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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

The Gather Hymnal

Jeff Ostrowski · June 24, 2013

ROWING UP in the 1990s, I missed a lot of the “liturgy wars.” I will forever be grateful to my parents who remained faithful to the Church, no matter how many scandals they witnessed along the way. It’s no secret that a great many people tried to harm the Church from within following the Council. What I am only just now beginning to realize is how creative some of these people were! Perhaps “creative” is not the right word. Let me describe a few instances, and the reader can devise his own word.

Just think about the very title, the very name, of one of the most popular Catholic hymnals: “Gather.” Without going into conspiracy theories, ponder that title. Is the emphasis not obvious? Mass is all about us. Our “gathering” is what’s important. Forget about the Sacrifice of Calvary, forget about the presence of our Lord Jesus Christ. The main emphasis is placed on the fact that we, the important, highly-evolved, 21st-century people are taking time to “gather” with other important, highly-evolved, 21st-century people.

Perhaps I’m the odd man out here. Perhaps I’m the one whose religious sense is skewed. But let me be clear: growing up, especially on those occasions we attended the Extraordinary Form, I never thought about the act of “gathering.” I thought about Christ. I thought about my sins. I thought about the precious gift of the Mass. I engaged in silent reflection and adoration of God. I thought about how transient life’s pleasures are. I thought about many things, but not “gathering.”

I suppose the enlightened “piccoluomini” will be tempted to chime in and explain Matthew 18:20 (“Where two or three are gathered together . . .”), but such an explanation is not needed. I fully believe and accept Matthew 18:20, a truly beautiful and important verse, as the Catholic Church explains it, but here I am speaking of emphasis.

LET US CONSIDER another example: kneeling. When I was little, I heard my parents talk about people trying to “get rid of kneeling during Mass.” I said to myself, “Yeah, right. Take a chill pill. Who would ever get rid of kneeling at Church? C’mon.”

Well, it turns out this movement is still alive. I received via Email (from a reader who will remain anonymous) the following comment, made on 30 May 2013, by the former president of Universa Laus, an organization specifically requested to “dissolve itself” by Pope Paul VI:

The desire to get people onto their knees shows a one-sided view of history, both liturgical and general. Standing is a sign of respect, whereas kneeling is a sign of self-abasement. We don’t kneel down when the President or the Queen enters the room, we stand out of respect. Yes, we bow to both of those, and ladies curtsey when presented, but we don’t kneel or kiss feet. If Jesus entered the room, we’d be on our feet in an instant. I have little time for a mediaeval posture which is to a large extent a distortion of the traditional prayer postures of the Church.

LET ME SAY AGAIN: I couldn’t even dream up some of this stuff! Another piccoluomini movement I remember hearing about in the 1990s was NAAC (“No Adoration At Communion”). It turns out NAAC is also still around. One of the signers of the Snowbird Statement on Catholic Liturgical Music wrote on 12 October 2012:

There are fourteen hymns contained in the section titled “Blessed Sacrament.” These hymns are meant to be sung at communion and/or Benediction. I see this as a major theological gaffe. Hymns that memorialize the sacrificial meal of Jesus should be distinct from those intended for adoration of the Blessed Sacrament. The communion bread at Mass is not appropriately called the Blessed Sacrament, [Huh?!!] a term reserved for the adoration of the element in the context of Benediction. The two are indissolubly linked, of course, but they are two distinct moments in Catholic liturgical life and devotion. The editors should have made a clear distinction between the two.

AS A CHILD, I was taught about the transcendence of God. At Mass, time seemed to stop. It was all about peaceful prayer and adoration. It was contemplative. Statements like the following, by Fr. William Bauman (former Chairman of the Music Committee of the Federation of Diocesan Liturgical Commissions) would never occur to me:

These would not be destined to go into a hymnal, for by their very nature as popular music, they finally pass out of popularity. They would, however, be able to be quickly used by those who make their own hymnals, quickly printed in periodical publications while they are still fresh and useful. [source]

More strange quotes can be found here. One such quote:

The hootenanny Mass can give explicit eucharistic and christological specification to youth’s intense involvement in the movements for racial justice, for control of nuclear weapons, for the recognition of personal dignity.

IN THE WORDS OF VANESSA WILLIAMS, I have “saved the best for last.” The winner is Fr. Frederick McManus, who once made the following claim. Note in particular the mental gymnastics necessary to twist the clear meaning of the Second Vatican Council (Sacrosanctum Concilium, §36):

“Although it is not the original language of the Roman rite by any means, [Excuse me, but who EVER made such a claim??] the Latin language is here acknowledged to have the first or principal place, and as such it is to be retained. It may be that in some areas the retention will simply mean employing the Latin texts as the basis for translating into the vernacular [!!!!!], at least in the case of those parts of the Roman rite which are themselves original, such as the collects.”

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

Filed Under: Articles Tagged With: GIA Worship IV Hymnal, Heretical GIA Hymns Last Updated: July 7, 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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President’s Corner

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    Our tiny 501(c)3 nonprofit organization exists solely by generous readers who donate $5.00 per month. We have no endowment; we have no major donors; we run no advertisements; we have no savings. A donor wrote to us: “I so appreciate all you do and have done, and your generosity is unprecedented. I am honored to be able to make a monthly contribution.” Another monthly donor says: “Thank you for everything CC Watershed does. We are able to add so much solemnity to Holy Mass due to the resources made available here.” Can you spare a few dollars each month to help us survive?
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    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (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. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —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

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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