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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 Famous “Agatha Christie” Indult

Jeff Ostrowski · June 9, 2014

381 Latin ANY IN OUR SOCIETY live and die by surveys. It’s a free country, so folks can do as they wish, but I know a bit too much about polling methodologies to take seriously such things. “Law and sausage are two things we should never see being made.” Similarly, surveys are nice things to toss around, as long as nobody starts asking uncomfortable questions.

For example, I never respond to surveys, because I’m too busy doing things like providing for my family. Therefore, surveys can never represent my views, in spite of the most sincere assurances by creators: “Oh, we take people like you into consideration.” In the end, surveys only reveal the feelings of people willing to take surveys.

Many love to imagine how “ordinary Catholics” felt about post-conciliar liturgical changes. One extreme claims that 100% of good Catholics rejected 100% of the changes. The other extreme adheres to the “black hole” theory of Bugnini. At some point in the future, I will give my own opinion — although I’m not sure what difference it makes.

Anyhow, search Google for Agatha Christie Indult. I think you’ll be surprised at what you find. I’d be interested to learn from our readers in England how widespread this indult was. However, it’s important to realize that this was for the 1965/1967 Missale Romanum, not the 1962, and there’s a huge difference. I was surprised to see Vladimir Ashkenazy on the list. 1

THOSE WHO HAVE READ HIS BOOK realize that Archbishop Bugnini was a staunch opponent of the 1962 Missale Romanum. His book comes across as one gigantic “pout” — those who disagree with him are called “slanderers” and “persecutors” — and appears to have been published to “even the score” with everyone who crossed him. By the way, here’s what Bugnini wrote about the Agatha Christie Indult.

A few tidbits from his book:

Page 287:   After all, despite his well-known traditionalist views, he was an intelligent man…

In other words, “In spite of his traditionalist leanings, he wasn’t an idiot.” How insulting!

Page 282:   On the feast of Corpus Christi, 1967, Una voce sent the Pope a petition, signed by, among others, educated non-Catholics and expressing “alarm and amazement” at the liturgical reform.

The way he stresses “non-Catholics” strikes me as gratuitous: does he oppose ecumenism? Hundreds more examples could be cited, especially when Bugnini talks about liturgical musicians like Fr. Hignio Anglés. Those who read the book can decide whether they agree that Bugnini’s tone is “hysterical.”

But let us consider one more quote:

Page 296:   It must be acknowledged in all honesty that the Roman authorities were even too understanding and patient.

I disagree strongly with this assertion. (See below.)

ON 3 OCTOBER 1984, the Vatican gave limited permission for use of the 1962 Missal, but the document (Quattuor Abhinc Annos) seems to treat lovers of the Traditional Mass as if they’re criminals. For example, look how “rigid” the rules are:

(a) That it be made publicly clear beyond all ambiguity that such priests and their respective faithful in no way share the positions of those who call in question the legitimacy and doctrinal exactitude of the Roman Missal promulgated by Pope Paul VI in 1970.

(b) Such celebration must be made only for the benefit of those groups that request it; in churches and oratories indicated by the bishop (not, however, in parish churches, unless the bishop permits it in extraordinary cases); and on the days and under the conditions fixed by the bishop either habitually or in individual cases.

(c) These celebrations must be according to the 1962 Missal and in Latin.

(d) There must be no interchanging of texts and rites of the two Missals.

(e) Each bishop must inform this Congregation of the concessions granted by him, and at the end of a year from the granting of this indult, he must report on the result of its application.

Sometimes I wonder what might have happened if Church authorities had been as “rigid” when it comes to prohibiting secular styles of music at Mass.

Last Sunday, visiting a parish we don’t normally attend (in a very rich part of town), we saw that somebody had decorated the entire Church with little “doves” made of white plastic — in honor of Pentecost, I guess. Yet, they totally omitted the Sequence (which is forbidden by liturgical law). If somebody asked why the Sequence was omitted, they’d probably respond, “Oh, singing the Sequence would require too much preparation.”

Can you imagine if such “rigid” rules were in force?

(f) It is not allowed to omit the Sequence on Pentecost. If hundreds of little plastic doves are used for decorations on Pentecost, these efforts shall be redirected to learning the Sequence from the Lalemant Propers, which is an easy version consisting of only three notes.



NOTES FROM THIS ARTICLE:

1   Of course I know all about him, and have followed his career for years, but I consider him a “minor” pianist compared to giants like Hofmann, Godowski, Tiegerman, Rachmaninov, and Horowitz. Then again, almost all the truly great pianists had died by 1971 …

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

Filed Under: Articles Tagged With: Annibale Bugnini Reform, Omitting The Sequence On Pentecost 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

    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski
    Simplified Accompaniment (Epiphany Hymn)
    About a month ago, I created a simplified keyboard accompaniment for “Come, Thou Long-Expected Jesus”—the famous ADVENT hymn—using a melody called CROSS OF JESUS. It was soon downloaded more than 1,000 times. As of this morning, you can download a simplified keyboard accompaniment for the belovèd Epiphany hymn “Bethlehem! Of noblest cities” (O Sola Magnarum Urbium) by clicking on this link (PDF file). Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult, which explains why choirmasters appreciate these simplified keyboard accompaniments.
    —Jeff Ostrowski
    Psalm Tone Challenge!
    Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!
    —Jeff Ostrowski

Quick Thoughts

    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
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

“The introduction of the vernacular will certainly be a great sacrifice for those who know the beauty, the power and the expressive sacrality of Latin. We are parting with the speech of the Christian centuries; we are becoming like profane intruders in the literary preserve of sacred utterance. We will lose a great part of that stupendous and incomparable artistic and spiritual thing, the Gregorian chant. We have reason indeed for regret […] We are giving up something of priceless worth.”

— Pope Paul VI

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