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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Annibale Bugnini’s Commentary (June 1967)

Jeff Ostrowski · July 2, 2015

570 Hannibal Bugnini IMAGE HEN I FIRST READ Annibale Bugnini’s massive book, “The Reform of the Liturgy,” I recall being struck by his polemical—almost petulant—tone. It was as if all his pent-up ire finally had an opportunity to be released, and he reserved special contempt for one of the heroes of sacred music, Msgr. Johannes Overath. For Bugnini, there was no such thing as a valid criticism or suggestion; these were labeled as “attacks” (a word he uses constantly throughout the 974 pages of his book).

The tone is quite different this 1967 document in which Bugnini reflects on Tres Abhinc Annos (a.k.a. “The Second Instruction”) promulgated on 4 May 1967:

    * *  PDF • Commentary on TRES ABHINC ANNOS

This document is unimportant—since massive liturgical changes came two years later—but what’s interesting is Bugnini’s euphoric tone and overstated claims about liturgical changes. His testimony is 100% at odds with what I’ve been told by priests and laymen who experienced the reforms of the 1960s, yet Bugnini claims the changes have “been received everywhere with great satisfaction.” For instance:

The faithful everywhere have responded generously, and have greeted the “new” liturgy with great joy. There can be no doubt that interest in the liturgy has increased…

The recent “Second Instruction” on liturgical modifications has been received everywhere with great satisfaction and…with a spirit of joy…

Yet, you can see from his commentary that he desires more. For instance:

Our experience of the vernacular, and of celebrations versus populum, has shown that certain particular ceremonies are no longer of use; they can easily be changed, without altering the present liturgical books, in harmony with the guidelines of the renewal.

It’s also important to read Cardinal Antonelli’s testimony regarding Archbishop Bugnini.

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

Filed Under: Articles Tagged With: Annibale Bugnini Reform Last Updated: January 1, 2020

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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” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski
    “Entrance Chant” • 4th Sunday of Easter
    You can download the ENTRANCE ANTIPHON in English for the 4th Sunday of Easter (11 May 2025). Corresponding to the vocalist score is this free organ accompaniment. The English adaptation matches the authentic version (Misericórdia Dómini), which is in a somber yet gorgeous mode. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski
    Music List • “Repertoire for Weddings”
    Not everyone thinks about sacred music 24/7 like we do. When couples are getting married, they often request “suggestions” or “guidance” or a “template” for their musical selections. I created this music list with repertoire suggestions for Catholic weddings. Please feel free to download it if you believe it might give you some ideas or inspiration.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

It was thought important that the song should actually accompany the distribution of Communion. A Carolingian explanation of the Mass remarks that during the Communion “soft melody should touch the ear [of the faithful] so that hearing this sound they would busy themselves less with distracting thoughts and … their hearts would be moved to humble love for that which they receive.”

— Father Josef Andreas Jungmann

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