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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

Monsignor Richard J. Schuler Has Been Vindicated

Jeff Ostrowski · August 13, 2013

522 Roman Missal 3rd Edition Missale Romanum E ARE APPROACHING the second anniversary of the “New English Translation” of the Mass (Roman Missal, 3rd Edition), which is often called MR3. Believe it or not, during the workshops prior to MR3’s introduction, many Catholics were surprised to learn that the English Mass texts were translated from Latin! That’s right: MR3 is an English translation of the official Missale Romanum, Editio Typica Tertia (first issued in 2000 and updated slightly in 2008). It’s kind of interesting that it took eleven years, but that’s another story. Below, I will share some information discovered while conducting research for a forthcoming presentation I’ve been asked to give on a related subject.

One might expect that such a tremendous change to words and phrases used by Catholics for decades would elicit mass outcry (no pun intended!) or even rage. On the contrary, MR3 seems to have been accepted very well by the people of God. Astonishingly, I’ve been unable to locate a single presentation, article, or paper by a qualified person arguing that the old translation was more accurate than the new one.

WHY DID I USE the word “astonishingly” above? So many people had opposed MR3 (and, before that, Liturgiam Authenticam) on ideological grounds, I expected attempts to discredit MR3 in every conceivable way. I was sure articles would appear asserting that the earlier translation was more accurate. After all, in this day and age, anybody can type on a blog. There’s no such thing today as “a theory so crazy it wouldn’t even be made on the internet.” On the other hand, people opposed to MR3 on ideological grounds tend not to know Latin, so perhaps an assault on MR3’s accuracy is out of the question.

Obviously, I came across plenty of “MR3 nitpicking” here and there, and readers will recall that I, too, believe MR3 could be improved upon. However, I never found an overall thema: a unified MR3 criticism shared by various and sundry voices. Some tried to attack the process, which struck me as odd, since the merits of the thing itself are what ultimately matters. Msgr. Andrew Wadsworth, Executive Director of ICEL, basically demolished the “lack of consultation” critique, saying (among other things):

As I coordinate the process of consultation in relation to texts in English throughout almost 800 diocesan bishops in eleven conferences, I can assure you that each of them is entirely free to consult whom they wish in their own diocese. The fact that all do not consult to the same extent is also evident. In addition, we have also always been happy to receive individual commentaries from people who choose to communicate with ICEL directly.

Although it struck me as weak, perhaps the “process critique” was the strongest case the opponents of MR3 could muster … so they just went with it. It reminds me of a phrase my father once shared: “When all you’ve got is a hammer, everything starts looking like a nail.”

MONSIGNOR RICHARD J. SCHULER always believed that the (now discredited) 1970s ICEL translation imposed on the English-speaking world was done intentionally, in order to harm the Church. However, this was not easy to prove. Now that MR3 has arrived, statements by some would seem to exonerate the good monsignor. Consider the recent claim made by a former president of Universa Laus (a group formed to counteract Pope Paul VI’s organization, CIMS):

7th-century theology, spirituality, and culture are very far from where most of the Church is now. The 1973 translation concealed this fact from us. If we had known what the prayers really said, we would not have wanted to pray them any longer. Now we are faced with that question 40 years later, and it is not any easier.

Writing for a major “progressive” Catholic magazine, author Bryan Cones wrote:

What these naked translations really reveal is how imperial and pagan these prayers really are [ … ] To me it seems not only that we shouldn’t be using these translations, we shouldn’t be using most of these prayers at all anymore. They simply reflect an approach to God — a distant, imperial God to whom we must beg for mercy — and an understanding of the church — sinful, unworthy, unredeemed — that I think we have left behind.

Anyone who doubts that the old ICEL translation “concealed” what the prayers really meant should take a look at the writings of Fr. John Zuhlsdorf (a friend of Msgr. Schuler). For many years, in the Wanderer and on his website, he’s been providing comparisons between the old and new. Here’s an example.

In 2010, I saw a booklet printed by a diocese which shall remain nameless. I believe I took a picture of it on my phone. Large red letters on the cover stated: “By diocesan decree, the prayers of MR3 are not to be read or studied without prior catechesis. This applies to both laypeople and clergy.” I had to scratch my head and wonder, “What could be the harm in reading a more accurate translation of Mass?”

IF I COULD ADD ONE MORE THING, it’s always nice to have people “document the times.” For example, I believe the legacy of 20th-century composers is awful (and I know some of the other CCW bloggers will vehemently disagree with my assessment). I have no use for Schoenberg, Ives, Cage, Babbitt, Boulez, Lutoslawski, Ligeti or any of those guys. Did artists at the time know what was happening? John Browning, in a 1980 interview with Elyse Mach, said this:

Sam Barber and I very often go to a concert with some avant garde music in it, and I know he is far more tolerant of it than I am. Yet, as soon as we leave the hall, he takes the words right out of my mouth: “Gee, it would be nice to hear a good tune, wouldn’t it?”

Monsignor Schuler documented his times, and for this we owe him a tremendous debt of gratitude. Furthermore, he never failed to stand up for our Lord. Bishop Sheen used to say, “Right is right when nobody’s right. Wrong is wrong when everybody’s wrong.” Schuler was right when nobody was right.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Paul Inwood Last Updated: December 20, 2024

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). 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 top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

“To treat harmony and rhythm in this matter was a difficult matter. Facing numerous problems both large and small—that arose constantly—we understood that a flawless harmonization of Gregorian chant cannot be created by improvisation, no matter the competence and ability of the organist or harmonist.”

— ‘Mons. Jules Van Nuffel, NOH Preface’

Recent Posts

  • Never Work For A Priest Or Bishop Who Believes Sacred Music Should Be “Entertainment”
  • When Pilgrims Sing, the World Disappears
  • “Offertory” at Catholic Funerals
  • “In Paradisum” • Gregorian Chant
  • The Beauty of the Propers for All Souls’ Day (and the Requiem Mass)

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