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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

Recovering the Greatness of the Roman Rite

Dr. Peter Kwasniewski · December 5, 2013

irish bishop UST YESTERDAY we recalled the 50th anniversary of the promulgation of Vatican II’s Constitution on the Sacred Liturgy, Sacrosanctum Concilium. That anniversary brought back to mind a little conversation that occurred 8 years ago.

One day, after attending Divine Liturgy, my son said to me (it was only a couple of months after his sixth birthday): “The Greeks are the ones who started the divine liturgy, right? I mean, they were the first to do it so beautifully, with all that singing and stuff?”

His question pierced me to the heart, because it showed that he experienced the Byzantine liturgy as primordially beautiful and the Latin rite as a second-best. In the forms he had seen most often, either the Novus Ordo or the Tridentine Low Mass, it had a minimum of beauty of chant and ritual. Ex ore infantium: surely we could take a cue from a child, and reinstate some of the beauty and solemnity that was once also ours?

At Stift Heiligenkreuz, a magnificent Cistercian monastery not far from Vienna, although the liturgy is the Novus Ordo (in Latin), still the massive resonance of the prayers in the huge Romanesque church, the soaring voices of the monks singing the Gregorian chant they never abandoned, and the overall ethos of the community are so evidently focused on the Lord that when members of Eastern Orthodox churches visit, they feel quite at home. They can see it’s the real thing, not a substitute.

Alas, the way in which the Ordinary Form is celebrated at Heiligenkreuz is rare indeed; one might find comparable examples in the chapels of the Canons Regular of St. John Cantius, the chapels of some of the Oratories (like Oxford and London), and the Monastero di San Benedetto in Norcia, and while the numbers of such places are slowly increasing, it is still something one has to look around extensively to find. That celebrations of the revised Roman Rite with fitting splendor and solemnity have been so rare for the past forty-odd years says much, far too much, about how Church authorities have seen fit, or not seen fit, to regulate the liturgy since the late sixties.

One Sunday years ago, I took a bunch of students with me to a Solemn High Mass in the usus antiquior. A Greek Catholic seminarian from Ukraine, who is now a priest in his own rite, reacted with open-eyed wonder at the beauty of this Mass (he had never seen anything like it in all his years of friendship with Roman Catholics), and said to me afterwards, incredulously: “Why did they have to change that liturgy?”

Once the Mass was changed—or as long as it seemed to people that the Mass had indeed been made over from head to toe and that it could suffer infinite permutation—the foundation of our faith was shaken, and in practice the faith has never recovered the lost ground. On the contrary, it lost far more ground than most people are close to realizing, let alone admitting. We are still officially in the phase of denial; witness the many Vatican documents that still, to this day, praise the reform as a great success whose “riches” only need to be further unfolded, while a few “shadows” have to be corrected. Those shadows were already pointed out in the seventies and eighties, yet most of them remain uncorrected in the majority of dioceses around the world.

Consider this passage from John Paul II’s Dominicae Cenae of 1990:

It is therefore very opportune and necessary to continue to actuate a new and intense education, in order to discover all the richness contained in the new liturgy. Indeed, the liturgical renewal that has taken place since the Second Vatican Council has given, so to speak, greater visibility to the Eucharistic Sacrifice. One factor contributing to this is that the words of the Eucharistic Prayer are said aloud by the celebrant, particularly the words of consecration, with the acclamation of the assembly immediately after the elevation.

As those who are familiar with it know, the ancient Roman rite gives far greater prominence and visibility to the Eucharistic sacrifice: it expresses the sacrificial character of the Mass with an unambiguous clarity of text and ritual. Not surprisingly, there was no crisis before the Council in regard to faith in the Real Presence of Jesus Christ in the Eucharist and faith in the Mass as a true and proper sacrifice. There were plenty of other problems, to be sure, but this did not seem to be at the top of the list. And yet, how often will we find Catholics today, brought up on the Novus Ordo, who have heard, let alone believe, that the Eucharist is the unbloody renewal of the Sacrifice of Calvary, and that it is, in reality, in truth, in substance, His very Body and Blood—to receive which we must be purified and properly disposed lest we commit an unspeakable offense? Would the liturgy, as these Catholics have experienced it, successfully convey those saving truths—or would the defined dogmas about the Mass and the Eucharist sound strange, perhaps even absurd to him?

“The Greeks are the ones who started the divine liturgy, right? I mean, they were the first to do it so beautifully, with all that singing and stuff?”

“No, son, our Roman Mass is actually, at its heart, the most ancient of all the liturgical rites in the world, more ancient even than the Byzantine liturgy we just attended. But the East kept their tradition alive while we, for a time, have put ours away in a closet. We are trying to bring it out into the light again, and I’m sure the East won’t mind if we take some inspiration from them.”

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

Filed Under: Articles 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

    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF • “Cantus Mariales” (192 pages)
    Andrea Leal has posted an absolutely pristine scan of CANTUS MARIALES (192 pages) which can be downloaded as a PDF file. To access this treasure, navigate to the frabjous article Andrea posted Monday. The file is being offered completely free of charge. The beginning pages of the book have something not to be missed: viz. a letter from Pope Saint Pius X to Dom Pothier, in which the pope calls Abbat Pothier “a man versed above all others in the science of liturgy, and to whom the cause of Gregorian chant is greatly indebted.”
    —Jeff Ostrowski
    Music List • (2nd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 2nd Sunday of Lent (1 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its somber INTROIT is particularly striking—using a haunting tonality—but the COMMUNION with its fauxbourdon verses is also quite remarkable. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    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

“I have devoted myself too much, I think, to Bach, to Mozart and to Liszt. I wish now that I could emancipate myself from them. Schumann is no use to me any more, Beethoven only with an effort and strict selection. Chopin has attracted and repelled me all my life; and I have heard his music too often—prostituted, profaned, vulgarized … I do not know what to choose for a new repertory!”

— Ferruccio Busoni (to a colleague in 1922, when he was 56 years old)

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