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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 Society for Catholic Liturgy

Fr. David Friel · October 12, 2014

HIS 21ST CENTURY is blessed by the ongoing work of numerous organizations committed to true liturgical reform. Equally favorable is the spirit of cooperation that flourishes among them. Without a doubt, at the scholarly level, there is no organization more excellent and timely than the Society for Catholic Liturgy (SCL).

On its website, the society describes itself as “a multidisciplinary association of Catholic scholars, teachers, pastors, and professionals—including architects and musicians—in the Anglophone world.” Since its founding in 1995, the non-profit group has promoted scholarly liturgical studies and practical renewal of the sacred liturgy. Earlier this month, SCL hosted its annual conference on the topic of “The Temple Transformed: Liturgy, Art, Music, Architecture, and the Fulfillment of the Old Testament.” Highlighting the impressive schedule of presentations was the keynote address given by Bishop James D. Conley of Lincoln, NE.

One of the chief works of SCL is the publication of Antiphon: A Journal for Liturgical Renewal three times each year. In the present edition (Vol. 18, no. 2, 2014), readers will find contributions from two CCW bloggers. First, Andy Motyka has published therein a book review of the Saint Isaac Jogues Illuminated Missal, Lectionary, and Gradual, published by the Pope John Paul II Institute for Liturgical Renewal. The review is excellent, both carefully considered and clearly expressed.

Among the three main articles in the volume, one is a piece I have written entitled The Propriety of the Propers: Toward the Independence of Liturgical Chant and Popular Hymnody. This article advocates for the restored role of the Proprium Missae in the Roman liturgy, focusing on the specific virtues of the propers. If further proposes the building up of the popular hymn tradition in its own native environment. Finally, in the article, I outline a pastoral plan for how to bolster both distinct genres.

If you would like to read this article in full, along with Andy’s book review, consider subscribing to Antiphon or even becoming a member of the Society for Catholic Liturgy. Among the many instruments of liturgical reform operating in today’s Church, SCL is one of the finest.

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

Filed Under: Articles Tagged With: Authentic Liturgical Renewal Reform, Graduale Romanum Roman Gradual Propers, Hymns Replacing Propers, Jogues Illuminated Missal Lectionary Gradual, Propers, Secular vs Sacred Music at Mass, Singing the Mass, St Isaac Jogues Illuminated Missal 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

    PDF Download • “Sprinkling Rite”
    Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.
    —Jeff Ostrowski
    ‘Sarum’ Good Friday?
    Plainsong of the Roman Rite has many variants—i.e. slight ‘variations’ or ‘alterations’ made to the ancient melodies. Variants often thrive in particular religious orders. Likewise, before Henry VIII broke away from the Catholic Church, Gregorian Chant variants were frequently associated with individual cathedrals in England: Hereford, Lincoln, Salisbury, and so forth. In the early 20th century, the (Anglican) organist at Westminster Abbey married “Let All Mortal Flesh Keep Silence” to this beautiful variant melody from England. Those who sing Gregorian Chant on Good Friday will recognize the melody. What do you think of this pairing?
    —Jeff Ostrowski
    PDF Download • “Eb Organ Postlude”
    Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —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
    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

Random Quote

“I would hope there is a place [at Mass] for the avant-garde in the same way I think there has to be a place—and we have to be careful with this—a place for Jazz and a place for Evangelical and all of that. […] On theological grounds, I do think we need interaction with the culture at the level of high art or at the level of more commercial pop culture.”

— Fr. Anthony Ruff (22 June 2016)

Recent Posts

  • PDF Download • “Sprinkling Rite”
  • ‘Sarum’ Good Friday?
  • Gregorian Chant • The “Correct” Way of Singing ?
  • PDF Download • “Eb Organ Postlude”
  • Fulton J. Sheen • “24-Hour Catechism”

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