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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

Liturgical Silence—But Not What You Think!

Jeff Ostrowski · April 29, 2015

855 Silence OT LONG AGO, I posted an article which mentioned the subject of paying people to sing at Church. I was very careful not to say—one way or the other—whether I felt it was acceptable to pay singers. I did, however, mention my personal preference. Very soon, I got angry emails. Some were furious that I had called the practice acceptable. Others were mad I had condemned it outright. Obviously, the people making these claims had not read my article. An acquaintance of mine wrote something to the effect of, “So, you condemn singers who are paid? Too bad for you, idiot.”

Over the years, I’ve learned that—very frequently—the only acceptable response is silence. When I was young, I would have argued. I would have pointed out that I never made such a claim. I would have pointed out that I’d merely expressed my preference, which I’m allowed to do in a free society. I would have said many things—and it wouldn’t have made any difference.

There are many kinds of SILENCE. Consider, for example, when you try to contact a typical American company; even one you’ve done business with for years. Normally, they don’t wish to speak to you. They send you emails from a “No Reply” email address. They force you to speak to “robot” machines on the phone. (No matter how many times you punch in the correct information, it’s not accepted.) They place you on hold for hours and hours. 1 On the other hand, there’s the SILENCE experienced by many of our friends when they contact Corpus Christi Watershed. We receive so many emails it’s impossible to reply to them all. This makes me sad, but there’s no alternative. 2

THERE IS A SILENCE WHICH HAS an effect on the liturgy, but not in a good way. It has to do with the Bishops’ Committee on the Liturgy, which declared on 20 November 2012 that paragraph 48 of the General Instruction of the Roman Missal (GIRM) can be ignored. Paragraph 48 says that music replacing the Entrance chant assigned by the Church must be approved. Yet, when it comes to other items—such as the law saying only an approved translation can be used for the readings at Mass—nobody says it’s okay to ignore that directive. Daniel Craig wrote more than 80 letters to the Bishops’ Committee over a period of months, but the matter was never clarified.

The Committee seems to have chosen SILENCE. Nobody can force them to clarify this matter. Let’s face it, once we start picking and choosing which parts of the GIRM we can ignore, things get complicated. Moreover, it would seem that the USCCB doesn’t wish to clarify, because doing so would draw attention to the fact that 96% of Catholic churches in the USA are not following the GIRM.

As far as the big publishing companies are concerned, SILENCE on this matter—for forty years—has worked out just fine.



NOTES FROM THIS ARTICLE:

1   American Airlines once placed me on hold for more than 14 hours before allowing me to correct an error they had made.

2   A reader got angry about this, telling me I had a moral obligation to stay up all night—every night—until each email was answered properly.

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

Filed Under: Articles Tagged With: Hymns Replacing Propers, Traditionis Custodes Vernacular Last Updated: July 23, 2021

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

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

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —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
    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

Random Quote

“In 1848, Franz Liszt attended a performance of Schumann’s 1st Piano Trio, held in his honor in the Schumanns’ home. Liszt arrived two hours late with Wagner (who hadn’t been invited), derided the piece, and spoke ill of the recently deceased Mendelssohn. This upset the Schumanns, and Robert physically assaulted Liszt.”

— Janita Hall-Swadley

Recent Posts

  • “Dies Irae” • A Monstrous Translation
  • 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)

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