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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

Liturgical Reflections of a Papal Master of Ceremonies

Fr. David Friel · June 12, 2017

ULL-TIME graduate studies have left me little time for non-assigned readings over the last year. Nevertheless, I took advantage of a free evening last week to read a short book that I only recently discovered. A collection of writings by Msgr. Guido Marini, the book is entitled Liturgical Reflections of a Papal Master of Ceremonies.

This slim volume (111 pages) gathers together a number of essays composed by Msgr. Marini during his time as Master of Pontifical Liturgical Celebrations, a post he has held since 2007. Collected and translated by Rev. Nicholas Gregoris of Newman House Press, these essays offer insights into the theological outlook of Msgr. Marini and his rationale for a variety of papal liturgical practices. Msgr. Marini continues to serve as papal MC for Pope Francis, but these essays, published in 2011, pertain more directly to the pontificate of Pope Emeritus Benedict XVI.

Concerning his role as papal master of ceremonies and the consequent meaning of his own liturgical reflections, Msgr. Marini writes this:

I consider it a pleasant and urgent duty for me to be the faithful interpreter and echo of his authoritative liturgical orientation, which does not pertain to the realm of “personal taste” (although such personal taste is more than respected while not necessarily shared by all), but rather to a true and proper Magisterium to be shared with a spirit of faith and a genuine ecclesial sense. (Guido Marini, Liturgical Reflections of a Papal Master of Ceremonies, trans. Nicholas I. Gregoris [Pine Beach, NJ: Newman House Press, 2011], 14)

The best part of this book is the substantial first section, which was originally delivered as an address to a 2010 liturgy conference in Milan. The title of this address is “Entering the Liturgical Mysteries through the Rites and Prayers.” The remainder of the book is also interesting and insightful, and it covers such topics as: the distribution of Holy Communion, the pallium, the pastoral staff, the placement of the crucifix upon the altar (the so-called “Benedictine arrangement”), the Greek Gospel, silence, Latin, beauty, and the wearing of the dalmatic by cardinal deacons. Each of these issues is presented with theological, historical, and practical perspective.

Msgr. Marini teaches that “Christ the Eternal High Priest . . . is at the center of the liturgical action of the Church. The liturgy must be the celebrated transparency of this theological truth” (Marini, 67). He also gives a good perspective on the spirit of faith and obedience with which we must approach the liturgy and its reforms:

True fidelity to the reform willed by Vatican II demands . . . an ecclesial spirit . . . without ideologically preconceived notions. It is one and the same love that must animate everyone—love for the Lord and His Church, love for the liturgy, which is the action of Christ and the Church. (Marini, 43)

Y FAVORITE memory of the World Meeting of Families held in Philadelphia in 2015 is the opportunity I had to hear Msgr. Marini’s final encouragement to the servers before Mass in our cathedral and on the Benjamin Franklin Parkway. I have tried to capture his profound reflections on that occasion here. I recommend reading these reflections just as highly as I am pleased to recommend this small book.

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

Filed Under: Articles Tagged With: Msgr Guido Marini, Pope Benedict XVI, Pope Francis 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

“What really matters in life is that we are loved by Christ and that we love Him in return. In comparison to the love of Jesus, everything else is secondary. And, without the love of Jesus, everything is useless.”

— Pope John Paul II (1979)

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