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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 New Spanish Missal as Opportunity

Fr. David Friel · August 12, 2018

OST English-speaking Catholics can remember the days of Advent 2011, when the present translation of the Missale Romanum was in its infancy. Anyone who has been involved in sacred music since that time can recount how significant that moment was for the Church in the Anglophone world. The adoption of that missal was about much more than just a new translation. That moment provided an opportunity for renewal in every area of parish liturgical life—a renewal that has taken root and borne fruit in many places.

A great deal of preparation went into the implementation of the 2011 English missal. There were pew cards, musical inserts, clergy workshops, adult education sessions, diocesan guidelines, etc. Well before it went into effect, the 2011 English missal was recognized as an important juncture in the life of the Church, and leaders rightly made sure that this juncture would not be crossed unaware.

Another moment, with similar possibilities, is upon us.

The rollout of a new Spanish translation of the Latin, 3rd typical edition of the Missale Romanum has begun. This new missal—the Misal Romano, tercera edición— has been produced for use in the United States of America. It became available from publishers beginning in May 2018, and its use has been optional since the Vigil of Pentecost (19 May 2018). Its implementation becomes mandatory on the First Sunday of Advent (2 December 2018).

Although my assessment is undoubtedly affected by the fact that I don’t presently work directly with any Spanish-speaking communities, it seems to me that preparation for this new Misal Romano has been less extensive than was the preparatory phase of the 2011 English missal. In one respect, this makes sense, inasmuch as the contrast between the new Spanish translation and the former version is not nearly as pronounced as was the difference between the old and new English translations. Nevertheless, making an adequate effort to prepare for the new Spanish missal remains essential.

One aspect of the new Misal Romano which deserves serious attention is its incorporation of chant. Just as the 2011 English edition of the missal was groundbreaking in its extensive use of musical notation for many of the chants of the Mass, so too the new Misal Romano, tercera edición will feature a wealth of quality chants for the Ordinary. The music of the new Spanish missal affords parish priests and musicians a prime opportunity to reintroduce truly sacred music into their celebrations, in place of the American-Hispanic music that has for so long been imposed upon their communities.

EADING THE WAY in this regard is the Zipoli Institute, an apostolate of the Institute of the Incarnate Word that provides resources to help make sacred music accessible in mission territories. The institute has published a lovely and user-friendly website that is rich with musical resources.

The new Spanish missal chants, which have been authorized for free and wide dissemination by the International Commission on English in the Liturgy (ICEL), are available from their website. Among their excellent Spanish resources are:

1. Practice recordings of the Misal Romano chants (in both standard and low pitches)

2. A printable booklet of the Misal Romano chants for congregational use (in both single-sheet and double-sheet formats)

3. A collection of quality, Spanish hymns for various occasions

In addition to their online resources, the Zipoli Institute is also sponsoring workshops to prepare clergy and laity for the implementation of the new Misal Romano. Their first workshops were held this spring in Washington, DC (27-28 April 2018).

Their next set of workshops will be held in Philadelphia, with a clergy-only presentation set for 9 November 2018 at St. Charles Borromeo Seminary. A presentation tailored to music directors, choirs, and congregations (but open to all) is scheduled for the next day, 10 November 2018, at the Archdiocesan Pastoral Center. The presenter on both days will be Fr. Andres Ayala, IVE.

A flyer with more details on these free workshops in Philadelphia is available:

    * *  PDF Download • SPANISH VERSION

    * *  PDF Download • ENGLISH VERSION

It should be noted that the Zipoli Institute is also a treasure trove of materials for the sung Mass in English and for Mass in the Extraordinary Form. Additional materials are provided or referenced for sacristans, for funeral/wedding planning, and for singing polyphony.

UCH GOOD has been accomplished over recent years in the world of Catholic sacred music in the English language. It took several decades to pass after the Second Vatican Council, but finally quality resources have emerged to facilitate the widespread use of English Propers and a nobler singing of the Ordinary.

The world of Catholic sacred music in the Spanish language cannot and should not be ignored. This new Misal Romano presents an immense opportunity for the Church in the United States of America. Let us pray that the introduction of this new translation of the Misal Romano will enable Spanish-speaking Catholics to sing a truly new song to the Lord!

Cantad al Señor un cántico nuevo, porque ha hecho maravillas . . . Aclamad con júbilo al Señor, toda la tierra; prorrumpid y cantad con gozo, cantad alabanzas. (Salmo 98)

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

Filed Under: Articles Tagged With: ICEL New Translation of the Roman Missal, Misal Romano, Roman Missal Third Edition, Spanish Hymnal for Catholics, Zipoli Institute Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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President’s Corner

    Simplified Accomp. • Schubert’s “Ave Maria.”
    Sometimes the organist must simultaneously serve as the CANTOR. (Those who work in the field of church music know exactly what I’m talking about.) One of our contributors composed this simplified keyboard accompaniment for Franz Schubert’s “Ave Maria,” a piece which is frequently requested for Catholic funerals and weddings. In terms of the discussion about whether that piece is too theatrical (‘operatic’) for use in Church, I will leave that discussion to others. All I know is, many church musicians out there will appreciate this simplified version.
    —Jeff Ostrowski
    “Reminder” — Month of April (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 Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simply click here and scroll to the bottom. 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. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski

Random Quote

“One can still have silence even during the Canon, since one is not obliged to recite the Canon audibly at all times. A quieter, less powerful tone of voice will always permit an opportunity for personal, silent prayer.”

— Joseph Cardinal Frings (25-jan-1968), patron of “Consociatio Internationalis Musicae Sacrae” (papal church music association)

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