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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

Possessors of a Rich Tradition

Dr. Peter Kwasniewski · February 7, 2013

ATICAN II SAYS that “care should be taken that people can sing in Latin these parts of the Mass.” Why? Because they are our heritage. They come to us from centuries of faith and prayer and art. Our heritage defines who we are. And frankly, it’s not too much to ask people to know the songs, poems, and prayers of their ancestors. How hard is it to learn that “Kyrie eleison” = “Lord, have mercy”? One figures that out in about three seconds. Or the Gloria—this is a hymn that has not changed at all in 1,500 years. We say it week in, week out. One doesn’t have to be a rocket scientist to learn what the Latin words of the Gloria correspond to in English (e.g., “miserere nobis” = “have mercy on us”). So, the idea that we must never use a sacred language for worship because it would prevent “active participation” is simply ludicrous—a thinly-veiled excuse for not making an effort to embrace our heritage, as the Council itself and the Popes before and after it have continually asked us to do.

My experience, in many different settings, has been exactly the opposite. When they are finally exposed to it (as the Council demanded), young people are proud to be the possessors of such a rich tradition: it makes them think about their faith even more, react to it as something obviously different than what the world has to offer, and embrace it more fully. In general, when we give Catholics more to take pride in and take possession of, we are surprised to find that they rise to the challenge and glory in the result. Making things “accessible” by simplification and modernization has been tried and found wanting, again and again. One wonders, with not a little vexation at human myopia, how many more decades will have to pass in which trite tunes and superficial verbiage will be shoved down the throats of Catholics around the world, while the crisis of the mainstream Church continues, escalates, radicalizes, and implodes. I see in my mind’s eye the pathetic spectacle of a Mass, ca. 2035, in which an ancient priest preaches to an empty church while, just off to his left, three or four elderly women croak out Haugen-Haas tunes to the accompaniment of a broken-down piano.

I am even aware of dioceses where the new translation of the Roman Missal has occasioned the choice and imposition of musical settings of the Mass that are even worse, in their discontinuity from tradition and their egregious lack of good taste, than the tripe that was being served up before. One asks oneself: Is this what the new translation has gotten us? One wonders if the operative motto might be: “Boldly Leading the Way into the 1970s.” Quite as if Sacrosanctum Concilium 116, Blessed John Paul II’s Ecclesia de Eucharistia, Pope Benedict XVI’s Sacramentum Caritatis, and a host of other documents had never even been written and promulgated! The strategy of the dying liberals is to ignore, ignore, ignore the Magisterium in the hopes that it will just go away.

“This, too, shall pass.” Meanwhile, the chapels of traditional Catholicism will continue to expand and multiply, bursting their seams with countless children in homeschooling networks, altar boys in cassock and surplice, choirs and scholas, sodalities, and so many of the trimmings and trappings of a genuine Catholic culture (or, I should say, counterculture). The grim watchmen of the liberal Church try very hard not to notice this demographic shift and, when they notice it, bitterly dismiss it as reactionary nostalgia and postmodern escapism. We can be patient and put up with the whining and hand-wringing of our foes, for they will live only a few short years on this earth, but the Tradition of the Church, already 2,000 years old, will effortlessly outlast them—indeed, will never die, and will live on in the hearts of all who love the beautiful and the eternal. Daily winning to herself converts and champions, the traditional Church in her perpetual youth is the real answer to the crisis of our wayward age.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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Corpus Christi Watershed

President’s Corner

    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

On 12 March 1908, Feast of St. Gregory the Great, the complete publication of the “Graduale” was issued by the Vatican Press. That very day, Dom Pothier solemnly presented the first copy to the Holy Father. Pius X wished to be the first to see the new book; he opened it at random, at page 128 of the supplement “pro aliquibus locis”—the Introit of the new Feast of Our lady of Lourdes. The Pope sang it with perfect taste to the last note.

— A witness of the papal audience writing circa 1915

Recent Posts

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  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)

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