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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

On Aweful Ambos and Lilliputian Lecterns

Dr. Peter Kwasniewski · October 24, 2013

295 difference between pulpit lecturn Image from the Campion Missal & Hymnal HE LITURGICAL reformers of the 1960s and 1970s claimed that their decisions were motivated by a desire to recover elements of Christian antiquity and the worship of the “early Church.” I am continually surprised that their claims are taken seriously.

First, there is the simple problem that we know relatively little about worship in the apostolic period. Scripture gives us some precious insights, but rich detail on liturgical praxis comes much later on, when a significant amount of development had already taken palce. Second, the very fact that development occurred, and occurred with the approval of the Church’s leaders and people, should be enough to convince us that liturgy, too, is part of that “fullness of truth” into which Jesus promises we will be led by the working of the Holy Spirit in the Church. Third, the particular ways in which the liturgy slowly grew in reverence, solemnity, and symbolism are no less in God’s Providence than the original institution of the Most Holy Eucharist at the Last Supper. Hence, it is prima facie illegitimate to suggest that stripping away developments (called “accretions” by the scholars) is a path back to a liturgy that is somehow more perfectly what the Lord intended. This is a colossal begging of the question. It has been necessary from time to time to gently prune or carefully reorganize certain aspects of the Church’s liturgy, but the structure, ritual, major prayers, and chants have tended to be left intact, because of a humble spirit of reverence for what has been handed down, that is, tradition as such.

THE OTHER THING that should tip us off to the dissembling of the liturgical reformers is that they were highly selective in the ancient elements they retrieved, ignoring anything they didn’t happen to agree with. If the liturgical reformers had sincerely wanted to make the liturgy more like what they might have viewed as the liturgy’s “high period,” they would, for instance, have re-introduced majestic processions and have preserved or re-established the custom of preaching from the elevated pulpit.

Let me take up that last example, since it is rarely considered nowadays.

In Europe’s churches, it is pathetic to see the priest at Mass reading from an insubstantial lectern with a piece of unremarkable cloth or felt draped over it, when twenty feet above him to the side is a beautifully carved, mighty-looking perch from which the Word of God can be worthily proclaimed and a homily preached. Nowadays these pulpits collect dust and are barely noticed except by students of art history. In America, only older, European-derived churches had such pulpits, and even so, the “re-ordering” of the sanctuaries after Vatican II meant the destruction of many such pulpits along with the sanctuaries.

What is the secret fear of the appearance of solemnity, authority, majesty? Have we entirely lost confidence in the splendor of truth, the glory of religion, the beauty of God’s house, the thunder of God’s voice, the nobility of Christ’s priesthood? Are we afraid of giving a “triumphalist” impression? Do we want to reduce everything Christ said and did to a calm, comfortable living room soirée? Proclamation, dear friends, is not the same as either reading aloud or conversing pleasantly to pass the time!

If one wishes the “common people” to participate actively in the liturgy, then one will respect the most elementary facts of human psychology: a slowly processing line of beautifully vested ministers gracefully approaching the altar, to the accompaniment of the mighty sound of the pipe organ or the heavenly melody of chant, engages the senses and the soul with a deeper and more lasting effect than an ill-clad priest shyly stepping out of the sacristy door and beginning Mass at a toothpick lectern (as I often saw happen in Europe).

If any element or aspect of the liturgy does not effectively convey to a young child that this activity in which we are participating is different and special, then it has, at some level, failed. The bowing priest reciting the Confiteor, the acolyte swinging a censer, the subdeacon, deacon, and priest aligned hierarchically during solemn Mass, the awesome stillness of the Roman Canon—all of these things speak directly to the heart, to the heart even of a little child who has managed to sit still and watch.

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

Filed Under: Articles Tagged With: Annibale Bugnini Reform 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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Corpus Christi Watershed

President’s Corner

    Music List • (5th Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday, 8 February 2026, which is the 5th Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. You will probably notice it isn’t as ‘complete’ or ‘spiffy’ as usual, owing to some difficulties which took place this week.
    —Jeff Ostrowski
    PDF • “Communion” (5th Sunday in Ordin.)
    The COMMUNION ANTIPHON for this coming Sunday, 8 February 2026—which is the 5th Sunday in Ordinary Time (Year A)—is truly delightful. You can download the musical score completely free of charge. This text will be familiar to altar boys, because it’s PSALM 42. The Feder Missal makes the following claim about that psalm: “A hymn of a temple musician from Jerusalem: he is an exile in a heathen land, and he longs for the holy city and his ministry in the Temple there. The Church makes his words her own.”
    —Jeff Ostrowski
    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

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

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— Father Clemens Blume, S.J.

Recent Posts

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  • PDF • “Communion” (5th Sunday in Ordin.)
  • “Pipe Organ Interlude During Funerals?” • (Reader Feedback)
  • Funeral Music “Template” • For Families
  • “To Cover Sin With Smooth Names”

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