• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

(Rehearsal Clips) • Sacred Music Symposium 2025

Jeff Ostrowski · June 30, 2025

O MATTER HOW MANY times one scoops water into a plastic cup from the ocean, one can never empty it. I can’t help thinking about this analogy when it comes to describing what happens at the Sacred Music Symposium. Where would I even begin? It’s a sacred music conference too colossal to describe. For example: (a) We explain how to choose repertoire; (b) We explain how to produce beautiful booklets (“order of worship”); (c) We let them conduct the whole group and give them pointers; (d) We provide lengthy booklets which explore various musical ‘themes’ in a splendid way; (e) We give them recommendations on working with volunteer choirs; (f) The lectures are memorable (and it’s not unusual for participants to weep during them); (g) etc.

As Time Passes • Over the next few months, we hope to release many audio recordings from Sacred Music Symposium 2025. On the other hand, no microphone is capable of reproducing the gorgeous and luscious sounds these 50 singers produced. Here’s a brief clip I recorded on my iPhone:

Here’s the direct URL link.

It Stands Alone • There’s just no other conference resembling this one. For example, participants were allowed to conduct the full choir at various times. Below is a brief iPhone clip of a participant randomly chosen to conduct a fabulous 6-Voice Mass by Father Cristóbal de Morales (d. 1553):

Here’s the direct URL link.

More To Come • If I can find time, I hope to share some of the poignant messages we receive from participants. Indeed, those who attended this year are already sending such messages! For instance, the following comes from a participant who earned a doctorate (“DMA”) in choral conducting:

As one might expect from someone with a terminal degree, I have attended over the years countless conventions, conferences, and colloquia dedicated to the traditional music of the Catholic Church; in Maryland, Pennsylvania, Illinois, Utah, Switzerland, Rome, and so forth—but your symposium was transcendent and unsurpassable. I was pondering why this was so … and came up with two preeminent reasons. I hope you don’t mind my sharing them. First of all, many conferences are basically ‘glorified rehearsals’ wherein precious little instruction is given. The kingpin of one such conference justified that approach by saying: “We show you, here, the paradigm.” It seems like a decent strategy in theory. Nevertheless, in practice I can affirm it’s a poor one. But at your conference, you unremittingly provide tips and helpful suggestions.

At other gatherings, we sing for Masses which are usually empty (or near empty). But at your symposium, the Masses were overflowing. At your conference, we were allowing the People of God to experience this beauty. And isn’t that important? If we truly believe in the power of authentic church music, why hide it? Shouldn’t the People of God take delight in this music? I’m sure it was a bit ‘risky’ to allow us to sing at your parish Mass on Sunday, but the results were splendid. (If only you could have heard the comments after Mass; the people were flabbergasted, thrilled, and moved to their core.) This really sets your gathering apart. To use the proverbial phrase, you “put your money where your mouth is.” Again, I ask: if we truly believe this music to be attractive, powerful, sacred, and moving … why hide it?

Final Thoughts • I could not agree more! We have always made a conscious decision to share the THESAURUS MUSICAE SACRAE (the Church’s “precious treasury of sacred music”) with as many Catholics as we can. For instance, the photograph below shows the final Mass we sang during Sacred Music Symposium 2025:

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

Filed Under: Articles Tagged With: Catholic Composer Cristobal de Morales, Composer Kevin Allen, Matri Divinae Gratiae, Quam Dilecta Tabernacula Tua, Sacred Music Symposium 2025 Last Updated: July 1, 2025

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    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
    Little Encouragement?
    In the Gospel, our Savior tells about 10 lepers who were healed. Only one went back to give thanks. Precious few express gratitude, yet many have endless energy to complain. For that reason, I deeply appreciate receiving messages like the following, which arrived a few days ago (about the parish where I direct in Michigan): “Last Sunday, a couple I knew from Grand Rapids was at Mass at 10:00 a.m. I got a chance to talk to them after Mass. I wanted to let you know what they said about the choir. They were absolutely floored by our sound!!!!! They both said they could continuously listen to our choir and the beauty of it. They asked me: “Do you always sound like that?” And they were also very surprised at how packed the church was. They said it was nice for them to be in such a full church. I just thought you would be interested to know their thoughts about our choir.”
    —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

“Angularis fundamentum” is typically sung at the dedication or consecration of a church and on church anniversaries. For constructions too numerous to list in recent generations, it would be more appropriate to sing that Christ had been made a temporary foundation. A dispirited generation built temporary housing for its Lord, and in the next millnenium, the ease of its removal may be looked back upon as its chief virtue.

— Fr. George Rutler (2016)

Recent Posts

  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs
  • Typo in the “Missale Romanum” (1962)
  • “Music List” • 30th in Ordinary Time (Year C)
  • “Our Father” • Musical Setting?

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.