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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

PDF Download • 1974 “Graduale Romanum”

Jeff Ostrowski · February 17, 2014

Here’s the direct URL link.

OW HARD should we be on the Bishops’ Liturgy Committee with regard to their famous mistake of 2002? Some readers will recall the serious error made in their Newsletter of May 2002. The Committee attempted to fix the error, but ended up making things worse by an “official” wording that was literally bizarre & unintelligible (more). The error remained on the books for almost a decade, but was finally corrected due to indefatigable “nagging” by Christoph Tietze. We ought not be too hard on the Committee, who failed to understand that the Missal Antiphons are (by design) not identical 1 to those in the Roman Gradual. After all, even a famous “liturgy expert” got this wrong as recently as 19 July 2011. We can’t blame him, either, because the entire Church seemed to have collectively forgotten about “Propers” for decades. When I was going to Catholic grade school in the 1990s, we sang This Little Light Of Mine as the Introit!

Before I continue, here (for the first time) is a PDF copy of the 1974 Graduale Romanum:

* *  1974 Graduale Romanum • Solesmes Abbey / Vatican Press

* *  Alternate Version — A Different Scan Technique

HOW COULD EVERYONE just “forget” about the Roman Gradual? Let me explain, and I promise to be clear and to the point. Before the Council, the entire Liturgy could be found in one book: the Missal. However, the post-conciliar liturgy has three books: (1) Lectionary, containing the Readings; (2) Sacramentary, called a “Missal” starting in 2011; and (3) Roman Gradual, containing the music for Mass. Pretty basic, right? Old Rite had 1, New Rite has 3. So, what’s the problem?

Well, the problems came because the new books were introduced in the most chaotic way imaginable. For example, the Sacramentary was released piecemeal over a period of years. Other books were released in a “faux” version (e.g. Ordo Cantus Missae) containing almost nothing usable 2 in an actual liturgy. There were also issues as to whether certain books ought to be printed first in Latin or the vernacular. It’s no wonder 3 Pope Paul VI asked publicly in a 1969 audience:

“How can we celebrate this new rite when we have not yet got a complete missal, and there are still so many uncertainties about what to do?”

If we possessed video recordings of what happened during the period of 1970-1975 we would be shocked. Anyway, the final book 4 to be published (in 1974!) was the Roman Gradual, but even then, it was only available with Latin rubrics. A version with English rubrics wouldn’t be published until 1990.

Obviously, the fact that no Revised Gradual was available until 1974 had a severely detrimental effect on the ability of Catholics to “sing the Mass.” It really was a death blow, and perhaps this partially explains a statement by Msgr. Francis P. Schmitt. I can’t remember the exact quote, but he basically said Catholic liturgical music couldn’t be saved in the 1970s “because by that point, there was nothing left to save.”

Catholics have begun to realize the extent to which we’ve been “ripped off,” and we’re trying to rebuild … but it won’t be easy. Recent examples of efforts in the right direction would include the Lalemant Propers and Solesmes Gregorian Missal (courtesy of the CMAA).

… And don’t forget!   Very soon, we will make an important announcement about the Roman Gradual in English.  Make sure you hear about it before anybody else.

782 Graduale Romanum 1974

 

NOTES FROM THIS ARTICLE:

1   Pope Paul VI wanted the Introit and Communion antiphons revised “for greater intelligibility.” Perhaps he was thinking of the Introit Gaudete, since that Introit is not a “complete sentence.” However, the reformers ended up annihilating and replacing many propers. No one knows why this was allowed to happen.

2   To date, only four people in the universe actually know how to use the Ordo Cantus Missae, and one of them is Steven Van Roode, who wasn’t even born until decades after Vatican II ended!

3   I own a Lectionary from one of the big publishers that has this message in the front cover. In this same book, somebody has gone through and crossed out every instance of HE, HIS, or HIM and replaced it with something else. Does anyone have a complete 1970 organ accompaniment to the Responsorial Psalms? If not, what did people use back then? Does anyone know? Did they just speak the Responsorial Psalm until musical collections were published?

4   Solesmes cannot really be blamed for this. As a printing house, they needed to make sure the reformers were finished tinkering with the liturgy before going to the trouble of producing a quality book.

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

Filed Under: Articles, Featured Tagged With: Graduale Romanum Roman Gradual Propers Last Updated: August 25, 2023

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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

    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
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —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

    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
    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

Random Quote

Jeffrey Tucker: “What are your thoughts on what passes for sacred music in most Catholic parishes today?” Richard Morris: “There’s nothing sacred about it. The tunes, rhythms, and messages are drawn mainly from secular culture. When it isn’t aesthetically repugnant and downright offensive to the Faith, it is utterly forgettable.”

— James Richard Morris (concert organist)

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