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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

Why St. Josemaría Escrivá Only Celebrated The Extraordinary Form

Jeff Ostrowski · August 4, 2015

431 Josemaría Escrivá Eucharist Mr. John Sonnen shared the following story on his blog. Our readers know we shun gossip, but this story is told by a living person who “names names.”

FEW YEARS AGO I had the honor to sit down with the great Rev. Dr. Giuseppe Soria, personal physician of St. Josemaría Escrivá. Don Giuseppe was his close and personal friend, and was even in the room the moment the saint breathed his last. In fact, he is the one who reached out and closed St. Josemaría’s eyes the moment after he died. Don Giuseppe was ordained in Madrid and lived in Rome in the 1950s, 1960s, and 1970s.

I asked Don Giuseppe why St. Josemaría had not celebrated the Novus Ordo Missae. His response was frank and to the point.

St. Josemaría was always first and foremost obedient, but he could not read the faded print in the new edition of the Roman Missal (see this photo). He had cataracts and found it difficult and painful to read the poor quality typeset. Also, the saint had experienced certain mystical moments associated with particular words, sentences, and structural parts of the Extraordinary Form of the Roman Rite. Such moments had been a part of his spiritual life since boyhood and through his priesthood. In having to celebrate the Mass of Paul VI, the saint would have been cut off from this.

Finally, it was the saint’s secretary, Don Alvaro del Portillo, who at the behest of the saint telephoned Msgr. Annibale Bugnini to ask permission to continue celebrating the Classical Rite. Monsignor Bugnini was quick in his response: “You don’t need permission from me. Just continue to celebrate the Mass of St. Pius V.”

I believe Pope Paul VI allowed priests with certain conditions—such as blindness—as well as retired priests to continue to offer the Traditional Latin Mass, even after the new Missal was introduced circa 1970. I’m told some priests loved the Extraordinary Form so much, they chose to retire early.

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

Filed Under: Articles 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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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

“Of course, the new [Easter Vigil] liturgy has greatly streamlined the symbology. But the exaggerated simplification has removed elements that used to have quite a hold on the mindset of the faithful. […] Is this Easter Vigil liturgy definitive?”

— Paul VI to Virgilio Noè (10 April 1971)

Recent Posts

  • 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
  • Pipe Organ “Answers” in Plainsong?

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