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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

PDF Download • Palestrina “Alleluia” (SATB) for the Ordinary or Extraordinary Form

Veronica Moreno · March 23, 2025

SOMETIMES FEEL THAT housewives are especially close to the Heart of God. I say this because our vocation has an immediacy that keeps us focused. We don’t have the luxury of obsessing over each new ‘crisis’ invented by cable news because our duties are urgent: a child who’s hurt or ill; a child who must be fed; a child who must be put to sleep; a child who needs lunch prepared; and so on. If something truly important happens, we’ll eventually hear about it. And there’s an important analogy here related to the sacred liturgy. If you read to the end of my article, it will become clear why I bring this up.

First, I want to share something really exciting. My daughter and I had the chance to record a beautiful ALLELUIA by Palestrina. I recorded the Alto Voice for the rehearsal video. My daughter sang the Soprano Voice. In the Extraordinary Form, it can be used with the ‘Alleluia Verse’ assigned to each Sunday, a technique we learned at the Sacred Music Symposium. In the Ordinary Form, it can be used as a ‘choral extension’ for the GOSPEL ACCLAMATION.

*  PDF Download • “Alleluia” for the Ordinary Form
—Giovanni Pierluigi da Palestrina directed the Capella Julia.

Free rehearsal videos for each individual voice await you at #26561.

Origins of Liturgical Modifications • When the liturgical changes were introduced in the 1970s, many Catholics—like a housewife focused on her duties—basically said: “I’m going to trust that all these changes were carefully considered by knowledgeable experts with good intentions.” In a certain sense their attitude was praiseworthy. But over the years (especially thanks to the internet) we’ve come to understand that many liturgical changes were undertaken in a haphazard way. Many are indefensible. Even Dr. Scott Hahn has come around to this position. I don’t feel it’s polemical to describe post-conciliar changes this way, since I’m unaware of any scholars willing to defend them. The revelations by key players in the reform (Prof. Louis Bouyer, Cardinal Giacomo Lercaro, Dom Adalbert Franquesa Garrós, Cardinal Ferdinando Antonelli, etc.) seem incontrovertible. My husband has done a lot of reading in this arena, and I have noticed these topics being covered by my colleagues on this blog.

Another Bombshell • Last week, a major bombshell dropped having to do with the two largest publishers of Catholic liturgical music in the United States.1 It came by means of an article by Michael Hichborn (a member of the John Paul II Academy for Human Life and the Family) published on 18 March 2025:

*  LEPANTO INSTITUTE • “The Hymnal Industrial Complex”

In spite of what’s shared in that article, I’ve been astounded to see some Catholic musicians try to defend OCP and GIA. Some even say—publicly!—they don’t care if the ones in charge of creating the hymnals are Jehovah’s Witness, Jewish, Protestant, Buddhist, or Mormon. But any Catholic who takes the Faith seriously knows it matters whether those in charge of creating hymnals are practicing Catholics. The reason should be obvious: hymns contain lyrics in addition to musical notes. And lyrics express either truths or falsehoods about our Lord and Redeemer. False statements about Jesus Christ, who is TRUTH itself, are blasphemous.

The article by Michael Hichborn contains details which are quite sordid. This isn’t something decent people want to discuss. But if we refuse to discuss such matters, how will the situation be fixed?

A Better Way • On this blog, I have shared stories about our recent pilgrimage to Rome. We had the privilege of spending time with several musicians in charge of special choirs at the Vatican. Giovanni Pierluigi da Palestrina was known to be a very religious man, and he died in the arms of Saint Philip Neri. Even though the video above is imperfect—since it’s just a rehearsal video—one can still hear how beautiful and pure Palestrina’s music is. In the face of such masterpieces, why would anyone want to sing music with texts created by non-Christian companies?

The image below was taken a few months ago, when we met Pope Francis in Rome. I’m in a black dress, holding the camera:

1 The influence of these two notorious publishing companies (GIA PUBLICATIONS and OCP) extends to a much larger area than the United States. Their influence reaches most English-speaking countries, especially developing countries. I have in mind nations such as: India, Nigeria, the Philippines, Singapore, Canada, Australia, South Africa, and so forth.

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

Filed Under: Articles, PDF Download Tagged With: Alec Harris GIA Publications, Archbishop Hannibal Bugnini, Cardinal Ferdinando Giuseppe Antonelli OFM, Dr Scott Hahn, Father Adalbert Franquesa Garrós, Louis Bouyer Oratorian Priest, Michael Hichborn Lepanto Last Updated: March 25, 2025

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About Veronica Moreno

Veronica Moreno is married to a teacher and homeschools five children. She has been cantor at her local Catholic parish for over a decade.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —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. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —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

Random Quote

If the homily goes on too long, it will affect two characteristic elements of the liturgical celebration: its balance and its rhythm. The words of the preacher must be measured, so that the Lord, more than his minister, will be the center of attention.

— Pope Francis (11/24/2013)

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