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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

No Salvation From Decrees (1 of 3)

Jeff Ostrowski · September 9, 2013

HOSE WHO DISAGREE with the Church’s traditional embrace of Gregorian chant often make the following claim:

“Vatican II never said Gregorian chant should have pride of place in the liturgy. This only applies to Masses celebrated in Latin.”

As my friend Andrew recently noted, this wrongheaded interpretation is beginning to gain traction. For instance, a 2007 USCCB Committee came out with a document providing “guidelines” (their word) for preparing liturgies in the United States. It is called Sing To The Lord, and §72 acknowledges that Gregorian chant should have “pride of place in liturgical services” under normal circumstances, but provides a footnote:

Musicam Sacram, no. 50a, further specifies that chant has pride of place “in sung liturgical services celebrated in Latin.”

The implication is clear . . . but is that the whole story?

NO, IT IS NOT the whole story. The Second Vatican Council ordered (Sacrosanctum Concilium, §116) that Gregorian chant be given “first place” in liturgical services under normal circumstances because it is “specially suited to the Roman liturgy.” However, a document issued by the Sacred Congregation of Rites four years later (Musicam Sacram) contains an entire section on the use of Latin, which repeats §36 of Sacrosanctum Concilium (“the use of the Latin language is to be preserved in the Latin rites”).

      * * Please take note of the following underlined words.

Toward the middle of that section on Latin, three (3) statements are made:

50. In sung liturgical services celebrated in Latin:

(a) Gregorian chant, as proper to the Roman liturgy, should be given pride of place, other things being equal. Its melodies, contained in the “typical” editions, should be used, to the extent that this is possible.

(b) “It is also desirable that an edition be prepared containing simpler melodies, for use in smaller churches.”

(c) Other musical settings, written for one or more voices, be they taken from the traditional heritage or from new works, should be held in honor, encouraged and used as the occasion demands.

In other words, taken in context, absolutely nothing in Musicam Sacram modifies or amends §116 of Sacrosanctum Concilium. In the section dealing with the use of Latin in the liturgy, this later document merely reminds us that Gregorian chant retains pride of place in these ceremonies (which is no surprise). As a matter of fact, 50a has a “deeper meaning” regarding 50b, but I can’t go into any of that right now — Susan Benofy get into some of it here.

IN CONCLUSION:

Billy claims all Americans can swim. Joseph is an American. Billy says Joseph can swim.

So … where’s the news? I never thought I’d say this, but:   NO.   BIG.   DEAL.

This article is part of a series:

Part 1   •   Part 2   •   Part 3

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

Filed Under: Articles 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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Corpus Christi Watershed

President’s Corner

    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —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
    PDF • “Cantus Mariales” (192 pages)
    Andrea Leal has posted an absolutely pristine scan of CANTUS MARIALES (192 pages) which can be downloaded as a PDF file. To access this treasure, navigate to the frabjous article Andrea posted Monday. The file is being offered completely free of charge. The beginning pages of the book have something not to be missed: viz. a letter from Pope Saint Pius X to Dom Pothier, in which the pope calls Abbat Pothier “a man versed above all others in the science of liturgy, and to whom the cause of Gregorian chant is greatly indebted.”
    —Jeff Ostrowski

Quick Thoughts

    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
    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    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

Random Quote

“The cemeteries are full of people who thought they were indispensable.”

— Fr. Alan Heet, OFM

Recent Posts

  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)
  • Grotesque Pairing • “Passion Chorale”
  • PDF Download • “Ubi Caritas” (SATB)
  • PDF • “Cantus Mariales” (192 pages)

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