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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.”

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Views from the Choir Loft

Featured

Corpus Christi Watershed · July 1, 2022

“I Decided to Get a Plane Ticket and Fly 8,700 Miles From Singapore to Take Part.”

“These are the musical treasures everyone needs to know about.” — 2022 Participant

Jeff Ostrowski · June 29, 2022

“How Has Nobody Done This Before?” • First Installment

I’ve been encouraged to launch a new series!

Corpus Christi Watershed · June 28, 2022

“81 Photos” • Sacred Music Symposium 2022

More than eighty photographs give you a “glimpse” of a week dedicated to restoring authentic Catholic music.

Corpus Christi Watershed · June 28, 2022

“I Found Myself Weeping, Almost In Disbelief…”

“Your faculty may never know the depth of how you affected each person there. For my part, I am forever changed…” — Symposium Participant (Texas)

Jeff Ostrowski · June 19, 2022

PDF Download • “Polyphony For Choirs” (262 Pages)

Enjoy this tiny “reward” for your phenomenal response to our fundraiser.

Jeff Ostrowski · June 11, 2022

Composing Your Own Antiphons?

In the days before Vatican II, dioceses had their own special feast days.

Jeff Ostrowski · June 9, 2022

New Release! • “Missa de Beata Virgine” (Kevin Allen)

As singers performed this Kevin Allen piece, they wept—but crying is bad for singing technique!

Dr. Lucas Tappan · June 8, 2022

“Chorister Summer Camp” • Eight Ideas

Every choirmaster should place a high priority on recruitment, otherwise in time he commits a form of “choral contraception”…

Jeff Ostrowski · June 7, 2022

“An Unknown Parishioner Approached Me…”

Can modern composers write hymns? Are they stirring?

Jeff Ostrowski · June 1, 2022

The Official Chant Rhythm • “How Does It Sound?”

“The Vatican Edition … contains absolutely all that is needed for the exact rendition of the liturgical chant.” —Sacred Congregation of Rites (1911)

Jeff Ostrowski · May 26, 2022

PDF Download • “Spanish TLM Missal” (2,288 pages)

A french version (1,798 pages) is also available for free PDF download.

Jeff Ostrowski · May 21, 2022

PDF Download • “A Canon Choirs Love!”

You will notice Father Guerrero takes the chant melody (“Beata Mater”) and creates a perfect canon between Soprano and Alto.

Jeff Ostrowski · May 18, 2022

PDF Download • “O Salutaris” (Modern Setting)

If there’s a more beautiful setting of this text, I don’t know what it could be.

Jeff Ostrowski · May 17, 2022

PDF Download • 2022 “Vespers Booklet” (99 Pages)

If you spot typos, please let us know!

Jeff Ostrowski · May 16, 2022

“Playing the Pipe Organ” • By Richard Nixon

Does the music of Franz Liszt belong to Adolf Hitler?

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Corpus Christi Watershed

President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“Victoria not only made his professional debut as church organist: he also continued active on the organ bench until the very eve of his death. Indeed, during his last seven years at Madrid (1604-1611) he occupied no other musical post but that of convent organist.”

— Dr. Robert Stevenson (1961)

Recent Posts

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  • PDF Download • “Offertory” for this Sunday
  • The Real Miracle of Gregorian Chant
  • Why A “Fugue” Here?

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