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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

The Hallowed Name 1

Fr. David Friel · January 3, 2017

N THE CATHOLIC tradition of many centuries, the month of January has been dedicated to the Holy Name of Jesus. Today, in particular, the Church celebrates the great Name of salvation as an optional memorial in the Ordinary Form.

This occasion is celebrated as a second class feast in the Extraordinary Form on the first Sunday of the year or on January 2. The celebration was removed from the calendar in the reforms of the Second Vatican Council, although a votive Mass in honor of the Holy Name was retained. The feast was restored, as an optional memorial, by the 2002 revision of the Roman Missal.

I am struck each year by the beauty of the orations for today’s Mass in the Ordinary Form. Neither in the Collect nor the Prayer over the Offerings nor in the Prayer after Communion does the name “Jesus” appear. What a marvelous reservation of the Holy Name! Catholics of a certain age would remember the custom of preachers avoiding the overuse of the Divine Name, substituting instead equivalents such as “our Blessed Lord,” “Christ our Savior,” etc. By limiting their employment of that most sacred and powerful Name, the preachers of old and the prayers of the new Roman Missal intend to cultivate a practical reverence for the Son of God.

This is not, however, the only tradition. In fact, the three orations of the Mass formula in the Extraordinary Form do include mention of the Name. The man, moreover, who is most responsible for spreading the Holy Name devotion in the Church, St. Bernardine of Siena (d. 1444), was also responsible for the insertion of the Name, “Jesus,” into the prayer, Hail Mary. Therefore, the approach of St. Bernardine was to increase the frequency of the Name’s utterance. A similar example is found in the missionary work of the North American martyrs, who wrote the Name, “Jesus,” on trees throughout the forest as an aid to the conversion of the Iroquois people.

It would seem, then, that there are two legitimate traditions. This diversity, in itself, is a beauty of the Church. But perhaps what is most significant is not which of these traditions we choose to follow. Whether we withhold our expression of the Divine Name or speak it frequently, our purpose should be the same: to render honor unto Him Whose Name it is.

Laudetur Iesus Christus — Nunc et in aeternum!


Editor’s Note : I hope Fr. Friel will not mind the addition of an excerpt from the life of Saint Isaac Jogues, wherein this holy priest talks about his captivity by the Iroquois:

“How often, though in a strange land, have we sung the canticle of the Lord; and the woods and the mountains about resounded with the praises of their Creator, which never—since their creation—had they heard. How often on the stately trees of the forests did I carve the most SACRED NAME of JESUS, so that, seeing it, the demons might take to flight, and hearing it, they might tremble with fear?”

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

Filed Under: Articles Tagged With: Roman Missal Third Edition 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

    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

“We wish to express the hope that students of Gregorian Chant come back to the pure Vatican Edition, in the ancient block-note form, without the addition of any signs whatever, in order to achieve Gregorian unity.”

— Josef Gogniat (12 March 1938)

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  • New Bulletin Article • “12 October 2025”

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