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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 Download • “Latin in the New Liturgy” (1976)

Jeff Ostrowski · February 22, 2016

730 Latin in the New Liturgy NE OF OUR longtime readers sent in a book from 1976 I’d never seen before by Dr. Richard Richens, who helped found the Association for Latin Liturgy 1 in Great Britain:

    * *  PDF Download • R. H. Richens (16 pages)

It’s quite short, but powerful and—even better—it’s fun to read. The section about Hebrew at the Last Supper explains a point I’ve tried to make for a long time, but does so with eloquence (not my strong suit).

Some excerpts:

HE BISHOPS OF ENGLAND AND WALES have put forward their views on Latin on several occasions. In 1966 they said that “every encouragement should be given to reciting or saying of the Ordinary of the Mass in Latin, on those occasions when it is possible, fitting and convenient. Definite steps must be taken to see that knowledge of the Latin Mass is not lost.” Later, in 1969—after the new order of Mass had been introduced—they said: “the use of Latin in celebrating the new Mass Rite will be encouraged as it has been in the old; Latin expresses the nature of the Church as international and timeless.”

The musical settings of the Latin text of the Roman rite are—by common consent of all musical critics, and confirmed by any issue of the Radio Times—one of the supreme creative achievements of mankind. They constitute the largest body of high-quality music in existence. […] Though plainchant has suffered many vicissitudes—including its re-styling by the Franks and the corruption of the tradition in the post-Tridentine period—it remains a supreme expression of worship and fully deserving the special place the Second Vatican Council accorded to it.

The Latin liturgy is the birth place of all our modern music. The art of combining voices, pioneered by the English composer Dunstable, is one of the outstanding permanent legacies of the Middle Ages. By the sixteenth century, musical settings for the Latin liturgy had been composed that still rank amongst the major musical works of the world. Palestrina and Victoria, whose Latin Church music is their major contribution, would be included in any list of the greatest musical composers. English writers were also notable, and one of these, William Byrd, could arguably be regarded as the greatest writer of liturgical music of all time and the greatest English composer in any form. His five-part Mass was sung in St. Peter’s, Rome, at the canonization of the Forty Martyrs of England and Wales. […] In the last century, when composers tended to forsake religious music, Liszt and Bruckner produced Latin Church music of the highest quality. The present century has not been behind the others, and the music of Poulenc in France and Berkeley in England compares with the best that has gone before.

Here’s a section that jumped out at me:

Yet how can a congregation today participate in a Latin Mass to the extent that the Council clearly requires? There are some practical difficulties, mainly because publishers—preoccupied with vernacular texts—have failed so far to provide adequate aids, bilingual Sunday Mass books, Latin-English Mass leaflets, and the like. Time and demand will solve these.

Dr. Richens would have been pleased to discover the Jogues Illuminated Missal:

728 St. Isaac Jogues Illuminated Missal, Lectionary, & Gradual


The JOGUES is a book for the pews—i.e. the congregation—which allows any priest to use as much or as little Latin as may be desired for Masses in the Ordinary Form. The special layout helps the “average” Catholic feel at home.



NOTES FROM THIS ARTICLE:

1   To learn more about the “Association for Latin Liturgy,” click here.

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

Filed Under: Articles, PDF Download 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

    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

[on Latin] “No change in Mass: people have missals and can read. More vernacular can be useful in the Sacraments: Baptism, Confirmation, Extreme Unction, Matrimony.”

— Cardinal Spellman (one of the Vatican II fathers)

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  • “Reminder” — Month of October (2025)

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