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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

Silence (Part 3 of 3)

Dr. Peter Kwasniewski · July 25, 2013

641 Guido Marini OME MIGHT WONDER if silence in the liturgy isn’t opposed to the “active participation” of the people. In reality, the fundamental precondition for active participation is interior silence, since, as Fr. Edward McNamara explains, a spirit of recollection “does not impede, and indeed favors, full and active participation in those parts of the celebration where the community is united in acclamation and song, for each person is more fully aware of what he or she is doing.” Indeed, praying in silence is a particularly noble form of human activity, more active than merely speaking or singing, which can easily be done in a distracted frame of mind; and so, developing the dispositions of heart and mind necessary to be able to derive spiritual refreshment from silence is a school of virtue in which every Christian should be enrolled as a lifelong pupil. Fr. McNamara thus counsels: “To help achieve this [interior silence], we should foment by all available means the spirit of attentive and active silence in our celebrations and refrain from importing the world’s clamor and clatter into their midst.”

Silence together with appropriate sacred music convey to our minds the awareness of a transforming mystery by which we can come to grips with sin and death and pass beyond them into love and life, a mystery that is both frightful and alluring. The Mass is nothing less than the re-presentation of the sacrifice of Calvary in our midst: this is the reason why the Crucifix is central in Catholic worship. For this reason Pope Benedict has counseled priests everywhere to celebrate ad crucem, towards an altar cross, if they do not yet judge it expedient to worship ad orientem, towards the East, symbol of the same Christ. The death of God is put before us: this is reason enough for silent awe, and that makes either the altar cross or the eastward stance a kind of “visual silence,” a concentration of our faculties on that which is essential and central. I am reminded here of a characteristically forceful statement by Ratzinger: “If the Church were to accommodate herself to the world in any way that would entail a turning away from the Cross, this would not lead to a renewal of the Church, but only to her death.”

The papal Master of Ceremonies, Monsignor Guido Marini, has written a magnificent summary of Pope Benedict’s views on silence in the liturgy and in the life of the Church. Marini writes:

It is of fundamental importance. Silence is necessary for the life of man, because man lives in both words and silences. Silence is all the more necessary to the life of the believer who finds there a unique moment of their experience of the mystery of God. The life of the Church and the Church’s liturgy cannot be exempt from this need. Here the silence speaks of listening carefully to the Lord, to His presence and His word, and, together these express the attitude of adoration. Adoration, a necessary dimension of the liturgical action, expresses the human inability to speak words, being “speechless” before the greatness of God’s mystery and beauty of His love. The celebration of the liturgy is made up of texts, singing, music, gestures and also of silence and silences. If these were lacking or were not sufficiently emphasized, the liturgy would not be complete and would be deprived of an irreplaceable dimension of its nature.

Msgr. Marini helps us to see the wonderfully reciprocal functions of music and silence at Mass. Authentic sacred music is born out of silence and returns gently into silence. It arises not as an imposition on people or as a provocation of them but as an awed response to God’s beauty—an attempt at interpreting, among us, the heavenly music far above us. Similarly, a truly prayerful silence is one that is, of its very nature, receptive to appropriate sound, whether spoken or sung. In other words, if one’s community does not have a regular experience of profound and meaningful silence, the souls of the faithful cannot be expected to respond sympathetically to the “musical tradition of the universal Church” that the Second Vatican Council called “a treasure of inestimable value, greater even than that of any other art,” and that the same Council instructed us to “preserve and foster with great care” (Sacrosanctum Concilium, 112; 114). You cannot plant seeds in ground that has not been thoroughly cultivated and expect an abundant harvest; you might as well be throwing seeds out for the birds (cf. Mt 13:4). The interior cultivation of a habit of adoring silence is therefore the precondition for the fruitfulness of sacred music. Truly sacred music acts as a frame around the silence and so defines it as sacred silence. Conversely, prayerful silence at Mass acts as an internal direction or weight for the music and so keeps it anchored in the eternal stillness, the “Word without a word.”

Both music and silence, therefore, are profoundly united in their dependence on each other, and even more, in their inherent trajectory beyond themselves into the heart of the mystery of God.

(Read Part 1 and Part 2 here.)

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

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

The Sacrifice is celebrated with many solemn rites, none of which should be deemed useless or superfluous. On the contrary, all of them tend to display the majesty of this august sacrifice, and to excite the faithful, when beholding these saving mysteries, to contemplate the divine things which lie concealed in the Eucharistic Sacrifice.

— Catechism of the Council of Trent (1566)

Recent Posts

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  • “Music List” • 17th in Ordinary Time (Year C)
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  • Communion • “Ask & You Shall Receive”
  • Jeff’s Mother Joins Our Fundraiser

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