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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 Press Has An “Oops” Moment

Jeff Ostrowski · November 5, 2015

148 Composer Paul Inwood OR A NUMBER OF YEARS, Collegeville Liturgical Press has sponsored three blogs: (1) PRAYTELL; (2) ROCK & THEOLOGY; and (3) RAIDS ACROSS COLOR LINES. Their Rock blog was discontinued, but the others are still going strong. On 30 October 2015, PrayTell published an article about formal vs. dynamic equivalence. 1

The author, Paul Inwood, had begun to ponder the concept of translating from one language to another. Inwood quickly discovered what every good translator knows: we must translate ideas not individual words. For example, many languages ask (literally) “how many years have you” whereas we would ask, “How old are you?”  2

For a long time, the “progressive” camp has argued that dynamic equivalence is good and formal equivalence is bad. This silly view must be discarded. All good translations employ a mixture of both. Indeed, Liturgiam Authenticam says: “Any adaptation to the characteristics or the nature of the various vernacular languages is to be sober and discreet.”

Dynamic equivalence is not “liberal.” Formal equivalence is not “conservative.” Fr. Adrian Fortescue and Msgr. Ronald Knox—truly legendary priests—were famous for their use of dynamic equivalence, and occasionally went to great lengths avoiding cognates. (Translations by Knox can seem funky/dated because he sometimes went overboard with dynamic equivalence.)

Collegeville made a huge mistake by publishing this article.  Mr. Inwood was trying to say that dynamic equivalence does not distort the true meaning. Yet, this same Paul Inwood wrote:

Seventh-century theology, spirituality, and culture are very far from where most of the Church is now. The 1973 translation concealed this fact from us. If we had known what the prayers really said, we would not have wanted to pray them any longer. Now we are faced with that question 40 years later, and it is not any easier.

Dr. Peter Jeffery, a Benedictine Oblate of Collegeville, does not like LITURGIAM AUTHENTICAM, and is cited by Inwood. 3 However, I doubt Dr. Jeffery would be willing to question its fruits:

    * *  PDF • COMPARISON CHART A

    * *  PDF • COMPARISON CHART B

There will always be disputes about liturgical translation. One thing, however, is incontrovertible: the “grass roots revolution” against the new translation—something ardently & publicly hoped for by PrayTell over a period of years—did not occur. The fact that so many millions of Catholics in the USA, Canada, Britain, South Africa, Singapore, the Philippines, and so forth accepted this new translation was due in large part to the efforts of Msgr. Andrew Wadsworth, the wise and joyful executive director of ICEL. 4



NOTES FROM THIS ARTICLE:

1   The blog moderator, Fr. Anthony Ruff, is known for blocking most (not all) comments which advocate “conservative” views, and he’s certainly within his rights to ban opposing views. Unfortunately, PrayTell occasionally deletes entire articles—even those with numerous comments—if they are discovered to be inaccurate. For this reason, I provide a screenshot. The Collegeville blogs are listed at the bottom.

2   Mr. Inwood, however, seems not to realize that French is exceptional in this regard—especially regarding technology nomenclature—and may wish to google «Académie française».

3   I personally believe LITURGIAM AUTHENTICAM to be quite beautiful, especially passages such as: “If indeed, in the liturgical texts, words or expressions are sometimes employed which differ somewhat from usual and everyday speech, it is often enough by virtue of this very fact that the texts become truly memorable and capable of expressing heavenly realities.”

4   Needless to say, out of so many millions there will always be a few who complain.

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

Filed Under: Articles Tagged With: Dynamic Equivalence, Formal Equivalence, Liturgiam Authenticam, Liturgical Press Oops Moment, Paul Inwood, Paul Inwood Composer, PrayTell Blog Last Updated: April 27, 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

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    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
    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

“If I could only make the faithful sing the Kyrie, the Gloria, the Credo, the Sanctus, and the Agnus Dei…that would be to me the finest triumph sacred music could have, for it is in really taking part in the liturgy that the faithful will preserve their devotion. I would take the Tantum Ergo, the Te Deum, and the Litanies sung by the people over any piece of polyphony.”

— ‘Giuseppe Cardinal Sarto, Letter to Msgr. Callegari (1897)’

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  • “Dies Irae” • A Monstrous Translation

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