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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

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

    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF • “Cantus Mariales” (192 pages)
    Andrea Leal has posted an absolutely pristine scan of CANTUS MARIALES (192 pages) which can be downloaded as a PDF file. To access this treasure, navigate to the frabjous article Andrea posted Monday. The file is being offered completely free of charge. The beginning pages of the book have something not to be missed: viz. a letter from Pope Saint Pius X to Dom Pothier, in which the pope calls Abbat Pothier “a man versed above all others in the science of liturgy, and to whom the cause of Gregorian chant is greatly indebted.”
    —Jeff Ostrowski
    Music List • (2nd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 2nd Sunday of Lent (1 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its somber INTROIT is particularly striking—using a haunting tonality—but the COMMUNION with its fauxbourdon verses is also quite remarkable. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

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“To get people together once a week without an objective is deadly.”

— Dr. Roger Wagner (19 December 1960)

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  • Fulton J. Sheen • “24-Hour Catechism”
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