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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

PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)

Julie Huebner · June 9, 2025

AM NEARING THE END of my first year as a full-time Director of Music and Liturgy. Saying ‘I learned a lot’ would be my understatement of the year. Thankfully, I was surrounded by a pastor, colleagues, cantors, and choristers who were on board, wanted me to succeed, and made a lot happen so that I can share things with our readership. Something I had to learn quickly in this role conducting four choirs—and still need to improve on—is planning out choral repertoire. I want the beautiful music to come together (and come together credibly), without overwhelming my volunteer choristers. The piece below is one of more simple-but-lovely pieces my advanced women’s choir, SCHOLA IMMACULATA, sang following the Easter Vigil OFFERTORY ANTIPHON. This Schola does not meet weekly. The women meet in anticipation of their select solemnities.1

Schola Immaculata • The deal is, that they have to attend fewer (but longer) rehearsals. They also must come to rehearsal already knowing their part, so we can jump right to the music-making. This SCHOLA had just come off of singing demanding Holy Thursday repertoire, fully a cappella following the GLORIA. When I was choosing the Vigil music, I knew I wanted more organ involved, after its multi-day silence and I knew they were singing a difficult Communion piece. I wanted the piece during Offertory to feel like a deep breath. While hunting, I stumbled on Carlotta Ferrari’s Altissimo Glorioso Dio and it ticked all the boxes. I believe anyone reading this would find this a fitting text during the Vigil. Here’s a live recording from the culmination of the Triduum:

*  PDF Download • “Text by St Francis of Assisi” (Carlotta Ferrari)
—Italian: ‘Altissimo glorioso Dio, illumina le tenebre de lo core mio.’
—English: ‘O most high, glorious God, enlighten the darkness of my heart.’

Here’s the direct URL link.

iPhone Cannot Capture • I know it’s easy to say this, but this recording does not do the music justice. Apologies to my wonderful colleague and organist, Michel Shestak, on that front! My iPhone did not quite capture her low organ pedal tones at the end of the piece and how they felt like the tomb of our Lord opening up, while her right hand sounded like the music was being lifted to heaven during the incensing. Many of us strive for the music during Mass to feel separate from the outside world as we lift our eyes and minds to God and I humbly believe this music on that most holy night accomplished that goal.

Addendum • I didn’t feel the need to provide background on Carlotta Ferrari when Mr. Smith has already done this.

1 Namely: all the Marian holy days of obligation, Holy Thursday, and the Easter Vigil.

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

Filed Under: Articles, PDF Download Tagged With: Carlotta Ferrari Last Updated: June 9, 2025

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About Julie Huebner

Julie earned degrees at Luther College and Southern Illinois University. With her husband and three children, she resides in Wauwatosa, Wisconsin.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th 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 top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

“Johann Baptist Singenberger (d. 1924) held in trust a letter from Pius X giving him permission to use men and women in his festival choirs. He neither published it nor used it, lest he embarrass the Holy Father.”

— Monsignor Francis P. Schmitt (August 1957)

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