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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 Translation of the Roman Missal

Jeff Ostrowski · February 23, 2013

ORE THAN a billion people currently belong to the Catholic Church. A considerable number of those people speak (or read) English. When the new English translation was introduced, I had expected a tremendous outcry. Why? Because translations, by their very nature, are usually something about which nobody is happy. There’s an old expression: The translator is a traitor.

However, the new translation of the Roman Missal has been around for more than a year, and I have yet to read a single serious article or paper calling for a return to the old translation. I have yet to encounter a single serious Catholic priest or bishop who does not admit that the Roman Missal, Third Edition is a vast improvement. Nor have I seen any serious article making the case that the old translation was more accurate than the current one.

Before going further, let us remind ourselves what the “old ICEL” translation was like. One good way to do this would be to read the following 1990 article by Msgr. Schuler:

          *  Article by Msgr. Richard J. Schuler about the “old” ICEL translation [pdf].

As alluded to above, translations are similar to hymns: everybody always has something to say about them. Everyone always has an opinion. Everybody always wants to toss in his “two cents.” The fact that not one serious person has, for instance, drawn up a chart attempting to show that the old ICEL translation was more accurate than the new astounds me.

What do I, personally, think of the new translation? I think it is a vast improvement and makes a tremendous difference because it is so much more accurate than the previous ICEL translation. For instance, look at the old ICEL version of the “Exsultet” and compare it to the original Latin. It was a travesty and an embarrassment.

I do feel that the new translation is not as beautiful as it might have been. For instance, it pales in comparison to many of the translations used before the Council. ICEL would have been able to produce a much more beautiful translation if they had taken the time to carefully consult the old daily missals (“hand missals”) like the St. Joseph Daily Missal, Fr. Lasance’s Missal, and so forth. Furthermore, some of the “politically correct” phrases sound like nails scratching on a chalk board to my ears. “And peace on earth to people of good will” comes to mind.

Having read numerous articles like the one written by Msgr. Schuler, I can only guess that the almost total lack of serious criticism of the new translation can only be attributed to the unbelievable depravity of the previous ICEL translation (created, I believe, around 1969). As many people have commented over the years, the previous translation (in many instances) was unworthy of any self-respecting first year Latin student. I should add: one of the reasons that the new translation was so much more accurate is that, a few years ago, the Holy Father completely reformed ICEL.

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 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

    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

“We know that originally the offertories of the repertoire included a series of verses, just like the introit and the communion, but generally more ornate. Many of these are musical compositions of great beauty. They quickly fell into disuse, and we find them only in the most ancient manuscripts. The only remaining trace of this older arrangement in our present-day liturgy is that of the offertory of the Requiem Mass.”

— Dom Joseph Gajard (1956)

Recent Posts

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  • “Reminder” — Month of April (2026)
  • “Gregorian Chant Isn’t a Platform for Your Personal Theories, Jeff” • (A Letter We Received)

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