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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

Whence Came The New Eucharistic Prayers?

Jeff Ostrowski · February 5, 2014

824 Roman Missal HEN THE NEW CANONS were first published, the Consilium sent out a letter to the Bishops’ conferences. Dated 2 June 1968, this letter was meant “to assist catechesis on the anaphoras of the Mass.”

Another term for Anaphora or Canon is “Eucharistic Prayer.” Folks who read Fr. David Friel’s article as well as the “Addendum” at the bottom of my post have requested that we post this landmark letter:

      * *  “To assist catechesis on the Anaphoras of the Mass” — 6/2/1968   (©1982 ICEL)

That letter was first published in Notitiae 4 (1968) 146-55.

NOW IS NOT THE TIME to repeat what has been said regarding the unprecedented creation of “ad libitum” Eucharistic Prayers during the 1960s. However, two sections of that 1968 letter are (perhaps) worth highlighting, for thoughtful consideration by our readers:

“Because of its conciseness and comparative simplicity, Eucharistic Prayer II can be used to advantage on weekdays and in Masses with children, young people, and small groups.”

[ … ]

“Why this new departure? To consider the variety of anaphoras in the tradition of the universal Church is to realize that one anaphora alone cannot contain all the pastoral, spiritual, and theological richness to be hoped for. A multiplicity of texts must make up for the limitations of any one of them. This has always been the course taken by all the Christian Churches, the Roman alone excepted; they have all had and continue to have a variety of anaphoras, sometimes a great variety. In adding three new anaphoras to the Roman Canon, the Church’s intent here too has been to enrich the Roman liturgy pastorally, spiritually, and liturgically.”

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

Filed Under: Articles Tagged With: Annibale Bugnini Reform, History of the Roman Canon Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Custom preserves many things in liturgy after their first reason has ceased.”

— Father Adrian Fortescue (writing in 1916)

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  • New Bulletin Article • “12 October 2025”

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