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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

First Look! • Campion Missal and Hymnal for the Laity

St. Edmund Campion Missal and Hymnal · January 31, 2013

The following article was released on 13 January 2013 by several blogs which promote the Traditional Latin Mass. It is reproduced here for ease of reference.


EADERS MIGHT ENJOY this special “first look” at the St. Edmund Campion Missal & Hymnal for the Traditional Latin Mass.

244 Ancient Manuscripts Mass


In celebration of the fact that our Missal began shipping on Tuesday, we are releasing for free and instant download the complete Mp3 recording of a special polyphonic Motet written by the great English composer, William Byrd (†1623), in honor of St. Edmund Campion:

     *  “Why do I use my paper, ink and pen” [mp3]

Why doe I use my paper inck and pen,
and call my wits to counsel what to say,
such memories were made for mortal men,
I speak of Saints, whose names cannot decay,
an Angels trump, were fitter for to sound,
their glorious death, if such on earth were found.

The recording serves as the “soundtrack” (for lack of a better word) as viewers watch the Campion Missal Explanation Video. The Mp3 recording is the work of Matthew J. Curtis, a truly gifted singer. Regarding the text itself, an Edmund Campion scholar sent the following via Email:

“The words are moving because Catholics were forced to use manuscript to disseminate works (printing presses being difficult to buy, conceal and feed; paper being bulky and expensive). This poem, written by Henry Walpole within a month of Campion’s death, was printed in the Alfield, A true reporte of the death & martyrdome of M. Campion Iesuite and preiste; the press of Richard Verstegan was seized. The manuscript version was disseminated widely, and set to music by William Byrd, probably with a few months, although the printed version of Byrd’s setting was not published till 1588, without Campion’s name being included (for obvious reasons, in Protestant England). The poem itself is remarkable, since it is in the same form as Shakespeare’s Venus and Adonis: six-line stanzas of rhyming iambic pentameters (unstress/stress). There are thirty of them, divided into clear groups of ten. In other words, it is much more than a popular ballad, and has (unlike many modern Catholic hymns) a very clear concordance between words and metre.”

The picture at the beginning of this article is a snap shot of one of the spreads from the Campion Missal. The reader will notice that, for the first time in history, ancient manuscripts (several going back to the 7th century) were included alongside the Mass Ordinary.

Here are a few more snapshots of the Campion Missal:

     *  Cover Art

     *  Line Art – Sample 1

     *  Line Art – Sample 2

     *  Hymn Sample

     *  Kyriale Sample

     *  Low Mass Spread – Sample 1

     *  Low Mass Spread – Sample 2

     *  Solemn Mass Spread – Sample 1

     *  Solemn Mass Spread – Sample 2A

     *  Solemn Mass Spread – Sample 2B

     *  Solemn Mass Spread – Sample 2C

     *  Smyth Sewn Binding of the absolute highest quality


The size of this 992-page book is a perfect fit for Catholic pews:

249 Width Campion


You can also read the Editor’s Preface.

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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President’s Corner

    “Common” Responsorial Psalm?
    I try to avoid arguing about liturgical legislation (even with Catholic priests) because it seems like many folks hold certain views—and nothing will persuade them to believe differently. You can show them 100 church documents, but it matters not. They won’t budge. Sometimes I’m confronted by people who insist that “there’s no such thing” as a COMMON RESPONSORIAL PSALM. When that happens, I show them a copy of the official legislation in Latin. I have occasionally prevailed by means of this method.
    —Jeff Ostrowski
    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —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 Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church’s ceremonies and powerfully lifts up man’s mind to God and to higher things.”

— Vatican II Council

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