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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

Mass Among the Poor

Dr. Peter Kwasniewski · September 4, 2014

HAVE NOTICED A STRANGE assumption woven into almost all of the writing done by liberals, progressives, modernists, and aging hippies on the resurgence of the traditional Latin Mass. They seem to think of this Mass as a rarefied museum piece of Baroque fastidiousness, celebrated by unfeeling rubricists, for congregations of uncharitable nostalgics, in an atmosphere of dogma and superfluous income. But maybe it is not surprising that such stereotypes thrive among those who have so little experience with the contemporary traditional scene.

Although some may find it surprising, I find it utterly fitting that the Missionary Servants of the Poor of the Third World—an heroic apostolate whose priests, nuns, and laity work with people of desperate poverty—have in recent years discovered the treasure of the usus antiquior and have embraced its celebration as a potent source of life and energy for their work. The same has been true for other congregations, such as the Missionaries of Charity and the once-flourishing Franciscans of the Immaculate. As for the congregation, it is well known that the poor, contrary to all the prognostications of clergy and experts, have flocked to Masses in the usus antiquior. The manifest reverence, pregnant silences, and redolent symbols of the old Mass speak eloquently to simple souls who find in it an encounter with the Passion of Christ that can give meaning to their own sufferings.

The traditional Roman Rite has a purity of focus and a strength of passion that make it particularly suitable for radically poor missionaries to the poor. It is a liturgy that pulls down the ego of the celebrant by plunging him into a ritual that is his demanding master, not his plaything; and yet, it is a liturgy shot through with a lover’s gestures: the altar is kissed many times, and telling phrases are repeated, just as we often do in intense situations. This Mass has the virtue of purity of heart, which Kierkegaard defined as “willing one thing.” It wills the Sacrifice of the Cross, and subordinates everything to that. As such, it is an incomparable school of poverty of spirit, conforming the worshiper to the single-hearted Christ.

Among poor people huddled in a hut, before whom a scrubby priest dressed in rags celebrates the Eucharistic sacrifice with total focus and passion―here, amid woes that drive desperate souls to meaningful prayer, there is likely to be a real participation in the ecstasy of the crucified and risen Savior.

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

“By a decree of the synod of the diocese of Exeter in 1284, no one should claim any seat in a church; but whoever first entered a church for the purpose of devotion, might choose at his pleasure a place for praying.”

— A work by Fr. Husenbeth (d. 1872)

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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