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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

The Awesomeness of the Holy Sacrifice of the Mass

Dr. Peter Kwasniewski · August 28, 2014

0319_kwas-85-LG OM PIUS DE HEMPTIENNE, a little-known monk of the early twentieth century and yet a worthy disciple of Blessed Columba Marmion, left us precious reflections about the spiritual life and the liturgy of the Church. In the proper Benedictine spirit, he conscientiously oriented his thoughts and desires to the liturgy, finding in it the summit of his prayer and the height of his aspirations. Since it is by no means easy to come by the writings of Dom Pius, I would like to share with the readers of Views from the Choir Loft a magnificent meditation on our participation in the sublime sacrifice of Calvary through the Mass. As you read this passage, consider its implications for the music, architecture, furnishings, vessels, and vestments that are appropriate for Mass, and the external and internal attitude that this august and fearful Mystery of Faith should call forth from us.

THE DEATH OF A GOD, dying for the salvation of men, is the central point in the history of mankind. All ages bear witness to and converge towards it: the preceding centuries point to its coming, the others are destined to harvest its fruits.

The death of Christ is the centre of history, and also the centre of the life of each man in particular. In the eyes of God every man will be great in proportion as he takes part in that deed; for the only true and eternal dignity is that belonging to the divine Priest. The degree of each one’s holiness will be in exact proportion as he participates in that bloody immolation. For the Lamb of God alone is holy.

But although Jesus Christ the divine High Priest appeared only once on earth, to offer up His great sacrifice on Calvary; yet, every day He appears in the person of each one of His ministers, to renew His sacrifice on the altar. In every altar, then, Calvary is seen: every altar becomes an august place, the Holy of holies, the source of all holiness. Thither all must go to seek Life, and thither all must continually return, as to the source of God’s mercies. Those who are the Master’s privileged ones, never leave this holy place, but there they “find a dwelling,” near to the altar, so that they never need go far from it; such are monks, whose first care it is to raise temples worthy to contain altars. Making their home by the Sanctuary, they consecrate their life to the divine worship, and every day sees them grouped around the altar for the holy sacrifice. This is the event of the day, the centre to which the Hours, like the centuries, all converge: some as Hours of preparation and awaiting in the recollection of the divine praise―these begin with Lauds and Prime continued by Terce, the third Hour of the day; the others, Sext, None, Vespers, and Compline, flow on in the joys of thanksgiving until sunset when the monks chant the closing in of night.

Thus the days of life pass, at the foot of the altar; thus the life of man finds its greatness and its holiness in flowing out, so to say, upon the altar, there to mingle with that Precious Blood which is daily shed in that hallowed place: for, if the life of man is as a valueless drop of water, when lost in the Blood of Christ it acquires an infinite value and can merit the divine mercy for us. He who knows what the altar is, from it learns to live; to live by the altar is to be holy, pleasing to God,―and to go up to the altar to perform the sacred Mysteries is to be clothed upon with the most sublime of all dignities after that of the Son of God and His holy Mother. (A Disciple of Dom Marmion, Dom Pius de Hemptienne: Letters and Spiritual Writings, trans. Benedictines of Teignmouth [London: Sands & Co., 1935], 145–47.)

Along the same lines, I read this remarkable quotation from Dr. William J. Walsh, Archbishop of Dublin (courtesy of the judicious Fr. Hunwicke):

If all the prayers of loving hearts from the beginning of the world, and all the seraphic worship of the thrones and principalities of heaven, and the burning devotion and love of the Virgin Mother of God, and the million voices of the universe of all creatures of heaven and earth and sea were offered up in one universal and harmonious act of praise and adoration, they would not equal or even approach in value and efficacy the infinite worth of a SINGLE MASS.

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s Sacred Choral Works and the audio CDs that contain recordings of the pieces.

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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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

“These liturgists protest that the choir must be encouraged, but in the same breath we are told its purpose is to lead the congregation in the singing of hymns and other unison music. These directions from non-musicians who have never created a musical sound—let alone direct a choir—are the cause of consternation among practicing musicians, both instrumentalists and singers.”

— Monsignor Richard J. Schuler (30 November 1967)

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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