• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
    • “Let the Choir Have a Voice” (Essay)
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

A Close Friend & Advisor To Hans Küng Reacts To Our Recent Posting Of A Breviary From 1967

Guest Author · December 27, 2014

518 The Church As A Path To Salvation (Andrea Da Firenze) WISH TO EXPRESS my heartiest thanks to Corpus Christi Watershed for posting a PDF version of the Dominican Breviary of 1967. The Dominican liturgy of the hours has been my daily companion since 1960, when I entered the novitiate of the Central Province, St. Albert’s Province. Thus I was privileged to get to know it in its beautiful, though interminably long and often difficult to understand Latin form before the 1962 revision that eliminated Prime and the attached chapter office of Pretiosa. I continued to pray in private or chant in choir that revised Latin version until the English translation appeared in 1967, when I was sent to Germany for further studies. Though I regretted the loss of the beautiful Latin cadences and sonorous chant, I immediately appreciated the enormous gain in understanding brought by the English translation, even to one who, like myself, was habituated to reading and even speaking Latin.

After a psychiatric crisis in 1971/72 followed by several years of reflection granted me by my provincial, I eventually left the Order for reasons of health and obtained a full dispensation in 1976. Thus I did not personally experience the Order’s adoption of the 1971 revised Roman Breviary with the Dominican supplement, since by that time I no longer lived in a Dominican house nor did I purchase the English versions that appeared only in 1973/74. Both in principle and in terms of practicality, I fully supported the reforms undertaken under Paul VI—over the years, I had personally experienced the problems of fitting the old office into a busy day, resulting, for instance, in the absurd practice of bundling and anticipating the hours so that they no longer fitted the times when they were meant to be prayed: we chanted Compline at midday (!). And, despite my deep love of the divine office, in order to crowd in all the hours, I often had to recite them hastily, crammed in between my other obligations. I also deplored the way “working” fathers were so often dispensed from participating in the lengthy, and oft perfunctorily chanted choral office, leaving its celebration mostly to the novices and student brothers or to a handful of retired fathers. I also found annoying the predominance of the sanctoral over the temporal office and the many monotonous repetitions, for instance, of the psalms of Sunday Lauds and Vespers on all major feasts, the displacement of the ferial offices by the commons of martyrs, confessors and virgins, and so forth. Thus, even as I acknowledge the losses, I strongly welcome the changes, and now, when I visit Dominican houses that use the new office, I am deeply impressed by the devotion with which it is celebrated there.

Nevertheless, this revised liturgy was not the office that I had come to love since my youth: in particular I regretted the loss of the many proper antiphons, hymns, and responsories especially in the temporal cycle. Furthermore I shied away from having to purchase and to juggle with the new books. Thus, since I am not under any obligation to pray the office according to one or the other set of prescribed rubrics, I continue to use my old Dominican Breviary in the spirit of the Vatican II revisions. To the extent of my ability as a layman with family and profession, I try to pray daily or at least on Sundays and feastdays the hours of Matins and Lauds in the morning and Vespers in the evening, if possible also Compline as a bed-time prayer.

Praying the old Dominican Breviary along the lines of the Vatican II reform

In case anyone is interested. I give here a brief description of how I have adopted the old Dominican Breviary to the spirit of the novus ordo. The first problem was to reduce the number of psalms to be said each day. There I took my cue from the traditional Dominican practice of celebrating Matins during Pascaltide with only a single nocturn of three psalms and three lessons plus responsories. Thus, to insure the recitation of the full psalter over a period of eight weeks, I take successively the three psalms for Matins from the the original three daily nocturns and then from the hours of Prime, Terce, Sext, None, and Compline. When, as in Lent and on ember days, the original Old Testament readings (reflected in the surviving responsories) have been suppressed at Matins in favor of the Gospel of the day with a patristic commentary, I supply the missing Old Testament texts to serve as the first and second readings, and then I read the Gospel commentary as a single third reading. All in all, in the spirit of the Vatican II revision, I give precedence to the temporal over the sanctoral cycle, reducing most feasts of the saints or minor mysteries to mere commemorations. Thus at Matins, after the ferial lessons with their responsories, I read the proper lesson(s) of the feast, especially those recounting the life of the saint or the history of the feast. At Lauds, then, (and where appropriate at Vespers as well), after the collect of the day, I pray en block the feast-day’s proper (or sometimes the corresponding texts from the common) chapter, hymn, Benedictus or Magnificat antiphon, versicle and collect. Normally I do not pray the little hours, but when I do, I take the antiphon, chapter, and responsory from the office of the day for the appropriate time of the day, omitting the psalms, which, as described above, I recite over an eight week cycle at Matins. Thus, when I pray Compline as a night prayer, I similarly omit the psalms, and this allows me to concentrate my attention on the prayers and hymns appropriate to the bedtime hour.

I am especially grateful that vol. II of the Dominican Breviary is now available on your site as a PDF. I hope that the first volume will soon follow, for it contains the richest Dominican variants in its temporal cycle from Advent through Pentecost, as well as for proper feasts like those of St. Thomas and St. Catharine. To save space, one can omit the lengthy introduction and calender materials at the beginning and the supplementary prayers at the end, since these are identical with the texts in Vol. II. Thus it should be possible to bring the relevant materials into two PDFs, one for the ordinary and the temporal cycle and the other for the sanctoral cycle with the commons.


We hope you enjoyed this guest article by Thomas Riplinger.


THOMAS RIPLINGER grew up in Chicago, joined the Dominicans in 1959, and after completing his studies at the Aquinas Institute was sent to Germany by his superiors to study ecclesiology under Hans Küng and Joseph Ratzinger at the University of Tuebingen. Although he had to leave the Dominicans for reasons of health in the mid 70’s, he remains in close contact with the Order, especially with his former province and confreres, and at the same time he is a close friend and adviser to Prof. Hans Küng. After leaving the Order, he worked first as a historian of the Byzantine Empire in the Middle East and then, for 25 years, as a librarian for theology and philosophy at the university library.

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Music List • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —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

Legitimate and necessary concern for current realities in the concrete lives of people cannot make us forget the true nature of the liturgical actions. It is clear that the Mass is not the time to “celebrate” human dignity or purely terrestrial claims or hopes. It is rather the sacrifice which renders Christ really present in the sacrament.

— Pope Saint John Paul II (20 March 1990)

Recent Posts

  • Fulton J. Sheen • “24-Hour Catechism”
  • Music List • (Palm Sunday, 2026)
  • Easter • Would You Sing This Hymn?
  • “Priest Saying Mass” • Medieval Illumination
  • From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass

Subscribe

Subscribe

* indicates required

Copyright © 2026 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.