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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

On Aweful Ambos and Lilliputian Lecterns

Dr. Peter Kwasniewski · October 24, 2013

295 difference between pulpit lecturn Image from the Campion Missal & Hymnal HE LITURGICAL reformers of the 1960s and 1970s claimed that their decisions were motivated by a desire to recover elements of Christian antiquity and the worship of the “early Church.” I am continually surprised that their claims are taken seriously.

First, there is the simple problem that we know relatively little about worship in the apostolic period. Scripture gives us some precious insights, but rich detail on liturgical praxis comes much later on, when a significant amount of development had already taken palce. Second, the very fact that development occurred, and occurred with the approval of the Church’s leaders and people, should be enough to convince us that liturgy, too, is part of that “fullness of truth” into which Jesus promises we will be led by the working of the Holy Spirit in the Church. Third, the particular ways in which the liturgy slowly grew in reverence, solemnity, and symbolism are no less in God’s Providence than the original institution of the Most Holy Eucharist at the Last Supper. Hence, it is prima facie illegitimate to suggest that stripping away developments (called “accretions” by the scholars) is a path back to a liturgy that is somehow more perfectly what the Lord intended. This is a colossal begging of the question. It has been necessary from time to time to gently prune or carefully reorganize certain aspects of the Church’s liturgy, but the structure, ritual, major prayers, and chants have tended to be left intact, because of a humble spirit of reverence for what has been handed down, that is, tradition as such.

THE OTHER THING that should tip us off to the dissembling of the liturgical reformers is that they were highly selective in the ancient elements they retrieved, ignoring anything they didn’t happen to agree with. If the liturgical reformers had sincerely wanted to make the liturgy more like what they might have viewed as the liturgy’s “high period,” they would, for instance, have re-introduced majestic processions and have preserved or re-established the custom of preaching from the elevated pulpit.

Let me take up that last example, since it is rarely considered nowadays.

In Europe’s churches, it is pathetic to see the priest at Mass reading from an insubstantial lectern with a piece of unremarkable cloth or felt draped over it, when twenty feet above him to the side is a beautifully carved, mighty-looking perch from which the Word of God can be worthily proclaimed and a homily preached. Nowadays these pulpits collect dust and are barely noticed except by students of art history. In America, only older, European-derived churches had such pulpits, and even so, the “re-ordering” of the sanctuaries after Vatican II meant the destruction of many such pulpits along with the sanctuaries.

What is the secret fear of the appearance of solemnity, authority, majesty? Have we entirely lost confidence in the splendor of truth, the glory of religion, the beauty of God’s house, the thunder of God’s voice, the nobility of Christ’s priesthood? Are we afraid of giving a “triumphalist” impression? Do we want to reduce everything Christ said and did to a calm, comfortable living room soirée? Proclamation, dear friends, is not the same as either reading aloud or conversing pleasantly to pass the time!

If one wishes the “common people” to participate actively in the liturgy, then one will respect the most elementary facts of human psychology: a slowly processing line of beautifully vested ministers gracefully approaching the altar, to the accompaniment of the mighty sound of the pipe organ or the heavenly melody of chant, engages the senses and the soul with a deeper and more lasting effect than an ill-clad priest shyly stepping out of the sacristy door and beginning Mass at a toothpick lectern (as I often saw happen in Europe).

If any element or aspect of the liturgy does not effectively convey to a young child that this activity in which we are participating is different and special, then it has, at some level, failed. The bowing priest reciting the Confiteor, the acolyte swinging a censer, the subdeacon, deacon, and priest aligned hierarchically during solemn Mass, the awesome stillness of the Roman Canon—all of these things speak directly to the heart, to the heart even of a little child who has managed to sit still and watch.

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 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

    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (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
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

The Princess of the Palatinate once described German Protestantism to Louis XIV with this formula: “In our country, everyone makes up his own little religion.” Every priest, or almost every priest, is at this point today. All the faithful have to say is “Amen.” They are still blessed when the pastor’s religion does not change every Sunday, at the whim of his reading, the foolery he has seen others at, or at his own pure fancy.

— Professor Louis Bouyer (1968)

Recent Posts

  • “Thee” + “Thou” + “Thine”
  • PDF Download • “For Pentecost Sunday”
  • “Reminder” — Month of May (2026)
  • “Englished” Gregorian Chant • 5 Considerations
  • Simplified Version • “Canon in D” (Pachelbel)

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