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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

Fr. George Rutler Weighs In On The Campion Missal

Jeff Ostrowski · April 15, 2013

ATHER GEORGE RUTLER is known all over the world as a preacher, and like many other Catholics, I grew up listening to his tapes (they were “cassette tapes” in those days). However, it turns out Fr. Rutler has many other talents. Among other things, he’s a truly gifted musician, first rate painter, and quite a sportsman, including things we might not expect, like boxing. I’m not a good writer, so rather than going on and on, let me simply say that Fr. Rutler is a truly brilliant man.

I would like to share a comment Fr. Rutler made about the Campion Missal [url]:

“Attractively, even elegantly, produced, the appearance of this Missal and Hymnal is appropriate to the high quality of the contents. It should be of great benefit of those who assist at the Traditional Mass and those who would be interested in learning more about it.”
        — Rev. George William Rutler

More than a decade ago, I listened to Fr. Rutler give a talk about beauty. If I remember correctly, he said beautiful things possess “goodness and perfection of form,” or some such words. Then he pointed out, “You will never understand the purpose and order of the universe if you like rock music. Have you ever noticed that rock music has no form? It doesn’t even have a proper ending: it just fades out.” These words are quite profound, and he’s absolutely right: rock music usually has no form or structure. It’s usually just a “riff” that repeats endlessly. Here’s an example of how a rock music song ends. By the way, it turns out the song actually has a different ending for “live” concerts. They end it by saying, “Don’t stop.” Without question, sounds terrible . . . no wonder they usually just “fade away” when possible.

Even the really good Disney movies have a “shape” to them. Think of that classic, “Robin Hood.” It definitely has a beautiful “shape” to the way the story is presented (when the conflict happens, etc.).

In the future, I hope to write more about beauty and purpose in the universe in the context of what we’re trying to do at CCW.

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

Filed Under: Articles Tagged With: Fr George William Rutler Last Updated: October 6, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Spectacular Communion Setting!
    The FAUXBOURDON setting of the Communion for the Baptism of the Lord (which will occur this coming Sunday) strikes me as quite spectacular. The verses—composed by the fifth century Christian poet, Coelius Sedulius—come from a long alphabetical acrostic and are deservedly famous. The feast of the LORD’S BAPTISM was traditionally the octave day of Epiphany, but in the 1962 kalendar it was made ‘more explicit’ or emphasized. The 1970 MISSALE ROMANUM elevated this feast even further.
    —Jeff Ostrowski
    PDF • “Music List” (Sunday, 11 January)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Baptism of the Lord (SUNDAY, 11 January 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon—to say nothing of the antiphon itself—are breathtaking. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the monumental feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of January (2026)
    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
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski
    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski

Random Quote

“I am now old but I was young when I was received into the Church. I was not at all attracted by the splendour of her great ceremonies—which the Protestants could well counterfeit. Of the extraneous attractions of the Church which most drew me was the spectacle of the priest and his server at Low Mass, stumping up to the altar without a glance to discover how many or how few he had in his congregation; a craftsman and his apprentice; a man with a job which he alone was qualified to do.”

— Evelyn Waugh (7 August 1964)

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