• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Fr. Godfrey Diekmann “Foaming At The Mouth”

Jeff Ostrowski · September 11, 2013

In her biography of Fr. Godfrey Diekmann, OSB, Sister Kathleen Hughes wrote:

HEN GODFREY BELIEVED a particular intervention of the Congregation for the Sacraments and Divine Worship regarding ICEL work was unmerited and/or unjust, he was quick and strong in his reaction. The following letter was sent to the ICEL secretariat after confirmation of the Order of Christian Funerals had been withheld. [Cardinal Augustin Mayer, O.S.B., was prefect of the Congregation at the time; Cuthbert Johnson, O.S.B., is on the staff.]

“I wish to go on record to express my outrage at the recent maneuverings and demands of Gus Mayer (we used to call him that, as students) re the funeral rites. They simply have no business, no right whatever, to dictate ‘corrections’ or ‘alternatives’ of translation. The very thought of one man, Cuthbert Johnson, presuming to impose his views (many of which are palpably nonsense) over against a version arrived at with much labor by many experts, makes me froth at the mouth.”   [The Monk’s Tale, 270-271]

Passages like this are supposed to have a particular effect on the reader. Specifically, the reader is supposed to say inwardly:

“Oh, how wonderful to hear a progressive monk bravely challenging authority. Oh, how marvelous that a broad-minded monk isn’t afraid to stand up to big, bad, bullying, outdated, medieval Rome. Oh, how inspiring that a free-thinking monk is willing to speak in a disrespectful way to the authoritative, totalitarian, oppressive Roman committee.”

FOR SOME REASON, passages like this never affect me the way they’re supposed to. Perhaps it’s because the (false) “spirit of Vatican II” narrative has been exposed over the last decade or so. Perhaps it’s because we’re seeing the fruits of the anarchistic approach to Theology and the Church. Perhaps it’s because the “renewal” promised by men with hatred in their hearts for the Vicar of Christ has lead to empty seminaries, widespread apostasy, and a whole host of other terrible things. Perhaps it’s because I abhor sensationalism almost as much as I loathe biographies written with an “agenda.”

However, I suspect the main reason is I’ve seen what the ICEL of Diekmann’s generation produced, and it turned out to be an absolute travesty. Thankfully, Diekmann’s work has been discredited and cast aside forever.

It reminds me of a story about a pianist. (At this point, you’re probably thinking, “What doesn’t remind you of a piano story, Jeff?”) A student was to audition for some famous pedagogue (Josef Lhevinne, I think). He arrived carrying letters of recommendation, and talked about the places he’d studied, competitions he’d won, and so forth. Lhevinne listened for a while, and said, “That’s wonderful. Let me know when you’re ready to play something.” In other words, don’t tell me what you can do: show me.

Similarly, Diekmann’s friend and biographer can talk all day long about how much smarter he and his generation were than “Big, Bad, Foolish Rome.” The problem is, I’ve seen what they produced, and it wasn’t pretty.

SPEAKING OF THE FUNERAL LITURGY, I’ve always felt this to be one of the biggest failures of the Conciliar reforms. However, it seems to have been done by design. Archbishop Bugnini wrote:

They got rid of texts that smacked of a negative spirituality inherited from the Middle Ages. Thus they removed such familiar and even beloved tests as the Libera me, Domine, the Dies irae, and others that overemphasized judgment, fear, and despair.   [Reform of the Liturgy, 773]

This is just another example where Bugnini is dead wrong (no pun intended). For one thing, to suggest the Requiem Mass prayers “overemphasize despair” is idiotic. Bugnini seems not to understand that the Traditional Requiem Mass is beautiful, powerful, important, ancient, and consoling. It’s not “scary.” It’s beautiful. It’s powerful. Am I repeating myself? And many souls will be in Purgatory longer if we don’t pray and offer sacrifice for them. Canonizing them is the most wicked, uncharitable thing we can do. As he lay dying, St. John Vianney’s confessor whispered, “Hide my whip, hair shirt, and other instruments of penance. If people find them, they’ll think I’m in Heaven, and won’t pray for me.”

BEFORE I END THIS BLOG, I have to mention a paragraph from the biography of Godfrey Diekmann (which I purchased for 1¢ on Amazon.com). In the 1991 Foreword, Fr. Frederick R. McManus wrote:

This brings me to the second purpose of this foreword — my own appraisal and personal testimony to the greatness of Godfrey Diekmann. It is a difficult task, not at all because of any peril of exaggeration — quite the contrary — but because of constraints of space, and I must not indulge in triumphalistic nostalgia.

Fr. McManus may have meant to say “triumphalist,” but leave that aside. The only reason I point this out is to (once again) prove the theory of “notice an unfamiliar word, see it within 24 hours.” You see, earlier today, Pope Francis talked about what he called “triumphalist Christians.”

Several blogs have put forward the idea that Pope Francis was talking about the Traditional Latin Mass. I find this very difficult to believe. Anyone who asserts that Latin Masses offered by the great Jesuit saints — Noël Chabanel, Charles Garnier, Isaac Jogues, etc. — were “triumphalist” hasn’t the slightest idea what he’s talking about. In fairness, several of the blog authors making this claim know very little about the Traditional Mass.

Besides, if we go down that road, it means Pope Francis thinks Pope Pius XII didn’t believe in the Resurrection …

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

Filed Under: Articles Tagged With: Learn a new word see it within 24 hours, notice an unfamiliar word see it within 24 hours Last Updated: November 4, 2024

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

The Sanctus and Benedictus are one text and should be sung through without a break. The practice—once common—of waiting till after the Consecration and then singing: “Benedictus qui venit…” is not allowed by the Vatican Gradual.

— Father Fortescue, writing in 1912

Recent Posts

  • The Real Miracle of Gregorian Chant
  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.