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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

Archbishop Sample’s Letter On Sacred Music (2 of 8)

Aurelio Porfiri · June 17, 2014

361 Archbishop Alexander K. Sample F WE READ the 2013 Pastoral Letter on sacred music by Archbishop Alexander K. Sample to his past diocese of Marquette, I think we need to notice three instances of good news, but one of bad news.

      * *  Pastoral Letter by Archbishop Sample

Let us begin with the good news.

The first instance of good news is the Archbishop’s framework when dealing with sacred (or liturgical music). He is presenting to his diocese the exigency of continuity, the hermeneutic of continuity (Benedict XVI) that will be the happy key to solve many of the problems raised by the wild interpretation of Sacrosanctum Concilium.

The second instance of good news is that the Archbishop does not defend the tradition against Vatican II, but with Vatican II. Church teachings are not like going to the supermarket deciding what we like and what not. Of course as sinners we made many times wrong choices, but we should always know where the line is. I am always surprised by the many interpretations of Vatican II that say we really shouldn’t pay too much attention to this Council. It is a Council of the Church, in continuity with all the other Councils before. Probably not everything in the Vatican II documents was clear, and some formulations were plainly the outcome of painful negotiations. So, where there are doubts, the tradition should supply the answer.

The third instance of good news is that a Catholic Archbishop nowadays understands the importance of music in the liturgy. After reading the opening lines, you should already be aware of where he stands:

In any discussion of the ars celebrandi (the “art of celebrating”) as it relates to the Holy Mass, probably nothing is more important or has a greater impact than the place of sacred music. The beauty, dignity and prayerfulness of the Mass depend to a large extent on the music that accompanies the liturgical action. The Holy Mass must be truly beautiful, the very best we can offer to God, reflecting his own perfect beauty and goodness.

I may disagree on the use of some terminology, like “sacred music”, not because it’s wrong, but because I think the debate around correct nomenclature for liturgical music (ritual music, church music, etc.) should always be considered carefully. But out of that, the words of the Archbishop are really agreed upon by everyone. I’ve just mentioned three instances of good news, but I could mention more.

BUT NOW I MUST CONSIDER THE BAD NEWS. The bad news is that the letter looks weird. Let me explain.

This is an Archbishop who presents the correct interpretation of the documents on the music for the liturgy — without being an opponent of Vatican II — and promotes the Council according its own true spirit. And all of this sounds so strange in the current landscape when most of the Bishops think that it’s not useful to talk of sacred music or we risk losing our beloved “contemporary liturgical music groups.”   1

Most of the Bishops will talk about everything from global warming to the latest cure for cholesterol, but they leave the issue of liturgical music to some priests who think that saving people means dying with them; drinking the same poison that corrupts us in the deepest part of our soul.

Please Archbishop Sample, no more letters on sacred music (treating this issue with such seriousness and boldness): nowadays it sounds too strange. In case you don’t change your mind, even after my advice, may God give you the strength, the courage, and the passion to remain standing in the boat adrift.


This is part of an 8-part series on Archbishop Sample’s historic letter:

FIRST REFLECTION • Jeff Ostrowski

SECOND REFLECTION • Aurelio Porfiri

THIRD REFLECTION • Andrew Motyka

FOURTH REFLECTION • Peter Kwasniewski

FIFTH REFLECTION • Richard Clark

SIXTH REFLECTION • Veronica Brandt

SEVENTH REFLECTION • Fr. David Friel

EIGHTH REFLECTION • Gwyneth Holston



NOTES FROM THIS ARTICLE:

1   Contemporary? Really? But most of that music reflects pop music of the 60s …

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

Filed Under: Articles Tagged With: Archbishop Alexander K Sample Last Updated: January 1, 2020

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About 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).

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President’s Corner

    “Music List” • 23rd in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 7 September 2025, which is the 23rd 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 spectacular feasts website alongside the official texts in Latin. My singers really enjoy singing the resplendent COMMUNION ANTIPHON with its Fauxbourdon verses.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Saint John Vianney, several centuries ago, taught clearly that canonizations are not infallible.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    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

Random Quote

To end an impropriety, noticed particularly at orchestral Vespers, when two or three Psalms are sung with full orchestra, and then the other Psalms and the Hymn are rapidly hurried through with organ accompaniment only […] we order that at Mass all portions of the text, including “Agnus Dei,” be sung with orchestral accompaniment. […] Moreover, the musicians are not allowed to put the instruments away and leave their places before the conclusion of the sacred function.

— Cardinal Patrizi (18 November 1856)

Recent Posts

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  • Karl Keating • “Canonization Questions”
  • “Music List” • 23rd in Ordinary Time (Year C)
  • PDF Download • Draft Copy (Pamphlet)
  • “Entrance Chant” • 23rd (Ordinary Time)

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