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Corpus Christi Watershed

“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Pope Leo XIV pays tribute to Palestrina

Corpus Christi Watershed · June 18, 2025

Here’s the direct URL link.

Pope Leo XIV on Sacred Polyphony:

Polyphony itself, moreover, is a musical form full of meaning, for prayer and for Christian life. First of all, in fact, it is inspired by the Sacred Text, which it aims to “clothe with appropriate melody” (Inter sollicitudines, 1) so that it can better reach “the intelligence of the faithful” (ibid.). Furthermore, it achieves this goal by entrusting the words to several voices, each of which repeats them in its own and original way, with varied and complementary melodic and harmonic movements. Finally, it harmonizes everything thanks to the skill with which the composer develops and intertwines the melodies, respecting the rules of counterpoint, making them echo each other, sometimes even creating dissonances, which then find resolution in new chords. The effect of this dynamic unity in diversity – a metaphor for our common journey of faith under the guidance of the Holy Spirit – is to help the listener to enter ever more deeply into the mystery expressed by the words, responding, where appropriate, with responsories or in alternatim. Precisely thanks to this richness of form and content, the Roman polyphonic tradition, in addition to having left us an immense heritage of art and spirituality, continues to be even today, in the musical field, a point of reference to look to, albeit with the necessary adaptations, in sacred and liturgical composition, so that through singing “the faithful participate fully, consciously and actively in the liturgy” (Sacrosanctum Concilium, 14), with profound involvement of voice, mind and heart. Of all this, the Missa Papae Marcelli, in its genre, is an example par excellence, as is the precious repertoire of compositions left to us by the unforgettable Domenico Cardinal Bartolucci, illustrious composer and director of the Sistine Chapel Choir for almost fifty years.

Here’s the direct URL link.

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

Filed Under: Articles Last Updated: June 18, 2025

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President’s Corner

    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —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

“In condemning us, you condemn all your own ancestors—all the ancient priests, bishops and kings—all that was once the glory of England, the island of saints and the most devoted child of the See of Peter. For what have we taught, however you may qualify it with the odious name of treason, that they did not uniformly teach?”

— Father Edmund Campion (to the Anglicans about to murder him)

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