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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

Who Should Proclaim the Passion?

Fr. David Friel · April 13, 2014

HOSE INVOLVED in preparing the Holy Week liturgies must reference several books and documents, of course beginning with the Roman Missal. Also required are the Lectionary and the RCIA ritual book. One lesser-known document that ought to be consulted is Paschalis Sollemnitatis, also known as the Circular Letter Concerning the Preparation and Celebration of the Easter Feasts, published by the Congregation for Divine Worship in 1988. (The full letter is available here.)

The purpose of this Circular Letter is “to recall certain elements, doctrinal and pastoral, and various norms which have already been published concerning Holy Week” (#5). It makes clear in the Preface that all the norms of the liturgical books for Holy Week retain their full force. The authors’ clear focus is “that the great mystery of our Redemption be celebrated in the best possible way so that the faithful may participate in it with ever greater spiritual advantage” (#5). Inspired by the same worthy motive, those who prepare the Holy Week liturgies should certainly be familiar with Paschalis Sollemnitatis.

The various liturgical references all highlight the reading of the Passion as a central feature of this Sunday, which, in the third edition of the Roman Missal, is known as “Palm Sunday of the Passion of the Lord.” In the words of the Circular Letter, “The Passion narrative occupies a special place” (#33). The letter goes on to say this:

[The Passion narrative] should be sung or read in the traditional way, that is, by three persons who take the part of Christ, the narrator, and the people. The Passion is proclaimed by deacons or priests, or by lay readers; in the latter case, the part of Christ should be reserved to the priest. (#33)

Sacred musicians should be pleased to read that the CDW encourages the Passion to be “sung or read,” giving first priority to singing. There is also a clear priority in terms of who should proclaim the Passion, as this statement indicates. As always, the proclamation of the Gospel is proper to the deacon, when one is present. In the absence of a deacon, the role of proclaiming the Gospel falls to a priest. Why?

Because, as the Second Vatican Council teaches, sacred ministers “have the primary duty of proclaiming the Gospel of God to all” (Presbyterorum Ordinis, #4). Surely this is accomplished in more varied ways than simply the liturgical pronouncement of the Gospel text, but fulfilling this “primary duty” must begin there. (The nature and purpose of ordained ministry has been a matter of discussion on these pages in the past, especially here and here.) This reality is demonstrated visibly by the added rubric that “only the deacons ask for the blessing of the priest” (#33) before proclaiming the Passion. Why? Because only ministers have been ordained in a unique fashion to proclaim the Gospel.

The same levels of priority are given in the Roman Missal:

The narrative of the Lord’s Passion is read without candles and without incense, with no greeting or signing of the book. It is read by a Deacon or, if there is no Deacon, by a Priest. It may also be read by readers, with the part of Christ, if possible, reserved to a Priest.

That the proclamation of the Passion, like all other Gospel texts, is proper to the deacon (or priest) is again very clear. In many places, though, the standard practice has become to schedule lectors to assist with the reading of the Passion without any special effort being made to provide for deacons or other priests. Without a doubt, the documents establish that it is licit and permissible to involve lay readers in the reading of the Passion, but it is just as surely not preferable.

While having laymen proclaim the Passion is clearly meant to be an exception, I wonder if the permission exists as a way of especially encouraging the chanting of the text. If this is so, it would be similar to the case of the Exsultet, which is proper to the Deacon, but may be proclaimed by a priest or lay cantor. The Circular Letter states: “In case of necessity, where there is no deacon, and the celebrating priest is unable to sing [the Easter Proclamation], a cantor may do so” (#84). The same is also true of the Kyrie.

The Circular Letter teaches that the Passion ought to be sung or read “in the traditional way” (#33). Almost nothing could be more removed from the liturgical tradition of the Church than the proclamation of a Gospel text by a lay reader. The Book of the Gospels even allows for the Passion to be proclaimed by the deacon or celebrant alone, without the use of parts, which would seem preferable to involving lay readers.

Many parishes only have one priest, perhaps without a deacon, but there are also many places with additional clergy. In these parishes, it is commonplace for priests and deacons to appear during the Communion Rite to assist with the distribution of Holy Communion. In parishes where such ministers are available, on this one Sunday of the year, would it not be reasonable to have those deacons or priests appear also during the Liturgy of the Word to assist with the proclamation of the Passion?

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

Filed Under: Articles Tagged With: Chanting the Readings in English, Liturgy of the Second Vatican Council, Novus Ordo Lectionary, Singing the Mass Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(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

Amid all these old liturgical books, I find that I am happy and at ease; I feel at home.

— Dom André Mocquereau (1884)

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