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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

Byzantine Splendor and Roman Sobriety

Dr. Peter Kwasniewski · January 9, 2014

892 Sheen Ruthenian Sheen celebrated both Roman and Byzantine Rites HAVE BEEN THINKING a great deal lately about the differences between the Byzantine Divine Liturgy and the Mass of the Roman Rite. For the purposes of this article, I am assuming a Roman liturgy celebrated beautifully and reverently, “with all the stops pulled.” (The barren, perfunctory, verbose, and eclectic manner in which the Roman Mass is usually said nowadays does not allow for a fair comparison of the rites as they exist in their plenitude.)

Many have noted that the traditional Western Mass seems more intent on reminding the worshiper of the death of Christ on the Cross and the believer’s own sinfulness and unworthiness, while the Eastern Divine Liturgy brings to the forefront the eschatological victory of Christ in whose triumph the Christian shares whenever he partakes of the Eucharist, the food of immortality.

It is easy, however, to exaggerate the difference between the “downward” symbolism of the Mass (Christ as suffering redeemer, Christians as miserable sinners) and the “upward” symbolism of the Divine Liturgy (Christ as eternal victor, Christians as already glorified in Him). After all, both liturgies frequently recall the birth, life, death, resurrection, and ascension of Our Lord. Even if the traditional Latin Mass emphasizes the advent of Christ as Redeemer and the re-presentation of the Sacrifice of Calvary, and in this way places the accent on man’s sinfulness and God’s infinite mercy, leading to purification and the forgiveness of sins, it could hardly be imagined that the Mass lacks an eschatological dimension. Similarly, if the Eastern liturgy tends to place worship in the context of the Eschaton, the kingdom of the Holy Spirit, in which the life of Christ figures as the exemplar of what all Christians are called to become anew—the image of the Logos—it is no less evident that the Eastern liturgy continually refers to the ongoing drama of redemption.

Perhaps the Western soul is more sharply conscious of the incompleteness of our present state, our need to work out salvation “in fear and trembling.” The traditional Mass expresses the feeling of homesickness, the longing sinners have for heaven, and raises up before our eyes the Cross of Christ as our bridge, our path, to heaven. In the liturgy’s solemnity, majesty, beauty, and silence, in its confessions of sin and hieratic distances, we taste the glory of heaven while being reminded of the sins and limitations that keep us away from the fullness of the kingdom. Thus there is both great joy and great sorrow. Are we not victors in Christ? Has He not risen from the dead and ascended to make intercession for us at the right hand of the Father? Is not the kingdom of God here and now, among those who are incorporated into Christ? Yes—and yet, this is not an unambiguous, final yes on earth, but a yes mixed with all the no’s of humanity, of the sin and death which reign in the kingdom of the prince of this world, the no of unconversion, the no of relapsing, the no of impenitence. Our joy is complete in its Source, but we are not completely His. Our Lord is risen; we are striving to rise. Our Lord is ascended into heaven, we are still torn between heaven and earth. Our Lord is in glory, but we are blinded by His glory, our eyes are not fully purged, our hearts not fully aflame with the love of God.

It is for this reason that the Catholic rejoices—and weeps; that the priest glorifies the God who is truly present in our midst—and beats his breast in silence, head bowed; that the Church, sojouring in this vale of tears, waves the flag of victory even as she sounds the trumpets of battle.

In the traditional Roman liturgy, the word “glory,” and the reality it signifies, is everywhere. One grows accustomed to hearing it, like a sweet song from afar: gloria . . . gloria . . . gloria. The whole purpose of the Christian life, and the goal towards which it moves, are expressed, evoked, fulfilled in this most serene of liturgies. The sparseness of the rite, too, in comparison to the East, has its own loveliness: “to thee do we cry, poor banished children of Eve, to thee do we send up our sighs, mourning and weeping in this vale of tears.” It is a liturgy at once of glory and of mourning, of exile, of longing.

One cannot help noting, nevertheless, that over the centuries certain liturgical riches have fallen out of use in the West that are reminiscent of the splendor of the Byzantine rite. A solemn High Mass in the usus antiquior, adorned with sacred music, can bring joy, solace, and wonder even to an Eastern Catholic, but alas, how rare is such a Mass today? Even in a major city, there might be only one on a Sunday, or two at best.

Here, in a preface from the Sarum Rite, is a fantastic example of the kind of riches the Western liturgy has historically contained.

Preface for the Mass of Saint Cuthbert

It is truly meet and just, right and availing to our salvation, that we should always and in all places give thanks to Thee, O Holy Lord, Father almighty, everlasting God, upon this day of the departure to Christ of the most holy priest Cuthbert,

Who first of all became an example to saints in his daily life, a life of most temperate and most chaste conduct, and afterwards followed the contemplative life in the wilderness for many years, nourished only by the love of the God of deathless life, and then was chosen to the rank of the episcopate, being invited not by his own will but by God’s providence, and the counsel of the churches.

For he had ever fought manfully and mightily against flesh and blood, and the rulers of this ærial realm, seizing victory with the helmet of hope for salvation, and the breastplate of righteousness, and with the shield of faith, and the sword of the Word of God, and being protected on the right hand and on the left, the soldier of God overcame the battle-formations of the enemies, and the Lord wrought many miracles by him; and he foretold his death many days before. For he commended the governance of the people to the King and the Bishop, and he set out for the holy desert, and he gave up his spirit to God the Father Almighty, accompanied by a heavenly, holy multitude from the Gospel.

Thee, therefore, O Lord, we entreat, that by the intercession of holy Bishop Cuthbert, we may be counted worthy to reach the harbour of joy, and the heavenly realms of Him before Whom there stand innumerable choirs of Angels and Archangels, and they say: Holy, Holy, Holy, Lord God of Sabaoth …

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

Filed Under: Articles Tagged With: Traditional Byzantine Liturgies 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

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    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

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“One of his most cherished wishes was to promote congregational singing wherever possible, for he held it to be most instructive for people of all classes and a powerful means of arousing an intelligent interest in the beauties of our sacred liturgy, especially in regard to the holy Sacrifice of the Mass. He loved to dwell in this respect upon the remarkable results achieved in parishes where the congregation had been taught to sing correctly the different portions of the Mass in plain chant.”

— Cardinal Merry del Val, speaking of Cardinal Sarto

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  • Good Friday Flowers
  • PDF Download • “Entrance Chant” for Holy Thursday (Plainsong in English)
  • “Dies Irae” • A Monstrous Translation

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