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Views from the Choir Loft

A Sober Assessment of Liturgical Reform

Dr. Peter Kwasniewski · November 14, 2013

181 Rom Click to enlarge image HILE the USCCB Liturgy Committee rhapsodizes about the success of the liturgical reform, it is always gratifying to read a sober analysis that reflects the real experience of countless “people in the pews,” the ones who were hardest hit by the chaos that began to ensue in Catholic worship in the mid-sixties, culminating in the unprecedented change of the rite of Mass in 1970 and its long afterglow of abuse and banality. Here is how Kenneth Woodward, religion editor of Newsweek from 1964 to 2002, puts it with refreshing candor:

ND THEN THERE WAS the new rite of the Mass. At its inception it was better described, as one forgotten wit put it, as “the participation of the laity in the confusion of the clergy.” Compared to the old Latin liturgy, I found the new version about as moving as a freight train. Silence was now a liturgical vice, conscripted congregational responses the new regimen of worship. In a pale imitation of the early Christians’ kiss of peace, there was now a scripted pause. …

In place of my much-loved Latin hymns and chants, the new liturgists bade us sing old Reformation anthems like Martin Luther’s “A Mighty Fortress Is Our God.” I could not bring myself to join in when the chosen hymn was “Amazing Grace”—in fact, I still refuse to do so. It’s a lovely piece, all about getting one’s self individually saved, Evangelical-style, but theologically it has no place in the corporate worship of the Catholic Church.

What the liturgists didn’t borrow from Protestant hymnals, they conjured up by themselves. Mostly, it was folk music sung to plucked guitars with relentlessly upbeat lyrics about how much a nice God loves us and aren’t we fortunate to be his chosen people. There was no awe, no hint of the biblical fear of the Lord in this music, only the mild diuretic of self-congratulation. … The Church’s failure to pass on the faith, through the liturgy or through the classroom, would eventually snip two generations of young Catholics from their own religious roots.

From Kenneth L. Woodward, “Reflections on the Revolution in Rome,” First Things, February 2013, 25–31 (here, 30).

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

Filed Under: Articles Last Updated: October 10, 2021

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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

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —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

“A flawless harmonization of Gregorian chant cannot be created by improvisation, no matter the competence and ability of the organist or harmonist.”

— Monsignor Jules Van Nuffel (circa 1940)

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