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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

Pope Pius XII speaks about the Liturgy (1956)

Jeff Ostrowski · July 30, 2013

592 Pacelli Rottenburg Nuncio Pacelli — procession in Rottenburg circa 1919 ECENTLY, I had occasion to consider words spoken by Pope Pius XII on 2 November 1954: “This is to be done only for a justifiable reason, and provided the Bishop has not forbidden it because of the danger that the faithful might think it strange.”

We see that Pius XII is careful, lest any novel liturgical actions harm the faithful. I wish bishops had used the pastoral sensitivity of Pius XII in the years following the Second Vatican Council.

Those words of Pius XII remind me of a private letter written by his predecessor, Pope Pius XI:

Of interest is also a responsum privatum of Pius XI to Rev. Beatus Reiser, O.S.B. (June 29, 1930) concerning the use of the orchestra in church: where it has hitherto not been introduced, it should not be in the future; where it can be done away with without too much difficulty on the part of the faithful, it should be abrogated; but where it is an inveterate custom, the use of orchestra should only gradually be cut back till it disappears; in exceptional cases with the Ordinary’s permission, Mass with orchestra can be permitted. Though this is only a private reply, it gives the mind of at least Pius XI on the matter.   [source]

Again, we see the truly pastoral understanding of these great popes.

YEARS AGO, I SHARED with a very smart priest the words of one of the piccoluomini, who had criticized Pius XII for wearing beautiful vestments. I’ll never forget the priest’s reply: “Yes, men like Pacelli actually knew and believed what the Episcopacy represents.” There was nothing more to be said.

Pope Pius XII was, perhaps, the most intelligent person of the entire 20th century. He wrote so much, it would take a lifetime to read it all (with understanding). For instance, his words on “antiquarianism” (Mediator Dei, 20 November 1947) are worth looking at. So are his words about concelebration quoted in the 1958 Instruction. Speaking of concelebration, Bishop Peter J. Elliott has written:

Concelebrating “mentally”, in total silence, is contrary to the practice of the modern Roman Rite. In 1956, anticipating the restoration of concelebration, Pope Pius XII decided that our Rite would follow the Russian practice whereby all concelebrants articulate the words of the epiklesis and the consecration together with the principal celebrant. Cf. Pope Pius XII, Address to the International Congress on Pastoral Liturgy on the Liturgical Movement, September 22, 1956, II. 1, “Actio Christi”.

I strongly recommend reading the following speech (mentioned by Most Rev. Elliott):

      * *  Pope Pius XII speaks about the Liturgy (22 September 1956)

Therein, Pope Pius XII speaks about so many different aspects of liturgy. And now I will not say another word, because this document speaks for itself. Please read it!

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

Filed Under: Articles Tagged With: Concelebration, His Holiness Pope Pius XII Last Updated: March 16, 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

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    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
    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

“As liturgical art, church music is obliged to conform to ecclesiastical law. But to construct artificial polarities here, between legalistic order and a dynamic church music, demanded by the alleged needs of the day, would be to forsake the foundation of a music rooted in liturgical experience. What is in fact the pastoral value of the shoddy, the profane, the third-rate?”

— Dr. Robert Skeris (1996)

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  • “Dies Irae” • A Monstrous Translation

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