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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

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

To the extent that the new sacred music is to serve the liturgical celebrations of the various churches, it can and must draw from earlier forms — especially from Gregorian chant — a higher inspiration, a uniquely sacred quality, a genuine sense of what is religious.

— Pope John Paul II (June 1980)

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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