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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

Singing Propers and Ordinary . . . at Low Mass?

Jeff Ostrowski · August 19, 2013

955 Conception Abbey ODAY, I’LL BE SHARING a September 1937 article by Dom Gregory Hügle, O.S.B., one of the most important promoters of Gregorian chant in the early part of the 20th century.

      * *  1937 Article (Dom Gregory Hügle, OSB)

Now that I’ve shared the document, I shall make a few observations about this section:

Q. “Is it permitted to sing any part or all of the Ordinary of the Mass in Latin (Kyrie, Gloria, Sanctus, Agnus Dei) at a Low Mass?

A. Yes, it is permitted to sing the parts mentioned in Latin. With regard to the Gloria the Roman decision remarks “that the intonation should be sung by the choir”.

Q. “Is it permitted to sing the same parts in English at a Low Mass?”

A. No, it is not permitted to sing these parts in the vernacular. Holy Church demands that the liturgical parts be sung in the liturgical language, which is “Latin”.

Q. “Is it permitted to sing any or all of the variable chants of the Proper (Introit, Gradual, Allelttia, Offertory, Communion) in Latin, at a Low Mass in English?”

A. Any parts of the Proper may be sung in Latin, but not in English, for the reason mentioned above. Low Mass is a liturgical function. If you select parts of the liturgical musical belonging to Holy Mass, the same must be sung in Latin.

This information, given in 1937 by Dom Hügle, is not generally known by those who celebrate the Extraordinary Form. As a matter of fact, it contradicts what many authorities say. Perhaps an expert of ceremonies can explain why in the combox.

Speaking of “odd” practices of the EF, I’ve mentioned elsewhere that the 1958 Instruction of Pope Pius XII allows the entire congregation to recite all the Propers (in Latin) along with the Celebrant. (!) This is never done. I doubt it ever was done, although a later publication, the New St. Joseph Sunday Missal and Hymnal (1966), tried to encourage this practice.

Dom Gregory’s words about the Gloria intonation are interesting. In my article, “Who should intone the Gloria at Mass?”, I mentioned that cantors were given permission to intone the Gloria following the Second Vatican Council. If Dom Hügle is correct, this was allowed in the Traditional Latin Mass.

PERHAPS THIS PRACTICE — singing Mass Ordinary & Propers at Low Mass — is not as crazy as it sounds. After all, there were all kinds of “compromises” in the pre-Conciliar Mass. People who really know the EF Mass will admit that only two Masses exist as far as the rubrics are concerned: “Solemn Mass” (with Deacon, Subdeacon, and incense) and “Low Mass.” These are the two we included in the Campion Missal. I’m told using incense without Deacon and Subdeacon required an indult for quite a while. Over the years, all kinds of different practices arose. I’ve even seen a “High Mass” with one server who tried to incense the Sanctissimum at the Elevation while still lifting the priest’s chasuble with his other hand. Here is what Fr. Fortescue said:

Our so-called Missa Cantata is the compromise of a compromise, a Low Mass, with singing as at High Mass, only justifiable to enhance the dignity of Sunday Mass when a deacon and subdeacon cannot be had. And the practice of saying a Low Mass while the choir sings bits of things is too dreadful to be described. (Adrian Fortescue, The Mass, p. 191)

My feeling is that Dom Gregory Hügle is probably correct. He was very highly respected in his day, and Prior of Conception Abbey, Missouri. The entire August 1933 edition of Caecilia was dedicated to Dom Gregory.

By the way, I’ve already talked a lot about vernacular hymns at Low Mass. Read part 1 and 6 of my six-part series to read what I’ve written about this.   [Click here and scroll down to the bottom to view my six-part series.]

One final comment: this 1937 edition of Caecilia gave readers a special “sneak peek” of a new set of accompaniments to the Kyriale which Achille P. Bragers was about to release. Years later, these would become quite famous. Click here to download the Bragers Kyriale for free or puchase the hardbound copy (high key & low key).

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

Filed Under: Articles Tagged With: Dialogue Mass With Vernacular Hymns, Low Mass Vernacular Hymns Last Updated: April 6, 2021

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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

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —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

“The chapter orders that any cathedral singer or instrumentalist who uses a paid leave of absence to try out for a post elsewhere shall automatically forfeit his post at Seville Cathedral.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla Cathedral: Chapter Resolution (7 September 1565)

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