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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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President’s Corner

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    Our tiny 501(c)3 nonprofit organization exists solely by generous readers who donate $5.00 per month. We have no endowment; we have no major donors; we run no advertisements; we have no savings. A donor wrote to us: “I so appreciate all you do and have done, and your generosity is unprecedented. I am honored to be able to make a monthly contribution.” Another monthly donor says: “Thank you for everything CC Watershed does. We are able to add so much solemnity to Holy Mass due to the resources made available here.” Can you spare a few dollars each month to help us survive?
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    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —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

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For the most part, a “good pope” is defined as someone who does what the critic would do if he were pope.

— William F. Buckley Jr. (6 September 1978)

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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.