First Impressions of Bishop Sample’s Pastoral Letter on Sacred Music
A bishop issues diocesan-wide directives on the role of music in the liturgy. A look at some of the more noteworthy instructions.
“Is it not true that prohibiting or suspecting the extraordinary form can only be inspired by the demon who desires our suffocation and spiritual death?” —The Vatican’s chief liturgist from 2014-2021; interview with Edw. Pentin (23-Sep-2019)
A bishop issues diocesan-wide directives on the role of music in the liturgy. A look at some of the more noteworthy instructions.
Tozer: “I have, on the other hand, retained several more or less traditional tunes, absolutely valueless and without merit from a musical point of view, but which seem to have become a necessity if a book is to appeal — as I hope this one will — to the varied needs of various churches.”
The following letter was printed in the “Sacred Music Journal” (Winter of 2002). I was shocked when I first read it. It concerns a conductor famous for his performances of the works of William Byrd.
Christ’s love has gathered us into one. True, we may be united in the love of Christ—but not necessarily in other things. Our differences may be vast. This is where the bounds of love and Christian charity are truly tested.
The pro-life mentality echoes and imitates the good angels who chose eternal life by the power of sanctifying grace . . .
We are now learning that our Holy Father had been contemplating and praying about his resignation for a very long time. In April of 2009, the Holy Father visited the tomb of an obscure Pope named St. Celestine V, remarkable for a certain reason . . .
I believe that Pope Benedict XVI will go down in history as one of the greatest Popes.
When we shake hands, we do not feel the need to explain, “By this gesture I am establishing contact with you.”
The “Alleluia” was literally buried in the cemetery, leaving the people with the hope and anticipation of its Easter Sunday resurrection.
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