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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 Statement That Still Fills Me With Rage

Jeff Ostrowski · February 24, 2025

WENTY YEARS AGO, fresh out of college, I took a job in Texas. There was a particular priest there who hated me passionately. Years went by before I discovered the source of his contempt.1 All you need to know is that this particular priest considered himself a superb musician and was pastor of one of the largest churches in the diocese. He was desperate to impress a very traditional bishop scheduled to offer Mass at his church. Therefore—despite his deep hatred for me—this priest requested that I handle the music (since I directed a Schola Cantorum at the cathedral). On the telephone, I said to him: “We’re happy to assist, but doesn’t your parish have its own choir?” Although I can’t remember his exact words, I’ll never forget his response. He said: “We’re just a parish so we don’t have fancy things like choirs.”

Rage Still Flowing • His response made me furious—and still does make me angry. A choir isn’t a fancy “add-on.” The choir contributes something quite important, and the Church has held this view for the better part of two millennia. For hundreds of years, Catholics spent hours memorizing intricate musical pieces contained in liturgical books … and these books were thousands of pages long. They didn’t do this because they were bored; people in those days had many more obligations than anyone alive today. Yet they still made time to memorize (before the invention of musical notation) hundreds of thousands of notes. There’s no reason why that priest—who considered himself an expert in music—couldn’t have at least one choir at his parish.

(1 of 2) Music At Parishes • Consider the following recording, which I recorded on my iPhone a few weeks ago on the Feast of the Baptism of the Lord. It was recorded without the singers’ knowledge:

Here’s the direct URL link.

They aren’t singing anything super intricate … yet it’s so beautiful!

(2 of 2) Music At Parishes • A few months ago, I moved my family to Michigan (after living in Los Angeles for ten years). We’ve started a wonderful choir, and each Sunday we demonstrate great variety. We do a lot of polyphony, a lot of hymns, and the Chabanel Psalms. When it comes to plainsong, each Mass has (a) plainsong sung by the women’s Schola Cantorum accompanied by the pipe organ; (b) plainsong sung a cappella by the men; (c) plainsong sung by soloists accompanied by the pipe organ; (d) plainsong sung a cappella by soloists. We also make room for modern music, medieval music, and a great deal of organ music.

Faculty Member • For the record, the woman singing in that video (Kaitrin Drost) is a fabulous vocalist and conductor who’s agreed to serve on the faculty of Sacred Music Symposium 2025. I’m convinced the participants who work with Kaitrin will be blown away. I eagerly await this summer.

The “V” Word • Some might ask: “If you have a choir with 35 people, why do you have soloists singing the OFFERTORY CHANT each Sunday?” I believe that homo modernus—whose attention span has shrunk enormously in the era of TikTok and YouTube—greatly appreciates variety. Those who take the time to watch the video above will agree it’s quite beautiful. Even if a parish is so minuscule that a choir is out of the question, a handful of soloists can do a superb job chanting the propers (as that video proves beyond a doubt).

Conclusion • The people in the United States can do anything. We have technology and gadgets for literally everything. Anyone who owns an iPhone—which can be carried around in one’s pocket—can instantaneously access 90% of the books ever published (since the beginning of the world). There are free instructional videos available for on YouTube covering virtually every task imaginable. How did we begin to tolerate the idea that a choir is too difficult for a parish to maintain???

Renewal of Challenge • In many recent articles, I’ve been recommending the Brébeuf Catholic Hymnal. I believe this book is indispensable for any serious Catholic choirmaster. (I certainly couldn’t run my choral program without it.) I don’t use the “P-word” word lightly, but I’m comfortable calling the BRÉBEUF HYMNAL peerless. Indeed, one of the main authors for the Church Music Association of America weblog declared (6/10/2022) that the BRÉBEUF HYMNAL “has no parallel and not even any close competitor.” For years, I’ve been searching for a qualified partner willing to debate this assertion over zoom. Today—24 February 2025—I respectfully renew my challenge. Our website garners millions of hits, but so far nobody has accepted my challenge.

1 It seems rather pointless to reveal the details, especially since this priest was later accused (“credibly” according to his diocese) of abusing minors. As a result, he was removed from ministry. He persecuted me in ways that were incredibly immature. At that time, I was puzzled—since I’d never even met him. Years later I learned the reasons he hated me: (a) I had a close relationship with a particular bishop, which made this priest jealous; (b) This priest considered himself a good pianist, and someone with whom he lived constantly talked about my musical skills … which must have rankled.

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

Filed Under: Articles Tagged With: Catholic Hymnal Challenge, Latin Mass Musical Diversity Last Updated: February 26, 2025

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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

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

“Young people have entrusted me with their absolute preference for the Extraordinary Form… […] But, above all, how can we understand—how can we not be surprised and deeply shocked—that what was the rule yesterday is prohibited today? Is it not true that prohibiting or suspecting the Extraordinary Form can only be inspired by the demon who desires our suffocation and spiritual death?”

— Cardinal Sarah to Edward Pentin (23 September 2019)

Recent Posts

  • PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
  • “Music List” • 17th in Ordinary Time (Year C)
  • Flor Peeters In A Weird Mood?
  • Communion • “Ask & You Shall Receive”
  • Jeff’s Mother Joins Our Fundraiser

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