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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

Guide for Large-Scale Celebrations

Fr. David Friel · May 22, 2016

ARGE-SCALE liturgical celebrations are not infrequent in the modern, globalized world. I have been part of several, myself, including during papal Apostolic journeys, World Youth Days, and the World Meeting of Families last September. The quality of such celebrations has varied widely, from the carefully executed liturgies of Pope Benedict XVI’s very successful UK visit to many less worthy celebrations.

Following the 2005 Synod of Bishops, the CDW started work on a document that would provide guidelines for such circumstances. An initial document was published in 2007 in Italian (Le grandi celebrazioni: una riflessione in corso, Notitiae 43, 2007, 535-542). In 2014, the document was revised and expanded, but published only in Italian and Spanish. Now, the USCCB Secretariat of Divine Worship has commissioned an unofficial English translation of the 2014 document, for the benefit of all who contribute to the organization of large liturgical gatherings.

Here are ten points made in the text that are noteworthy:

1. The new English translation is available in the current (March-April 2016) issue of NewsLetter, published by the USCCB Committee on Divine Worship (more information here). Following are a few observations about this overall very good document:

2. One section of the document (paragraph 12) deals directly with sacred music. Notably, it states that, “While attention should be given to different praiseworthy approaches and traditions, Gregorian chant, proper to the Roman Liturgy, retains its constant value.”

3. The same section addresses matters of language, including this praise for the use of the language of the Church: “In a celebration of international character, so as better to express the unity and universality of the Church, a more ample place can be given to the Latin language.”

4. Another section (paragraph 22) deals with the location of the schola, suggesting that the singers be placed outside the sanctuary and facing the altar, so as to help the choir exercise their function more easily and to make “full participation in the Mass easier for everyone.”

5. Surprisingly, this Guide encourages (paragraph 27) that the Eucharistic Prayer, or at least the words of consecration, be sung, “since in addition to highlighting the sacred character of the Prayer, this makes it easier to synchronize the words.”

6. The document (in paragraph 8) encourages organizers of major liturgies to consider whether the liturgy celebrated should be Mass or something else.

“The celebration of the Mass presupposes and requires that those gathered in the Lord’s name are able to feel that they are part of a praying assembly . . . and that the concelebrating priests can manifest their essential connection to the altar. For this reason, it is well on occasion to consider whether it is opportune to have Mass or whether it might not be preferable, given the circumstances, to opt for another type of liturgical celebration or prayer service.”

Other options given include the Divine Office, a celebration of the Word of God, a solemn procession of the Blessed Sacrament, exposition/benediction, or a prayer vigil.

7. Paragraph 26 deals with the offertory. When it is not possible to fit all the elements to be sacrificed on the altar, itself, a strange recommendation is made. In this case, “prior to the presentation of the gifts, some non-concelebrating priests, deacons, or instituted acolytes, carrying a ciborium in their hands, should position themselves near the altar.” This, I believe, is common practice at large papal Masses.

8. There is a laudable encouragement (in paragraph 6) that the Sacrament of Penance be made available in advance (or even during) large-scale Masses.

9. There is a curious directive (in paragraph 25) that “large-scale celebrations are a case in which the chair would seem to be the most suitable place for holding the homily.” I say this is curious only because there is no explanation given for why this is to be preferred more at large-scale celebrations than at other liturgies.

10. A whole paragraph (13) is devoted to the role of silence in large-scale liturgies. This reminds me of the unforgettable experience I had during Eucharistic adoration on Copacabana Beach at WYD 2013, when three million people fell utterly silent.

Many other recommendations are made in this Guide for Large-Scale Celebrations. These ten points are simply those that most caught my attention.

If anything were to be added, I would recommend something along the lines of the remarks Msgr. Guido Marini made to those of us serving the closing Mass at the World Meeting of Families last September (see HERE for a summary). These deeply insightful remarks would serve as a great addendum to the very good Guide for Large-Scale Celebrations.

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

Filed Under: Articles Tagged With: Gregorian Chant, Latin, On the Manner of Distributing Holy Communion Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

“I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we forget that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.”

— Statement by the Supreme Pontiff (Sacramentum Caritatis, 22-feb-2007)

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