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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

Sheed on the Missal of 1968

Dr. Peter Kwasniewski · April 17, 2014

NE OF MY FAVORITE Catholic authors is Frank J. Sheed, a vigorous Catholic apologist and author of many fine books. He was the finest flower of that remarkable preconciliar “golden age” of Catholic apologetics and popular theology to which, even now, we do not have anything exactly comparable. Sheed’s book Theology for Beginners is an accessible, refreshing, and illuminating book that every single Catholic ought to read at some point in his or her life; the larger Theology and Sanity, laid out on similar lines, is a masterpiece by all standards. And I could mention many other books, all worthy of study.

This is why I was so surprised at a little book of his published by Sheed & Ward in 1968, entitled Is It the Same Church? Coming from the pen of this great man, how disappointing it was! Reading between the lines, it sounds like Sheed is feeling plenty disturbed at what’s going on in the Church by 1968, and yet he more or less forces himself to put a good face on it all, rather than following the heroic path of men like Dietrich van Hildebrand who fearlessly identified the errors that were causing the confusion and who responded to them with cogent arguments that still nourish serious Catholics today.

Perhaps the most dismaying chapter is the fifth, “Mass and Eucharist,” which, in response to the serious objections people were making back in the mid-sixties to the increasingly radical and senseless changes in the Church’s liturgy, repeats the comfortless truism that “the Mass is the Mass.” Sheed seems to think that all you have to say is: “Look, the changes don’t affect the essence, so give up your attachment to the accidents!”―which is a superficial position, both devotionally and theologically. A hippy priest wearing love beads could say Mass in the great outdoors with teenagers singing pop songs and roasting marshmallows over a campfire, and it would still be THE mass. But come now, is this the way that our Lord wants His sacrifice to be represented among us and applied to us? Would it be fitting either to the objective reality of the holy, immortal, awesome, and life-giving mysteries of faith or to our subjective grasp of their meaning and our preparation for partaking of them? Has not our Lord offered us guidance in this matter over the course of twenty centuries of tradition, church councils, and the papal magisterium? Is there no such thing as a profound schooling by means of the celebration of the liturgy, and a worship we pay to God through the very forms we use?

The Sheedian answer―which is all too commonly heard in conservative circles―effectively dismisses as inessential everything other than the words of consecration. Yet this position leaves itself wide open to the critique of Schmemann, for whom the corruption of Western liturgy is proportional to the increasing isolation of the act of transubstantiation as the one “moment of divine activity” in the entire liturgy. While Schmemann is incorrect about many aspects of the history and theology of the Latin liturgy, he is correct to posit corruption as the inevitable result of insisting on the inessentiality or accidentality of everything other than the Eucharist qua confected sacrament. This reductionism―traces of which, incidentally, are seen not only in the Cartesian ethos of the Novus Ordo but also, within the context of traditional Catholic worship, in a determined preference for the Low Mass over the High or Solemn Mass―reflects a shallow grasp of the ecclesial meaning, cosmic dimensions, and heavenly archetype of the Eucharistic Sacrifice itself, a lack of attentiveness to the total signification of the rite in and through the rich intertwining of all its parts.

Apropos the same historical period in which Sheed was writing, Robert Fay observed:

[T]he Christian faith, and the Catholic Church in particular, have been in full-cultural retreat since the 1960s…. Yet there was another revolution in the 1960s―an internal Catholic one―that was in many ways as profound as the one taking place in the streets of Paris, New York, and London. It was a liturgical revolution, and it impacted each and every Catholic at that most fundamental unit of faith―Sunday morning Mass.

With typical forthrightness, Fr. Zuhlsdorf explains what happened, and, by implication, what must be done in order to address the catastrophe:

The Church’s identity was dealt a massive blow with the sweeping changes to Holy Mass and other rites during and after the Second Vatican Council. Paul VI permitted the Consilum, the committee set up to execute the changes mandated by the Council Fathers, to go way beyond the Council’s mandates and make a staggering number of changes not actually called for by the Council. The result was the artificially constructed “Novus Ordo.” Making matters worse, the “spirit” of the times so deeply quaffed by liberals short-circuited even the faithful implementation of the artifically created Novus Ordo. The results were wide-spread liturgical abuses and illicit experimentation, a loss of continuity of worship from place to place and with our forebears, and a grave enervation of our Catholic identity. With the weakening of our Catholic identity, we also became weaker in the eyes of the world at large and therefore easier to drive from the public square.

What, then, is the answer to this crisis? It must begin with the peaceful acceptance of the wisdom of Pope Benedict XVI, who said to every one of the world’s bishops in July 2007:

What earlier generations held as sacred, remains sacred and great for us too, and it cannot be all of a sudden entirely forbidden or even considered harmful. It behooves all of us to preserve the riches which have developed in the Church’s faith and prayer, and to give them their proper place.

Once the Mass of the Ages has won the “proper place” that belongs to it, we may then begin to speak with humble truth of a new springtime in the Church.

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s exciting new publication,
Sacred Choral Works, a 273-page collection of a cappella choir music for the Liturgy.

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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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

    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
    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

Random Quote

“In my capacity as the prefect of the Congregation for Divine Worship and the Discipline of the Sacraments, I continue to remind all that the celebration toward the East (versus orientem) is authorized by the rubrics of the missal, which specify the moments when the celebrant must turn toward the people. A particular authorization is, therefore, not needed to celebrate Mass facing the Lord.”

— ‘Robert Cardinal Sarah, 23 May 2016’

Recent Posts

  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)
  • Grotesque Pairing • “Passion Chorale”

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