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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

    “Holy Name Hymn” (2-Voice Arrangement)
    When we post a direct URL link, we frequently get thousands of downloads. But when scrolling is required, very few take the time. I mention this because those who click on this URL link and scroll to the bottom can download—completely free of charge—a clever 2-voice arrangement for a famous hymn to the Most Holy Name of Jesus. In a pinch, it can be nicely sung by one male and one female! It will be of interest to those who seek arrangements for two voices.
    —Jeff Ostrowski
    PDF Download • Introit (3rd Sn. Ord.)
    This coming Sunday, 25 January 2026, is the 3rd Sunday in Ordinary Time (Year A). The ENTRANCE CHANT (“Dóminus secus mare”) is somewhat rare because it comes from the New Testament. The authentic version in Latin—of astounding antiquity—was jettisoned in 1955 but restored in 1970. This rehearsal video has me attempting to sing the melody while simultaneously accompanying myself on the organ. I encourage you to print off the organ accompaniment (PDF) and play through it because it has extremely ‘happy’ harmonies.
    —Jeff Ostrowski
    “Lamb of God” (Musical Setting)
    The MASS OF SAINT ANNE LINE has been quite popular ever since ROMAN MISSAL Third Edition was released circa 2011. You can now download the musical score (PDF) for this setting, placed into five (5) different keys; i.e. “pitch levels” that are high and low. This makes it possible to adjust based upon who’s singing at which time of day.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of January (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. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —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
    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski

Random Quote

It was thought important that the song should actually accompany the distribution of Communion. A Carolingian explanation of the Mass remarks that during the Communion “soft melody should touch the ear [of the faithful] so that hearing this sound they would busy themselves less with distracting thoughts and … their hearts would be moved to humble love for that which they receive.”

— Father Josef Andreas Jungmann

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  • PDF Download • Introit (3rd Sn. Ord.)
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