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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

“Ad Orientem” • Archbishop Naumann’s Letter

Jeff Ostrowski · December 6, 2016

VER SINCE I RELEASED an article about Bishop Libasci’s letter, my inbox has been exploding. I had no idea there was such a groundswell of support for “ad orientem,” especially among younger priests. What’s even more surprising is the extremely positive feedback priests are reporting. Indeed, several Midwestern bishops publicly celebrated “ad orientem” even before the special appeal by Cardinal Sarah, who was appointed Prefect of the Congregation for Divine Worship by Pope Francis in 2014.

Some bishops are making an appeal for “uniformity” in Catholic worship, as Bishop Doherty’s terse letter does. Archbishop Naumann’s letter (SEE BELOW) seems to encourage uniformity, yet makes clear that “ad orientem” has equal footing with “versus populum.”

But the uniformity emphasis is hard to reconcile with numerous statements from the USCCB. Consider this official statement signed by Bishop Serratelli:

23 April 2009 — The reformed liturgy offers a variety of options, encourages ministerial creativity, and at times admits a diversity of forms. The participation aid should be so designed as not to establish, once and for all, a single or rigid pattern of liturgical celebration. […] The arrangement or selection of liturgical texts must not result in the suppression of alternatives and options for the congregation (or for the celebrant and other ministers, as applicable).

The following letter is the most extensive treatment I’ve seen:

588 Archbishop Naumann ad orientem A

588 Archbishop Naumann ad orientem B


When I lived in Kansas, my friend ARCHBISHOP KELEHER hadn’t retired yet. Because I’ve only visited Kansas twice since 2005, I don’t feel qualified to comment on the current liturgical situation. Nevertheless, if there’s an authentic move towards liturgical uniformity, I hope more dioceses will start enforcing what Vatican II mandated:

116. The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, under normal circumstances, it should be given first place in liturgical services.

There are more items which could use some “uniformity.” For example, Vatican II mandated the retention of Latin; it is not optional.

Several related articles:

* *  Chief Reasons For Mass “Facing The People”

* *  Bishop of Manchester • Letter Re: “Ad Orientem”

* *  Why I’m Rejoicing over Catholic Herald Errors

* *  Does Your Bishop Enforce The GIRM?

* *  Showdown in Arkansas over “Ad Orientem”

* *  Indisputable Facts About “Ad Orientem” Celebration

* *  When To Face the Altar & When To Face The People

* *  Screenshots Proving “Versus Populum” Was Allowed By The 1572 Missal

* *  Additional Articles • Re: “Ad Orientem” Celebration

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

Filed Under: Articles Tagged With: Ad Orientem 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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

“For me, religious music ceased with the sixteenth century. The fresh, childlike souls of that time alone expressed their vehement, untainted fervor in music free from worldliness. Since then we have had pious musical improvisations more or less made for show. That wonderful man Johann Sebastian Bach only escaped because of his natural genius. He built harmonic edifices as a devout architect and not as an apostle.”

— Claude Debussy (1862-1918)

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  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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