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Views from the Choir Loft

Annibale Bugnini’s Commentary (June 1967)

Jeff Ostrowski · July 2, 2015

570 Hannibal Bugnini IMAGE HEN I FIRST READ Annibale Bugnini’s massive book, “The Reform of the Liturgy,” I recall being struck by his polemical—almost petulant—tone. It was as if all his pent-up ire finally had an opportunity to be released, and he reserved special contempt for one of the heroes of sacred music, Msgr. Johannes Overath. For Bugnini, there was no such thing as a valid criticism or suggestion; these were labeled as “attacks” (a word he uses constantly throughout the 974 pages of his book).

The tone is quite different this 1967 document in which Bugnini reflects on Tres Abhinc Annos (a.k.a. “The Second Instruction”) promulgated on 4 May 1967:

    * *  PDF • Commentary on TRES ABHINC ANNOS

This document is unimportant—since massive liturgical changes came two years later—but what’s interesting is Bugnini’s euphoric tone and overstated claims about liturgical changes. His testimony is 100% at odds with what I’ve been told by priests and laymen who experienced the reforms of the 1960s, yet Bugnini claims the changes have “been received everywhere with great satisfaction.” For instance:

The faithful everywhere have responded generously, and have greeted the “new” liturgy with great joy. There can be no doubt that interest in the liturgy has increased…

The recent “Second Instruction” on liturgical modifications has been received everywhere with great satisfaction and…with a spirit of joy…

Yet, you can see from his commentary that he desires more. For instance:

Our experience of the vernacular, and of celebrations versus populum, has shown that certain particular ceremonies are no longer of use; they can easily be changed, without altering the present liturgical books, in harmony with the guidelines of the renewal.

It’s also important to read Cardinal Antonelli’s testimony regarding Archbishop Bugnini.

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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Corpus Christi Watershed

President’s Corner

    Proof Which All Can Immediately See!
    “A little knowledge is a dangerous thing,” as the famous maxim goes. Over the years, I’ve observed malicious attacks on the Brébeuf Catholic Hymnal. Rather than scoring a ‘hit’ on the Brébeuf Hymnal, its attackers often reveal profound ignorance. I’ve been advised never to reply … but I break that rule today. Certain voices online assert that the Brébeuf Hymnal is “untraditional” because it includes both the Urbanite and pre-Urbanite versions of the hymns. But if only they would glance at a copy of the 1913 VESPERALE (printed by order of Pope Saint Pius X) they would see how mistaken such statements are.
    —Jeff Ostrowski
    New Bulletin Article • “8 June 2025”
    My pastor requested that I write short articles each week for the parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article includes a few anecdotes about Archbishop Fulton J. Sheen and Abraham Lincoln.
    —Jeff Ostrowski
    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

In the place of liturgy as the fruit of development came fabricated liturgy. We abandoned the organic, living process of growth and development over centuries, and replaced it—as in a manufacturing process—with a fabrication, a banal on-the-spot product.

— ‘Pope Benedict XVI, describing the postconciliar liturgical reforms’

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