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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

When Rome Gets It Wrong

Jeff Ostrowski · November 11, 2013

199 Marini Papal Mass with Altar Girls (3/7/2010) AISING A CHILD in the olden days must have been unimaginably difficult. Think of the days before penicillin, running water, and electricity. We ought to get down on our knees each day and thank Almighty God for the gift of modern medicine.

We can look back on those terrible times and be glad they’re finished, done, over with. Similarly, from a liturgical perspective, we can look back upon the dark days of the 1980s and be glad they’re gone. For example, on 5 November 1987, the Congregation for Divine Worship published a document containing several misguided statements. One of the most famous is:

“Musical compositions which date from a period when the active participation of the faithful was not emphasized as the source of the authentic Christian spirit are no longer to be considered suitable for inclusion within liturgical celebrations.”

By way of justification, the Congregation cites — ready for this? — a statement by Pope St. Pius X in a 1903 letter. There’s no need for me to explain why the CDW assertion is bogus; others have already done so. I would simply add that invoking Pius X against Gregorian chant and Renaissance polyphony makes about as much sense as invoking Dr. Martin Luther King in favor of school segregation. Furthermore, the official books issued by the Church even to this day contradict the 1987 statement.

An exceedingly strained exegesis, I suppose, could make that CDW sentence “work.” Perhaps it could refer to excessively long music of the past, but even so, it still amounts to “rearranging deck chairs on the Titanic,” considering liturgical life in the 1980s. Moreover, by a quick Google search, anyone can see that the CDW statement is flagrantly opposed to the clear teachings of the Second Vatican Council (e.g. cf. Sacrosanctum Concilium, §112, §114, and §116).

BUT HOW COULD A ROMAN CONGREGATION be wrong? After all, we’re Catholics … isn’t Rome always right? Well, it’s true that when Peter’s Successor speaks infallibly — that is, when certain conditions are met — regarding faith and morals, we must believe such statements. At the same time, as Fulton Sheen pointed out, “Many a pope has gone through his entire pontificate without ever issuing an infallible statement.” As I mentioned in my series “No Salvation From Decrees,” church officials sometimes make errors of judgement. A famous case was an erroneous ruling by a Roman commission on certain theories of Galileo (although this example is not nearly as damaging to the Church as certain ignorant people think). The Church has also made errors in official documents regarding editions of Gregorian chant. (From what I understand, when a later correction is made, the previous error is “stricken from the record,” similar to how the Egyptians only recorded their victories, not their defeats.) A well-known case dealt with the Editio Medicaea; another condemned the Solesmes rhythmic editions while a certain Cardinal was on vacation (it was reversed when he returned!).

It’s probably fair to say that we Catholics need to stop being so stupid, when our Lord told us we must be “wise as serpents” (Mt 10:16). For example, one of the leading liturgical reformers after the Council was Fr. Godfrey Diekmann, a supporter of women’s ordination, proponent of “hootenanny” Masses, and member of a monastery notorious for sexual abuse of minors. Lex orandi, lex credendi. “We believe as we pray.” Should we be surprised at the results of reforms by “experts” like Diekmann?

DOES IT UPSET ME THAT A ROMAN COMMISSION published an erroneous sentence in the 1980s? Do I lose sleep over the fact that Rome was wrong about the Editio Medicaea in the 19th century? As a matter of fact, I don’t get angry, and let me tell you why.

Every night I read to my daughter before she falls asleep. One book is about sharks; did you know there are more than 400 shark species? My precious little two-year-old has all the sharks memorized — Lemon Shark, Hammerhead, Goblin Shark, etc. — and she points out each one as we read. It’s marvelous, glorious, fantastic, amazing. This is my focus: not some 1980s error by a Roman committee.

Let us calmly follow the example of Msgr. Guido Marini (see above photo). With great peace of soul, he’s preparing the altar girls for a Papal Mass in San Giovanni della Croce (7 March 2010). It’s true that allowing girls to serve at the Altar was a “reform” which might not have been prudent (see here and here), but at this point, what can we do? In truth, very little.

We have much work to do. We have prayers to say and sacrifices to offer up. Abbot Pothier quietly worked within the confines of (flawed) Ecclesiastical law, and ended up causing the most influential musical reform in Church history. He was a saintly, obedient man who shunned any type of scandal or controversy (extant letters to his brother are fascinating). Pay no heed to the piccoluomini, who will answer before Almighty God for what they’ve done. Let us continue doing our work joyfully, with confidence in the Lord and gratitude for all He has given us.

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

Filed Under: Articles Tagged With: Annibale Bugnini Reform Last Updated: January 1, 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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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

“We wish to express the hope that students of Gregorian Chant come back to the pure Vatican Edition, in the ancient block-note form, without the addition of any signs whatever, in order to achieve Gregorian unity.”

— Josef Gogniat (12 March 1938)

Recent Posts

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  • Good Friday Flowers
  • PDF Download • “Entrance Chant” for Holy Thursday (Plainsong in English)
  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”

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