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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

Spanish Missal Chants Now Available

Fr. David Friel · April 22, 2018

EGINNING later this year, a new Spanish translation of the Latin, 3rd typical edition of the Missale Romanum goes into force in the United States of America. This new missal—the Misal Romano, tercera edición—will become available from publishers beginning in May 2018. Its use will be optional beginning at the Vigil of Pentecost (19 May 2018) and mandatory by the First Sunday of Advent (2 December 2018).

When the English translation of the 3rd typical edition was released in 2011, one of the chief improvements was the increased presence of musical notation in the pages of the missal. At the time, a massive project was undertaken to introduce these simple, but beautiful chants to clergy and laity throughout the Anglophone world. The same opportunity now presents itself with respect to Spanish-speaking communities in the United States. This is a significant moment for Spanish-speaking Catholics to reintroduce truly sacred music to their celebrations, in place of the American-Hispanic music that has for so long been imposed upon their communities.

In order to help the faithful become familiar with the 2011 English missal chants, the International Commission on English in the Liturgy (ICEL) authorized the free and wide dissemination of the new settings. They even produced a very helpful website to assist liturgical musicians in English-speaking dioceses and parishes.

Now, the same permission has been granted for the distribution of the new Spanish missal chants. A lovely and user-friendly website has been published by the Zipoli Institute. The goal of the institute (which is an apostolate of the Institute of the Incarnate Word) is to provide resources that help to make sacred music accessible in mission territories.

Included in the Spanish section of the Zipoli Institute’s website are three resources of particular importance:

1. Practice recordings of the Misal Romano chants (in both standard and low pitches)

2. A printable booklet of the Misal Romano chants for congregational use (in both single-sheet and double-sheet formats)

3. A collection of quality, Spanish hymns for various occasions

The Zipoli Institute is also a treasure trove of materials for the sung Mass in English and for Mass in the Extraordinary Form. Additional materials are provided or referenced for sacristans, for funeral/wedding planning, and for singing polyphony.

I highly recommend a visit to their website to explore the abundance of resources they provide.

Next week, a special conference will be held just outside Washington, DC to provide training in the new chants of the Misal Romano. On Friday, 27 April 2018 the workshop will be tailored to clergy and seminarians, whereas the sessions on Saturday, 28 April 2018 are directed toward music directors, choirs, and congregations.

Let us pray that the introduction of this new translation of the Misal Romano will enable Spanish-speaking Catholics to sing a truly new song to the Lord!

Cantad al Señor un cántico nuevo, porque ha hecho maravillas . . . Aclamad con júbilo al Señor, toda la tierra; prorrumpid y cantad con gozo, cantad alabanzas. (Salmo 98)

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

Filed Under: Articles Tagged With: ICEL, ICEL Chants, ICEL New Translation of the Roman Missal, Misal Romano, Propers, Spanish Hymnal for Catholics, Zipoli Institute 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

    New Bulletin Article • “21 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    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

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

“As often as possible they gathered together the children of the village and sat them down in the cabin. Father Brébeuf would put on a surplice and biretta and chant the Our Father, which Father Daniel had translated into Huron rhymes, and the children would chant it after him. Next, he taught them the sign of the cross, the Hail Mary, the Apostles’ Creed, and the Commandments.”

— Biography of St. Jean de Brébeuf

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