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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

“Our Trials” • Choirmaster Crosses

Jeff Ostrowski · April 14, 2025

ROM ONE PERSPECTIVE, it’s amazing that Catholics living in our times complain about anything. Very few kings throughout history could have dreamt of the luxury we possess: the comforts, the conveniences, the gadgets. We have modern medicine; penicillin and anesthesia; electricity; modern plumbing; telephones; airplanes; air-conditioning; computers with internet access; and so on. Most of us have never gone hungry—not even for a single day.

Mental Trauma • On the other hand, the conscientious choirmaster will experience certain “tribulations” or “trials” or “burdens” that can only be understood by other choir directors. A large percentage of these afflictions are mental (though some are physical). There’s no need to enumerate them; anyone who’s worked as a choir director will know what I’m talking about. But today I would like to briefly point out three types:

(a) abuse and disrespect—often from one’s employer;
(b) defamation and calumny—often from jealous colleagues;
(c) betrayal—often from someone we’ve shown kindness to.

Alcoholic • Monsignor Robert Skeris once told me that because it’s such a challenging vocation many church musicians end up addicted to alcohol. (I don’t drink, so that option isn’t available to me.) How can the stinging pain from our vocation be alleviated? How can we experience peace of soul when most people don’t even understand the mental trauma we deal with?

Friendship • In my opinion, the conscientious choirmaster must have friends who are colleagues. Talking with friends—“pouring one’s heart out”—can help alleviate the trauma. An added “bonus” of conferences such as the symposium often turns out to be friendships made while in attendance.

Corrinne May • I am blessed to have wonderful friends who are also colleagues. One of them is Corrinne May, who’s agreed to serve on the faculty of this year’s Sacred Music Symposium. She recently posted this clip on her instagram account:

Great Sounding Choir • Can you imagine having that gorgeous choral sound? And yet, Corrinne recruited all those members in a very short time! Even though Corrinne lives all the way on the other side of the ocean in Singapore, I felt “connected” when I saw that clip because we sang that same hymn yesterday, during one of our PALM SUNDAY MASSES. This particular Mass was packed—there literally wasn’t one seat left in the entire church:

To access this hymn’s media in the Brébeuf Portal, click here.

Mental Battles • Many of the battles we face are internal (i.e. mental). There are too many possibilities to mention, and some are quite “subtle.” For instance, an artist will be asked to create something—but then, the person who asked for the favor will keep nitpicking and nitpicking and nitpicking. This is very hurtful to an artist, but people who lack maturity won’t realize it. My own battles usually involve trying to follow God’s Will on a daily basis. For instance, I’ve often commented that people who claim to “hate” the 1962 Holy Week and “love” the 1950 Holy Week frequently don’t know the difference between them. Certain Catholic ‘influencers’ (who claim to be experts on the sacred liturgy) frequently publish grotesquely inaccurate articles. Indeed, this morning I was alerted to such an article, riddled with basic errors and misunderstandings. For reasons I don’t fully understand, observing falsehoods about the sacred liturgy causes me anguish.

I admit that I was tempted to publish an article refuting the errors. But doing so would have been sinful—because what good could result? All the information has been out there for years. Indeed, the SAINT EDMUND CAMPION MISSAL published by Sophia Institute Press enumerates the differences and similarities between both versions of Holy Week. Those who genuinely wish to learn can simply pick up a copy. Again I ask: What possible good could result from my publishing a refutation? That’s not how God wants me to spend my time and energy. When we die, we will be held accountable for how we spent every moment of our life.

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

Filed Under: Articles Tagged With: Monsignor Robert Alexander Skeris Last Updated: April 14, 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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Corpus Christi Watershed

President’s Corner

    “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
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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

“A striking detail: at Solesmes, we remember hearing Justine Ward criticize accompaniment sometimes or seeing her cover her ears, especially when the organ accompanied a soloist, which is something she could not accept.”

— Dom Pierre Combe

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