.

Sometimes I think, “Jeff, I just sing!”

I will continue to share, but if anyone would like to know more about Caen, traveling, parking (!), trains, or bathrooms, please feel free to send me a message. (seekenchantaspire@gmail.com) I will update this blog post if any answers are useful.

Again, if you’re ever in Normandy for travel, Holy Mass here will enrich your spiritual life.

We found the bathrooms by asking!

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

Filed Under: Articles Last Updated: January 20, 2025

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About Veronica Moreno

Veronica Moreno is married to a teacher and homeschools five children. She has been cantor at her local Catholic parish for over a decade.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski
    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski

Random Quote

The “Nova Organi Harmonia” demanded from each of us an unusual commitment; we have dedicated to it the best of our energies. Would it be, therefore, presumptuous on our part to be satisfied with the result and to expect its welcome reception in the musical world?

— Msgr. Jules Van Nuffel (circa 1940)

Recent Posts

  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)
  • Grotesque Pairing • “Passion Chorale”
  • PDF Download • “Ubi Caritas” (SATB)

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