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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

Archbishop Sheen on Liturgy & Plainchant Choirs

Jeff Ostrowski · May 18, 2017

175 Archbishop Fulton J. Sheen Y WHOLE LIFE, I have wondered why Fulton J. Sheen said so little about the liturgical changes of the 1960s. “How could a man,” I asked myself, “who wrote and spoke about the Mass his entire life remain silent about radical alterations?” I recently mentioned Sheen’s famous 1940s Mass narration, but that’s just the tip of the iceberg. The Mass was the center of Sheen’s life—and he spoke of it constantly—yet Sheen says nothing at all about liturgical change in his autobiography.

As I mature, I begin to understand: sometimes a leader will stay silent about scandalous things as a matter of prudence. He will instead try to correct abuses by a positive example and penances undertaken behind closed doors. (I did not understand this when I was younger.)

Inside a biography by Thomas C. Reeves we can find a few statements on liturgy, but we must tread carefully since his publication teems with mistakes and misunderstandings. For the record, here’s what Reeves wrote on page 334: 1

Archbishop Sheen, of course, was fully aware of the turmoil plaguing the Church in the late 1960s. Though at all times staunchly defending the Second Vatican Council, he was displeased by certain developments he and many others had not anticipated when they voted for the historic documents that modernized the Church. As early as April 1966, Sheen expressed unhappiness with English translations of the Gospels, the Mass and the Missal, thinking them designed to please the least literate of Catholics. In 1975, he expressed reservations about the liturgical experimentation going on as well as the lack of instruction available. “I say that the laity of this country are in an uproar against the want of religious teaching or catechetical training, both in the schools and in the pulpit.” Many new church buildings failed to win the archbishop’s approval.

He was highly critical of the abandonment of habits by religious. In a 1975 speech in Peoria, he began, “Most Reverend Bishop O’Rourke, Reverend Fathers, Recognizable Sisters, and friends.” In a letter to a mother superior, he quoted chapter and verse from Church documents showing that it was forbidden for religious to wear secular apparel. In 1976, he wrote to John Cardinal Carberry of St. Louis, “As the sense of the Sacred diminishes, Sisters in pants distribute communion, while priests sit idle in the sanctuary. This ‘option’ results from a decay of the reverence for the Lord’s Presence.”

Regarding Mass in the vernacular, on page 261, Reeves wrote:

Sheen knew that a Second Vatican Council had been considered since 1922, that Pius XII had endorsed the idea, and that plans had been drawn up before his death. And Fulton was not averse to all change; in mid-1956, he had expressed his hope that the Mass could one day be said in the language of the people.

But the original article—cited by Reeves as justification for his assertion—shows that Bishop Sheen said something quite different:

    * *  PDF Download • Original 1956 Article

Sheen specifically spoke of missionary countries; which is the origin of the permission of using “Slavonic” as a liturgical language:

Saint Methodius was afterwards consecrated Archbishop of Moravia and Pannonia and returned thither to his missionary work. Later on he was again accused of using the heathen Slavonic language in the celebration of the Mass and in the sacraments. It was a popular idea then, that as there had been three languages, Hebrew, Greek, and Latin, inscribed over our Lord on the cross, it would be sacrilegious to use any other language in the service of the Church. Saint Methodius appealed to the pope and in 879 he was again summoned to Rome, before John VIII, who after hearing the matter sanctioned the use of the Slavonic language in the Mass and the offices of the Church…

THROUGHOUT HIS AUTOBIOGRAPHY, Sheen made it clear he could not sing, frequently repeating the quip that he “couldn’t carry a key on a ring.” He cites a seminary professor who claims he sang quite well, but says his memory must have been poor. The anecdote regarding Sheen’s failed attempt to sing an ALLELUIA supports the theory he could not read music. In any case, Reeves writes the following about Sheen’s installation Mass in Rochester:

Kearney had wanted a gala ceremony, and the new cathedral choir director and organist, William Ferris, wrote special music that included brass instruments. At the service, he played the organ and directed the boys’ and men’s choirs. (After the consecration, Sheen told Ferris that he wanted a classical repertoire at the cathedral, including Gregorian chant. “This was unusual,” Ferris said later, “for all sorts of freaky things were being done in churches at this time.” Sheen had “a tremendous knowledge of music and liturgy,” Ferris recalled, and he promoted the development of a seminary choir at St. Bernard’s.)

I remember Sheen speaking of music only a few times. Once, he mentioned Beethoven’s Leonora Overture. Another time, he stressed that our Lord “sang a hymn” after the Last Supper. I know he was friends with Fritz Kreisler and forced him (by begging) to compose the theme song for his television show, “Life Is Worth Living.” Perhaps Sheen seldom spoke of music for the same reason he almost never incorporated specific prayers from the liturgy into his talks: he was trying to appeal to a very wide audience.



NOTES FROM THIS ARTICLE:

1   The reference note given for the letter of 22 April 1966 is: “Copy, Fulton J. Sheen to [radically progressive bishop] Paul J. Hallinan, 22 April 1966, Sheen Correspondence, box 48, Sheen Archives.” If someone has a copy of that letter, I’d love to read it.

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

Filed Under: Articles 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

    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski
    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. 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.
    —Jeff Ostrowski
    New Bulletin Article • “14 September 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

This was first breach in the walls of a fortress, centuries old, stoutly built, strong and robust, but no longer capable of responding to the spiritual needs of the age. [N.B. the “fortress” is a liturgy which nourished countless great saints.]

— Annibale Bugnini (19 March 1966)

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