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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

Video • Disrespect For God’s House

Jeff Ostrowski · June 9, 2015

OME WILL CLAIM I’ve posted the below video 1 so we can mock it—with a “holier than thou” attitude—and feel better about ourselves. Those who read my entire article will realize that’s not accurate.


Growing up in a wealthy (mainstream) 1990s Catholic parish, I’m afraid that kind of stuff happened frequently. I was there. I witnessed it.

Please understand: I’m not against people being happy. I think being happy is a blessing. I just feel that in God’s House—where our Lord is present—we ought to maintain a certain level of DIGNITY. The laughing, dancing, giggling, and so forth always struck me as inappropriate and made me uncomfortable. When you read the rest of my article, you’ll see why I bring this up.

SOME POSTCONCILIAR LITURGISTS claim Vatican II changed how we look at the Eucharistic Prayer. According to their theory, the entire Eucharistic Prayer is what causes Transubstantiation—a word they dislike & avoid, by the way. However, another school of thought says the formula printed in a special font (This is my Body, etc.) constitutes the moment when Transubstantiation happens.

Fr. Adrian Fortescue addressed some of these issues 100 years ago:

The practice of elevating the Blessed Sacrament immediately after the words “Hoc est enim corpus meum” had been spoken developed as a sign that the bread was consecrated then at once. For, in the XIIth century—and chiefly at the University of Paris—there was much dispute as to this point; several theologians maintained the view that the bread was not consecrated till after the consecration of the wine. I, myself, am not quite sure. One might perhaps take the elevation as one more dramatic misplacement, like the “immaculata hostia” at the offertory, the Byzantine Cherubikon, and so on. Is Consecration by the words of Institution de fide? It certainly seems to be sententia catholica. Pope Pius VII (May, 1822) forbade any other theory to be defended.   (SOURCE)

Interestingly, the “dramatic misplacements” Fortescue mentions are rejected by progressive liturgists when it comes to the Offertory prayers, which were totally eliminated. Here’s more from Fortescue:

Our baptism service is the obvious parallel case. All through it we ask God to give the child the graces which, as a matter of fact, He gives at once—at the moment at which the essential matter and form are complete. So the Ordination rite dramatically separates the elements of the priesthood (power of sacrificing, of forgiving sins) which, presumably, are really conferred at one moment, when the man becomes a priest. In all such cases we say that at whatever moment of our time God gives the Sacramental grace, He gives it in answer to the whole prayer or group of prayers, which, of course, take time to say.

Why do I bring this up in the same article as that video above?

When St. John Vianney was in the presence of the Sanctissimum, he was so overwhelmed by God’s Presence he could scarcely breathe, move, or speak. 2 Regardless of the precise moment when Transubstantiation happens, the entire Holy Mass is connected to this great miracle. Let us redouble our efforts to maintain proper reverence throughout the entire Mass.

If we try our best to maintain reverence in Church, God will be pleased.



NOTES FROM THIS ARTICLE:

1   I came across this video on a blog called Offerimus Tibi Domine.

2   In former times, men used to smoke cigarettes outside of Church until they heard the “AMEN” of the Credo—which was repeated over and over—then rush into Mass so they could fulfill their obligation which (some said) required physical presence from Offertory till Communion. This is quite different from the example given to us by St. John Vianney.

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

Filed Under: Articles Tagged With: Rev Fr Adrian Fortescue Liturgy 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

    Music List • “Ascension of the Lord”
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for the The Ascension of the Lord—“Festum Ascensionis Domini”—which is transferred to 17 May 2026 in our diocese. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (“Ascéndit Deus in jubilatióne”) is particularly beautiful and the ENTRANCE CHANT is simply splendid. As always, readers may go directly to the flourishing feasts website, where the complete Propria Missae may be downloaded free of charge.
    —Jeff Ostrowski
    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

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

“When there are women members, the choir’s place is to be outside the sanctuary.”

— “Musicam Sacram” (5 March 1967)

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