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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

An Ordinary-Form Missa Cantata (almost)

Aristotle A. Esguerra · March 4, 2013

Given the events that are taking place in the Church these days, I doubt that this post will receive much attention; however, as restoration of liturgical beauty has been a hallmark of Pope Benedict’s papacy, mentioning the local impact of his leadership seems noteworthy.

Saturday, March 23, marked the third consecutive time that I was asked to lead the Knights of Divine Mercy schola cantorum at the closing Mass of the Diocese of Madison‘s Men’s Lenten Retreat. This year’s Mass (an anticipated Mass for the Second Sunday of Lent) was as close as it has been to the Missa Cantata, the Sung Mass so desired by the Church to be the norm in the Latin Rite but so exceptionally rare in practice, especially in the Ordinary Form.[1] The Mass, which was celebrated by Msgr. James Bartylla,[2] the Vicar General of the Diocese of Madison, was sung a cappella or said in English unless otherwise specified:

Introductory Rites
Entrance Procession and Incensation of the Altar (Psalm 25: 6, 3, 22; 1–3; Glory Be; Simple English Propers, pp. 64–65): sung by the schola cantorum
Sign of the Cross: Missal, solemn tone
Greeting “Grace and peace…”: Missal, solemn tone
Penitential Act “Have mercy on us, O Lord…”: Missal, solemn tone
Kyrie: Mass XVI, Greek, sung by all
Collect[3]: Missal, solemn tone
Liturgy of the Word
First Reading (Gen 15: 5–12, 17–18): Missal tone for the first reading, sung by a server/reader
Responsorial Psalm (cf. Ps 27: 1a, Modal Responsorial Psalms, p. 39): sung by psalmist; response sung by all.[4]
Second Reading (Phil 3: 17–4: 1): Missal tone for the second reading, sung by another server/reader
Gospel Acclamation (“Praise to you, Lord Jesus Christ…”, Modal Responsorial Psalms, p. 39): led by cantor; response sung by all
Gospel (Lk 9: 28b–36): Missal, simple tone, sung by the Priest
Homily: spoken
Creed: spoken (the Missal provides two melodies)
Prayer of the Faithful: spoken (the Missal provides four melodic formulas)
Liturgy of the Eucharist
Preparation of the Offerings and Incensation (Psalm 119: 47, 48; Psalm 119; Simple English Propers, pp. 65–66): sung by the schola cantorum
Invitation to Prayer “Pray, brethren, that my sacrifice”: Missal, solemn tone
Prayer over the Offerings: Missal, solemn tone
Preface: Missal tone
Sanctus: Mass XVIII, Latin, sung by all
Eucharistic Prayer II: Missal tone
Mystery of Faith “Save us, Savior of the world…”: Missal tone
Doxology: Missal, solemn tone
Communion Rite
Lord’s Prayer: Missal tone for the Dioceses of the United States
Embolism and Doxology: Missal tone
Sign of Peace: Missal tone
Agnus Dei: Mass XVIII, Latin, sung by all
“Behold the Lamb of God” dialog: Missal tone
Communion Chant I (Matthew 17:9; Psalm 45; Simple English Propers, pp. 66–67): sung by the schola cantorum; Latin Gregorian antiphon sung by a solo cantor
Communion Chant II (John 6:51a; Psalm 23; English chant derived from the Latin original found in the Graduale Simplex): sung by a solo cantor
Prayer after Communion: Missal, solemn tone
Concluding Rites
Blessing: Missal, solemn tone
Dismissal “Go and announce…”: Missal tone
Hymn: “What Wondrous Love is This”

This year the schola cantorum was spread rather thinly, as only four men including myself were able to chant; others in the group were called to serve at the altar.

I think moving towards actually enacting what the Church asks in regard to the singing of the words of the Mass instead of relegating it to a printed book ought to be a primary objective, given the Year of Faith theme for our diocese: “Evangelization through Beauty”.[5]


[1] “For the celebration of the Eucharist with the people, especially on Sundays and feast days, a form of sung Mass (Missa in cantu) is to be preferred as much as possible, even several times on the same day.” Musicam Sacram Instruction on Music in the Liturgy, ¶27, emphasis added. Although some may argue that this instruction doesn’t apply to the current revision of the English-language Roman Missal, in fact the 2010 revision provides almost all of the resources needed for the priest to sing: the parts of the Mass proper to himself; many of the parts he sings with the faithful, e.g., the Sanctus; and the parts of the Mass that are better delegated to others, e.g., lector.

[2] From September to May as his schedule allows, Msgr. Bartylla celebrates a Latin Missa Cantata with Gregorian chant and vernacular readings on the first Tuesday of each month at noon; he celebrates an English Missa Cantata with Gregorian-inspired English plainsong on the third Tuesday of the month at noon. In the case of a scheduling conflict these Masses are usually transferred to the following Tuesday. All of these Masses take in the chapel of the Bishop O’Connor Catholic Pastoral Center [map].

[3] Why this was ever called the “Opening Prayer” in the defunct English translation mystifies me. Does not prayer occur from the beginning of the Mass? It’s more logical to understand the Collect as the closing prayer of the Introductory Rites.

[4] “Faith comes from hearing.” Thus, I propose that during the Responsorial Psalm and other liturgical texts that share its nature, audible cues—such as slowing down at the final line of a verse and maintaining a consistent breathing pattern—are better than visual cues at fostering actual participation, i.e., intentional listening and prayerful singing. No visual cues were used to prompt the people’s singing of the refrain other than psalmist’s looking up from the ambo, which was done in conjunction with the aforementioned audible cues.

[5] A friend recently relayed to me a question asked of her by another friend regarding the difference between the High Mass and the Low Mass (within the context of the Extraordinary Form). I quipped: At High Mass, all the texts that are supposed to be uttered in song are sung. At Low Mass, all the texts that are supposed to be uttered in song are…muttered. There are other differences to be sure, but given the weight Church teaching has placed on sacred music, I focus on that primarily. And the musical differences between High Mass and Low Mass also apply to the Ordinary Form of the Roman Rite regardless of whether it is celebrated in its sacral languages.

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 Aristotle A. Esguerra

Aristotle A. Esguerra has served in the Diocese of Madison since 2009 as music director at the churches of St. Mary, Pine Bluff and St. Ignatius, Mount Horeb, and as the chant instructor to the Cistercian Nuns of Valley of Our Lady Monastery, Prairie du Sac.

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“We must acknowledge that We have been somewhat disturbed and saddened by these requests. One may well wonder what the origin is of this new way of thinking and this sudden dislike for the past.” [Paul VI responding to requests from monks asking permission to remove Latin from the Divine Office.]

— Pope Saint Paul VI (15 August 1966)

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