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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

JPII: “The Roman Church Has Special Obligations to Latin”

Fr. David Friel · July 9, 2017

HAT IS THE role of Latin in the contemporary Church? On the one hand, Latin remains the official language of the Church and of her liturgy, while, on the other hand, Latin is left largely unstudied and unused in most areas.

What should the role of the Latin language be in the 21st-century Church?

It would profit us to revisit some words composed by Pope St. John Paul II in his Holy Thursday letter of 1980 (available here). In the third section of the letter, the Holy Father addresses the topic of the “two tables of the Lord” (Word and Eucharist). He acknowledges the positive dimensions of the vernacular readings introduced after the Second Vatican Council: “The fact that these texts are read and sung in the vernacular enables everyone to participate with fuller understanding” (Dominicae cenae, 10).

In the very next breath, however, JPII notes that the introduction of the vernacular has also brought about certain negative effects. He writes:

Nevertheless, there are also those people who, having been educated on the basis of the old liturgy in Latin, experience the lack of this “one language,” which in all the world was an expression of the unity of the Church and through its dignified character elicited a profound sense of the Eucharistic Mystery. It is therefore necessary to show not only understanding but also full respect towards these sentiments and desires. As far as possible, these sentiments and desires are to be accommodated, as is moreover provided for in the new dispositions (Dominicae cenae, 10).

Then, in understated fashion, the Holy Father makes a mammoth declaration: “The Roman Church has special obligations towards Latin, the splendid language of ancient Rome, and she must manifest them whenever the occasion presents itself” (Dominicae cenae, 10).

This is an absolutely extraordinary pronouncement. It does not say merely that the Church has a fond relationship with Latin; it does not say only that there is a historical connection between the Church and the Latin language; it does not say just that Latin has been useful to the Church. The tenor of this claim is raised to the level of an “ought.” The Church, according to St. John Paul II, holds obligations toward the Latin language.

This vision of the Church’s relationship with Latin is quite different from the perspective held by many post-conciliar liturgists. Consider the following reflection from Martimort’s classic work, L’Église en prière:

There will always be a place, however limited, for the traditional repertory that bears witness to the prayer of many different generations of Christians. There will be a place in particular for Gregorian chant in Latin, for this alone makes it possible for an international assembly to participate comfortably. (Aimé Georges Martimort, The Church at Prayer: An Introduction to the Liturgy, vol. I, trans. Matthew J. O’Connell [Collegeville, MN: Liturgical Press, 1987], 171).

This perspective treats Latin as a curious but affectionate part of the Church’s historical past. Such an approach seems, to me, ironically short-sighted. Martimort begins by asserting that the place of traditional Latin repertory is “limited” and ends by praising the value of Latin repertory at international gatherings. This is essentially a self-defeating prophecy. If the use of Gregorian chant is generally curtailed so as to be “limited,” after a fairly short span, it will cease to be an effective source of unity among the faithful at international gatherings.

This seems like an obvious thing to observe. After all, is this not the way the situation has actually played out in the years since the council? The widespread abandonment of the Church’s musical heritage in the aftermath of the council has left whole generations of Catholics with no practical knowledge or lived experience of Gregorian chant, such that the use of Latin at international gatherings seldom succeeds in helping the faithful “to participate comfortably.”

The natural effect of “limiting” the traditional repertory seems so obvious that one wonders if widespread ignorance of Latin and chant has not been achieved by design.

Pope St. John Paul II did not spell out the Church’s “obligations towards Latin” when he referenced them in 1980. It might be worth our while to do so now.

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

Filed Under: Articles, Featured Tagged With: Latin, Pope Saint John Paul II Last Updated: December 6, 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

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    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 example) 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
    “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

    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
    “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

Random Quote

Jeffrey Tucker: “What are your thoughts on what passes for sacred music in most Catholic parishes today?” Richard Morris: “There’s nothing sacred about it. The tunes, rhythms, and messages are drawn mainly from secular culture. When it isn’t aesthetically repugnant and downright offensive to the Faith, it is utterly forgettable.”

— James Richard Morris (concert organist)

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