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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 Distracting Prayer of the Faithful

Dr. Peter Kwasniewski · May 16, 2013

N THE SPIRIT OF THE Reform of the Reform, one might well question the role of the Prayer of the Faithful (or General Intercessions) in the new Mass. A motley collection of petitions, usually poorly written and even more poorly read, disturbs the natural flow of the liturgy as it proceeds from the readings into the Profession of Faith, which is the natural response to God’s revelation of Himself, and into the Offertory. The homily already threatens to disturb the liturgical flow, because it represents more the temporal human axis of liturgy, but a good homily need not last for more than a few minutes, and if it is truly good, it has whetted the soul’s appetite for the Bread of Life through pondering the Word of God. With the solemn chanting of the Creed, the eternal divine axis of the liturgy decisively reasserts itself, as the soul exercises the gift of faith and prepares to bring gifts to the altar, where the Lord will transform them into the gift of Himself. Seen from “above,” looking at the structure and flow of the liturgical action, the intercessory prayers mark a most awkward caesura in the liturgical action.

It is different in the Good Friday liturgy because this liturgy is already radically different from the form that evolved for the other days of the year. The public intercessory prayers have all the more power and force for being specially and solemnly recited on Good Friday, the day on which we recall the historical event of the Lord’s sacrifice and death. One is almost knocked over by the power of the Good Friday liturgy; one only waters down its forcefulness by borrowing its features and distributing them widely, albeit superficially, throughout the year.

One can make a similar argument regarding the low Mass and the Requiem, which served as models for the Novus Ordo. As long as they were done in their own limited context, the low Mass and the Requiem perfectly served their purposes. As soon as certain features of the Requiem low Mass became the standard Mass, the balance was destroyed. If the reformers were so concerned about the hegemony of the merely recited Mass and the daily Mass for the Dead, they should have found intelligent ways to limit these practices rather than effectively allowing them to take over completely. Nowadays, almost every Mass is a low Mass, and the Mass for the Dead itself has been “lowered” to such an extent that it seldom seems to be what it actually is. Even the qualities that were precious in the low Mass and Requiem were destroyed, ironically by taking the “low” elements and lowering them as far as possible without vitiating the validity of the Mass as such.

Returning to the intercessory prayers: it is unnecessary to establish a separate part of the liturgy for them as long as one retains (as one should) the Roman Canon, with its beautiful intercessions for the Church, the Pope, the Bishop, priests, and the people, and, after consecration, for the faithful departed. There is a pause at the Memento, Domine, famularum famulorumque tuorum for remembering those for whom we have promised to pray and “all those dear” to us. Once more, the Placeat tibi is intercessory, and rightly so: it brings to a full close the majestic action of the sacrifice begun at the Suscipe, Domine and tracing an arc whose apogee is the elevation and whose perigee, if I may so speak, is the Domine, non sum dignus, when the glorified Lamb of God, of infinite holiness, is besought to heal our souls, that he may enter and make His dwelling there. The end joins to the beginning in a cycle that is not Nietzsche’s despairing eternal recurrence but the joyous certainty of faith: He who created the world at the beginning, He who re-created it by His incarnation, will come again in glory to judge the living and the dead, and will give to His faithful servants the reward of everlasting happiness.

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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President’s Corner

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    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

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“The hostile attitude of music directors and distinguished composers prevented the reform from introducing renewal and pastoral participation into sacred music.”

— Hannibal Bugnini

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  • Good Friday Flowers
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  • “Dies Irae” • A Monstrous Translation

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