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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

PDF Downloads • Vernacular Mass Settings Published During The 1960s

Jeff Ostrowski · May 18, 2015

755 Mass in honor of FATIMA COVER EVERAL YEARS AGO, I received a letter from a bishop quite upset with our blog. Specifically, he didn’t like some of the information we published regarding the reforms—such as the testimony of Cardinal Antonelli—and declared that we were wrong to be critical because “everyone associated with the reforms had good intentions.”  1

We will continue to investigate the liturgical reforms of the 1960s. These reforms exceeded what was called for by the documents of Vatican II, yet certain “scholars” still carefully ignore statements they dislike, such as the Council’s mandates regarding Gregorian chant and the retention of Latin. 2

The following Mass settings were published almost immediately after the promulgation of Sacrosanctum Concilium on 4 December 1963:

    * *  1964 • ENGLISH MASS No. 2 (Sister M. Elaine)

    * *  1965 • AVE MARIS STELLA MASS (Carroll T. Andrews)

    * *  1965 • ENGLISH MASS Honoring Our Lady of Fatima (Sister M. Florentine)

    * *  1965 • ENGLISH MASS for the DEAD (J. G. Phillips)

    * *  1965 • CHORAL MASS IN ENGLISH (William J. Marsh)

    * *  1966 • ENGLISH MASS in honor of SAINT RICHARD (R. K. Biggs)

    * *  1967 • ENGLISH MASS “Peace on Earth” (V. Carnevali)

You’ll notice tons of curiosities, especially regarding approval for texts and music. Someone has written “wait for kiss of peace” in the Requiem score…but does the PAX occur in a Requiem? These settings strike me as utilitarian and “thrown together” rather than true art. By the way, I wish ICEL had kept “peace on earth to men of good will.” I hate the wording in the current version. If they were set upon avoiding the word “men,” I wish they would have done something like “peace on earth to those of good will.” But nobody asked me.

Why didn’t they create simple settings, based on Gregorian chant? Here’s one of my attempts; judge for yourself whether it makes sense:


That setting is found in the Jogues Illuminated Missal. Simple melodies can also be made more ornate; here’s an attempt by yours truly:


We’ve mentioned many of the unanswered questions caused by the post-conciliar reforms, such as the approval debacle, the contradiction regarding Holy Days, and the “reverse effect” caused by trying to give more options. But what drives me crazy is how certain reformers left their personal mark on the liturgy. Countless venerable texts were replaced with contemporary settings composed by “experts.” Ancient ceremonies were “corrected” arbitrarily. It is often difficult to trust in their skills when we observe careless errors in the official books. Here’s one example.

Nevertheless, I wish to publicly apologize for the times my rhetoric has come across as caustic, inflammatory, or mean-spirited. Such actions do not help our cause.



NOTES FROM THIS ARTICLE:

1   I sent him a nice response, choosing not to argue with him, but was dying to ask how he could be so sure that everyone associated with the reform had good intentions, especially in light of the revelations by an Oratorian priest, Fr. Louis Bouyer, who was intimately involved with these very reforms.

2   It’s important to remember that the Vatican II documents were not available to the average Catholic in those days. The internet has altered this situation.

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

Filed Under: Articles, PDF Download Tagged With: Low Mass Vernacular Hymns Last Updated: April 6, 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

    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

“Now with the elimination of Latin, the choirs that performed the treasures of sacred music are dying. Someone remarked that the study of sacred music is the history of its disappearance. In place of the authentic music demanded by the Vatican Council, all kinds of secular forms and inferior dance and combo music are heard.”

— Monsignor Richard J. Schuler (1971)

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  • “Reminder” — Month of October (2025)

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