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Views from the Choir Loft

“For me, Gregorian chant at the Mass was much more consonant with what the Mass truly is…” —Bp. Earl Fernandes

Corpus Christi Watershed · May 17, 2025

Most Reverend Earl Fernandes (bishop of Columbus, Ohio) is one of the youngest bishops in the world. He recently gave an interview to the National Catholic Register. An excerpt:

As I moved through life—from college to medical school—I began to make more sense of the Mass. For me, Gregorian chant at the Mass was much more consonant with what the Mass truly is: the beautiful, unbloody sacrifice of Our Lord. I was young, but I remember thinking I wanted the old-time religion, just like my father did. […] I watched an interview with a British woman who had gone to an Orthodox liturgy. “I didn’t understand the language,” she said, “but I didn’t know whether I was in heaven or on earth. It was so beautiful.” And I wonder how many Catholics could say they’ve had that kind of experience at Mass? Reverence is not confined to one form of the liturgy.
As a pastor, I built on one important foundation: No one wants irreverence. The faithful might not always recognize what’s reverent and what’s not, but no one wants irreverence. The point of the “active participation” in the Mass is prayer. It is worship. And whatever fosters an interior life of prayer is what builds up the Church. Let me confess to you, my brothers and sisters: some of this was selfish. I wanted to be able to actually pray at Mass—not be irritated during it. What many people don’t realize is that for a priest, offering the Mass is the highlight of the day—really, the highlight of our life. But to do it well, a priest must be able to pray — and that requires silence in the liturgy.

Please consider reading entire interview.

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

Filed Under: Articles Last Updated: May 17, 2025

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President’s Corner

    “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
    New Bulletin Article • “8 June 2025”
    My pastor requested that I write short articles each week for the parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article includes a few anecdotes about Archbishop Fulton J. Sheen and Abraham Lincoln.
    —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

Jeffrey Tucker: “What are your thoughts on what passes for sacred music in most Catholic parishes today?” Richard Morris: “There’s nothing sacred about it. The tunes, rhythms, and messages are drawn mainly from secular culture. When it isn’t aesthetically repugnant and downright offensive to the Faith, it is utterly forgettable.”

— James Richard Morris (concert organist)

Recent Posts

  • “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)
  • Proof Which All Can Immediately See!

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