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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 Cross of Christ and Liturgical Language

Aristotle A. Esguerra · March 25, 2013

Oftentimes I hear stories about well-meaning priests and music directors facing resistance from those they serve when they try to reintroduce the Latin language to their particular expression of the Latin Rite. Some of these objections are based on Latin being somehow irrelevant to the modern expression of belief. (I note that these objections are not leveled at the Hebrew/Aramaic words of the Latin rite: Amen, Alleluia, and Hosanna. I also note that oftentimes people will object to the “Latin” Kyrie, even though it is Greek.)

To effectively defend the use of the liturgical languages of the Latin Rite in its mostly vernacular Ordinary-Form expressions, we must look to the Cross as found in the Gospel accounts of the Passion.

From the account of the Passion of our Lord Jesus Christ according to St. John, which is read every Good Friday:

“And Pilate wrote a title also, and he put it upon the cross. And the writing was: JESUS OF NAZARETH, THE KING OF THE JEWS. This title therefore many of the Jews did read: because the place where Jesus was crucified was nigh to the city: and it was written in Hebrew, in Greek, and in Latin.” — John 19:19–20 (DRV)

These three languages are also mentioned by name in the St. Luke Passion, which in Ordinary-Form Latin Masses was read yesterday (Palm Sunday, Year C):

“And there was also a superscription written over him in letters of Greek, and Latin, and Hebrew: THIS IS THE KING OF THE JEWS.” — Luke 23:38 (DRV)

We use these languages in the Latin-Rite liturgy not only because they have been handed down to us via the sacred tradition of the Rite but also—and most importantly—because we believe that Jesus Christ, the Second Person of the Holy Trinity entered human history, and that the historical reality of his Passion, Death, and Resurrection has eternal ramifications for every human soul.

Use of Hebrew, Greek, and Latin in the Ordinary Form of the Latin Rite is not an outdated practice that points to the so-called Dark Ages. It is a liturgical, linguistic practice that points to the Cross of Eternal Salvation.

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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President’s Corner

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

Quick Thoughts

    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

Why do we never sing “De Spiritu Sancto” (St. Athenogenes) in our churches? There are a dozen translations in English verse. Where could anyone find a better evening hymn than this, coming right down from the catacombs? Our hymnbooks know nothing of such a treasure as this, and give us pages of poor sentiment in doggerel lines by some tenth-rate modern versifier.

— Rev’d Adrian Fortescue (d. 1923)

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  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir

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