Views from the Choir Loft

Aurelio Porfiri

Renowned as composer, conductor, theorist, author, pedagogue, and organist, Aurelio Porfiri has served the Church on multiple continents at the highest levels. Born and raised in Italy, he currently serves as Director of Choral Activities and Composer in Residence for Santa Rosa de Lima School (Macao, China). Read more.

Aurelio Porfiri · October 5, 2015

Something Unexpected

Music is not and cannot be neutral.

Aurelio Porfiri · July 29, 2015

“When You See Rome, You Will Lose Your Faith.”

Only the blind can avoid facing this reality: the biggest liturgical crisis is in Rome.

Aurelio Porfiri · June 13, 2015

Optimists & Pessimists

There was a standard commonly accepted, so what was strange and of out of place felt that way.

Aurelio Porfiri · April 29, 2015

Music That Hurts

“Was it not jealousy for the honor of thy house that consumed me? Was it not uttered against thee, the reproach I bore?”

Aurelio Porfiri · March 17, 2015

The Real Enemy: Mediocrity

“Real liturgy is for daring hearts, not for uninspired mediocrities.” —Aurelio Porfiri

Aurelio Porfiri · March 3, 2015

Permission Needed to Replace the Propers?—(7 of 7)

We should be more and more convinced that the Propers are “healthier” than alternative songs…

Aurelio Porfiri · January 27, 2015

Understanding

“Immanentism means there is no reality beyond what we know…” —Aurelio Porfiri

Aurelio Porfiri · January 20, 2015

Showing Off During Mass

“Many years ago I had a spiritual director that gave me a lesson that I have never forgotten…” —Aurelio Porfiri

Aurelio Porfiri · January 12, 2015

The Verge Of The Abyss

“Fellow church musicians, rejoice and be glad!” —Aurelio Porfiri

Aurelio Porfiri · January 5, 2015

L’Anima Mia Ha Sete Sung By Music School In Rome

Recorded for Vatican Radio with organist Aurelio Porfiri. Conducted by Sister Dolores Aguirre.

Aurelio Porfiri · December 29, 2014

Video: “Make Me To Know Your Ways, O Lord”

A hauntingly beautiful composition by Aurelio Porfiri. How wonderful to hear God’s praises resound in Macau, China!

Aurelio Porfiri · December 22, 2014

Remembering Domenico Cardinal Bartolucci

My teacher and inspiration…

Aurelio Porfiri · December 15, 2014

Risuoni La Mia Bocca

Liturgical song composed in honor of Saint Cecilia and performed in Rome.

Aurelio Porfiri · December 8, 2014

A Meeting With Angela Ambrogetti

In Rome, Aurelio Porfiri interviews a respected Vaticanist about the Pope, Curia, and more.

Aurelio Porfiri · December 1, 2014

Exclusive Interview • Msgr. Valentino Miserachs (Basilica of Saint Mary Major, Rome)

“What is the role of Liturgical Music?”

PDF • “Music List” (Immaculate Concep.)

Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 8 December 2025, the feast of OUR LADY’S IMMACULATE CONCEPTION. If such a thing interests you, feel free to download it as a PDF file. The fauxbourdon setting of the COMMUNION is exquisite. In Latin, the title of this feast is: In Conceptione Immaculata Beatae Mariae Virginis. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.

—Jeff Ostrowski

“Reminder” — Month of December (2025)

On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.

—Jeff Ostrowski

Dr. Mahrt explains the ‘Spoken’ Propers

In 1970, the Church promulgated a new version of the Roman Missal. It goes by various names: Ordinary Form, Novus Ordo, MISSALE RECENS, and so on. If you examine the very first page, you’ll notice that Pope Saint Paul VI explains the meaning of the ‘Spoken Propers’ (which are for Masses without singing). A quote by Dr. William P. Mahrt is also included in that file. The SPOKEN PROPERS—used at Masses without music—are sometimes called The Adalbert Propers, because they were created in 1969 by Father Adalbert Franquesa Garrós, one of Hannibal Bugnini’s closest friends (according to Yves Chiron). It would be difficult to phrase things more clearly than the pope: viz. the ADALBERT PROPERS are for recited Masses, the GRADUALE PROPERS are for Masses with singing.

—Jeff Ostrowski

“Translations Approved for Liturgical Use”

According to the newsletter for USSCB’s Committee on Divine Worship dated September 1996, there are three (3) translations of the Bible which can be used in the sacred liturgy in the United States. You can read this information with your own eyes. It seems the USCCB and also Rome fully approved the so-called NRSV (“New Revised Standard Version”) on 13 November 1991 and 6 April 1992 but this permission was then withdrawn in 1994.

—Corpus Christi Watershed

Gospel Options for 2 November (“All Souls”)

We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”

—Corpus Christi Watershed

“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

“Church officials frequently asked Tomás Luis de Victoria for his opinion on cathedral appointments because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist, and never accepted any extra pay for being a chapelmaster. Held in great esteem, his contract allowed him frequent travel away from the convent, and he attended Palestrina’s funeral (in Rome) in 1594.”

— ‘Dr. Robert Stevenson, 1961 (mod.)’