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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

Adding Joseph to the Eucharistic Prayers

Fr. David Friel · July 7, 2013

F I SAID to the average Mass-goer, “Eucharistic Prayer,” would they likely know to what I was referring? Anyone who goes to Mass regularly is familiar with the Eucharistic Prayer, but I suspect that many Catholics don’t really know what that term means. That makes it difficult to explain what the Congregation for Divine Worship did a few weeks ago through its decree, Paternas vices.

Since 1970, there have been a variety of Eucharistic Prayers from which the priest can choose. There are four main Eucharistic Prayers and a handful of others, which most priests rarely use. Before 1970, things were a bit different. For a very long time before that—from the 7th century—there was only one Eucharistic Prayer. Known from time immemorial as the Roman Canon, it is now formally called Eucharistic Prayer I. This prayer, in its Latin form, was prayed with very few changes to its text for a millennium-and-a-half. That is astonishing! When the priest prays the Roman Canon, even today, he and the congregation are united to millions and millions of Catholics who have gone before us praying nearly the exact same words. That living continuity is something that should stir us as Catholics.

In 1962, Pope John XXIII made the first change to the Roman Canon since Pope Pius V. He added in the name of St. Joseph, who is the universal patron of the Church, so that his patronage would be requested in every celebration of the Mass. It might seem like a small thing to add a saint’s name, but when a prayer has been unchanged for so long, it’s a big deal. Now, just a couple of weeks ago, something similar happened. The Congregation for Divine Worship in Rome has decided that, from now on, the name of St. Joseph must be mentioned not only in the First Eucharistic Prayer, but in all of them. Right after the Blessed Mother is mentioned, the priest will now add in a reference to “Blessed Joseph, her spouse.”

This is an unusual event in the history of the liturgy, so it merits a moment’s reflection on the meaning and purpose of the Eucharistic Prayer. When I was a really little kid, I thought I knew the meaning and purpose of the Eucharistic Prayer. I thought it was specially designed to bore kids to death (!). Talking to my parents, I used to call the Eucharistic Prayer “the long kneel.” That was all it meant to me at the time. My understanding has evolved a bit since then. For many Catholics, though, I’m not sure their understanding is much deeper than that.

What is the meaning and purpose of the Eucharistic Prayer? It’s not just a long bunch of words we have to get through before everyone can receive Holy Communion. It is a very intimate prayer spoken by the priest directly to God the Father. This is clear from the first words of each of the four main Eucharistic Prayers:

I — “To you, therefore, most merciful Father, we make humble prayer and petition”

II — “You are indeed Holy, O Lord, the fount of all holiness”

III — “You are indeed Holy, O Lord, and all you have created rightly gives you praise”

IV — “We give you praise, Father most holy”

Each of these prayers is oriented directly toward God the Father. This is essential to understanding what the Eucharistic Prayer is; it is a very intimate prayer spoken by the priest directly to God the Father. This is why eye contact is not important during the Canon of the Mass. The priest shouldn’t be looking at the people then, since he’s not speaking to them; he should be looking toward the Lord. Nor is it important that the priest shout the words of the Canon so as to be heard even back in the crying room. The most pressing need during the Canon of the Mass is not that the congregation should see or hear what is transpiring, but rather that the priest and people (musicians, included) might together enter the sacrifice by offering their humble, contrite hearts.

And what is it that the priest is saying to the Father? He is asking God to accept the people’s gift of bread and wine (which, strangely enough, was first God’s gift to us). Then the priest asks God to transform the sacrifice into the Body & Blood of His Son. Finally, the priest asks God to accept from his own human hands the gift of God’s own Son (Who, interestingly enough, was first God’s gift to us).

The Eucharistic Prayer is the Church’s way of offering Jesus to the Father. This is the essence of the Mass: the re-presentation of the one, eternal sacrifice of Christ on the Cross. What happens during the Eucharistic Prayer is no different than what happened on that dusty, bloodstained Cross on Calvary. What happens is exactly the same thing. What a privilege it is to be a priest—to stand in the Person of Christ as all of this happens!

I’m excited that the name of St. Joseph has been added to all the Eucharistic Prayers. I would be even more excited, though, if every person in the church joined in the Eucharistic Prayer. I do not mean, of course, that they should say anything. Rather, in silence, by focusing & praying along with the priest, the people can offer themselves to God the Father much like Jesus offers Himself. That is what actual (“active”) participation in the Mass really means.

Imagine that there are only two people sitting in the pews of a country church. One of them is sitting in the front pew. She sings every hymn and speaks aloud every response. Maybe she even reads one of the readings. During the Eucharistic Prayer, though, her mind wanders and she starts making a mental to-do list for when she gets home. The second person, on the other hand, sits all the way in the back pew. She doesn’t sing along and doesn’t say a word. But she listens intently to the readings, and, during the Eucharistic Prayer, she offers the joys and struggles of the past week to God and asks Him to make her more like Him in the week to come. Which of these two women has really participated in the Mass? Clearly, the second.

With the prayers of St. Joseph to help us, may we all follow her example!

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 Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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President’s Corner

    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski
    “To Cover Sin With Smooth Names”
    Monsignor Ronald Knox created several English translations of the PSALTER at the request of the Cardinal Archbishop of Westminster. Readers know that the third edition of the Saint Edmund Campion Missal uses a magnificent translation of the ROMAN CANON (and complete Ordo Missae) created in 1950 by Monsignor Knox. What’s interesting is that, when psalms are used as part of the Ordo Missae, he doesn’t simply copy and paste from his other translations. Consider the beautiful turn of phrase he adds to Psalm 140 (which the celebrant prays as he incenses crucifix, relics, and altar): “Lord, set a guard on my mouth, a barrier to fence in my lips, lest my heart turn to thoughts of evil, to cover sin with smooth names.” The 3rd edition of the CAMPION MISSAL is sleek; it fits easily in one’s hand. The print quality is beyond gorgeous. One must see it to believe it! You owe it to yourself—at a minimum—to examine these sample pages from the full-color section.
    —Jeff Ostrowski
    Heretical Hymns
    As a public service, perhaps a theologian ought to begin assembling a heretical hymns collection. A liturgical book—for funerals!—published by the Collegeville Press contains this monstrosity by someone named “Delores Dufner.” I can’t tell what the lyrics are trying to convey—can you? I detest ‘hymns’ with lines such the one she came up with: “Let the thirsty come and drink, Share My wine and bread.” Somehow, the publication was granted an IMPRIMATUR by Most Rev’d Jerome Hanus (bishop of Saint Cloud) on 16 August 1989. It’s a nice tune, but paired with a nasty text!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (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
    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

Random Quote

“For me, religious music ceased with the sixteenth century. The fresh, childlike souls of that time alone expressed their vehement, untainted fervor in music free from worldliness. Since then we have had pious musical improvisations more or less made for show. That wonderful man Johann Sebastian Bach only escaped because of his natural genius. He built harmonic edifices as a devout architect and not as an apostle.”

— Claude Debussy (1862-1918)

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