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Views from the Choir Loft

Possessors of a Rich Tradition

Dr. Peter Kwasniewski · February 7, 2013

ATICAN II SAYS that “care should be taken that people can sing in Latin these parts of the Mass.” Why? Because they are our heritage. They come to us from centuries of faith and prayer and art. Our heritage defines who we are. And frankly, it’s not too much to ask people to know the songs, poems, and prayers of their ancestors. How hard is it to learn that “Kyrie eleison” = “Lord, have mercy”? One figures that out in about three seconds. Or the Gloria—this is a hymn that has not changed at all in 1,500 years. We say it week in, week out. One doesn’t have to be a rocket scientist to learn what the Latin words of the Gloria correspond to in English (e.g., “miserere nobis” = “have mercy on us”). So, the idea that we must never use a sacred language for worship because it would prevent “active participation” is simply ludicrous—a thinly-veiled excuse for not making an effort to embrace our heritage, as the Council itself and the Popes before and after it have continually asked us to do.

My experience, in many different settings, has been exactly the opposite. When they are finally exposed to it (as the Council demanded), young people are proud to be the possessors of such a rich tradition: it makes them think about their faith even more, react to it as something obviously different than what the world has to offer, and embrace it more fully. In general, when we give Catholics more to take pride in and take possession of, we are surprised to find that they rise to the challenge and glory in the result. Making things “accessible” by simplification and modernization has been tried and found wanting, again and again. One wonders, with not a little vexation at human myopia, how many more decades will have to pass in which trite tunes and superficial verbiage will be shoved down the throats of Catholics around the world, while the crisis of the mainstream Church continues, escalates, radicalizes, and implodes. I see in my mind’s eye the pathetic spectacle of a Mass, ca. 2035, in which an ancient priest preaches to an empty church while, just off to his left, three or four elderly women croak out Haugen-Haas tunes to the accompaniment of a broken-down piano.

I am even aware of dioceses where the new translation of the Roman Missal has occasioned the choice and imposition of musical settings of the Mass that are even worse, in their discontinuity from tradition and their egregious lack of good taste, than the tripe that was being served up before. One asks oneself: Is this what the new translation has gotten us? One wonders if the operative motto might be: “Boldly Leading the Way into the 1970s.” Quite as if Sacrosanctum Concilium 116, Blessed John Paul II’s Ecclesia de Eucharistia, Pope Benedict XVI’s Sacramentum Caritatis, and a host of other documents had never even been written and promulgated! The strategy of the dying liberals is to ignore, ignore, ignore the Magisterium in the hopes that it will just go away.

“This, too, shall pass.” Meanwhile, the chapels of traditional Catholicism will continue to expand and multiply, bursting their seams with countless children in homeschooling networks, altar boys in cassock and surplice, choirs and scholas, sodalities, and so many of the trimmings and trappings of a genuine Catholic culture (or, I should say, counterculture). The grim watchmen of the liberal Church try very hard not to notice this demographic shift and, when they notice it, bitterly dismiss it as reactionary nostalgia and postmodern escapism. We can be patient and put up with the whining and hand-wringing of our foes, for they will live only a few short years on this earth, but the Tradition of the Church, already 2,000 years old, will effortlessly outlast them—indeed, will never die, and will live on in the hearts of all who love the beautiful and the eternal. Daily winning to herself converts and champions, the traditional Church in her perpetual youth is the real answer to the crisis of our wayward age.

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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About Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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Corpus Christi Watershed

President’s Corner

    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —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

“If we continue to tolerate sad examples of liturgical abnormalities, experimentation, abuse, and simply poor-quality liturgies, why should we single out those connected to the ancient rites of the Church for special vigilance? It just doesn’t seem right.”

— An Example of a response (sent to Pope Francis) Re: the TLM

Recent Posts

  • Urgent! • We Desperately Need Funds!
  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?

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