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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

Unveiling the songs of hope: fr Timothy Radcliffe op

Wilfrid Jones · May 2, 2020

We are enormously grateful to fr Timothy Radcliffe op, for permission to publish a translation of part of a talk he gave to the Institut de Pastorale des Dominicains in Montreal, Quebec on the 21st February last year.

One of the most significant thinkers in the Church today, fr Timothy was Master of the Order of Preachers from 1991 to 2001. He has been awarded twelve honorary doctorates (including a DD from Oxford) and the Michael Ramsay prize for theological writing for his seminal text What is the Point of Being a Christian?. He is a consulter to the Pontifical Council of Justice and Peace and a fellow of Blackfriars Hall, Oxford.

He begins by recalling a visit he made to war torn Syria in 2015, to a Carmelite monastery close to the ISIS frontlines.

 

ACH TIME that we celebrate the Lord’s supper we come face to face with death. Normally, this truth is hidden in my soul, but in Syria, as we were gathered in the chapel, this truth was unveiled again because there were people four kilometres away who would have taken great pleasure in beheading us… Perhaps this is why the suffering people of Homs truly live the Eucharist with a joy that we don’t always see in the West. The deep meaning of the Eucharist is therefore palpable: it is the covenant of eternal life. So going to mass isn’t a penitential or boring obligation, but the joy of those for whom death has lost its sting. Praying, song and music.

The Gospel of Mark tells us that the Lord’s Passover concluded with the singing of psalms, before he embarked on his Passion. After singing the psalms, He went to the Mount of Olives. This was probably the second part of the Hallel (Psalms 113 to 118) in which we praise the eternal God of love. Jesus confronts death with a song. There, not far from Da’esh [ISIS], we sang. The beauty of their psalms, sung in Arabic, haunts me still. It is thus that we Christian face suffering and death: with song and music. In Februrary 2015, when twenty-one Egyptian Coptic Christians were beheaded on a beach in Libya, they died singing to Jesus.

When one of our [Dominican] brethren is dying, it is our tradition that the whole community gathers around his bed and we sing the Salve Regina. Of course, sometimes a brother might open an eye and ask if we’re not being a bit hasty! I hope that at the hour of my death, the last thing I will hear will be the song of my brothers, probably with wrong notes. There was a brother who taught a lot in Canada, Osmund Lewry. At the age of 54 he was dying of cancer… For Easter all of the community went to his cell to celebrate the Mass of the Resurrection. After communion we sang the Regina Caeli and I went downstairs to search for champagne to celebrate the Resurrection. I said to Osmund “wasn’t the Regina Caeli beautiful?” he replied “yes, I should have died during it.” I replied, “you have no sense of timing!” He said “I was waiting for the champagne”.

I had to leave Jerusalem swiftly to be with my father a few days before he died. I asked him if there was anything I could do for him. He asked me to bring him his Walkman so that he could listen to Mozart’s Requiem and the Seven Last Words by Haydn. Maybe this is a universal reaction and not just Christians who want to have music when facing death.

Tansy Davies’ opera Between Worlds (2015) recreates the destruction of the twin towers in New York on the 9th September 2001. Somepeople were shocked that someone could compose an opera about such a horrible event, but perhaps opera is the only way to confront that brutality. The librettist, Nick Drake, said

“Putting the transforming power of music at the heart of the drama, we thought, might allow us to weigh the tragedy of what happened on 9/11, and yet discover some kind of light in that darkness. Music even seems to have played a role in helping some people on that day. A security guard sang hymns to those descending the stairs, to give them courage. Some relatives, lost for words as they spoke to loved ones on the phone, sang together.”

One day in April 2015, nineteen people were killed by a car bomb in the west of Baghdad. Karim Wasfi, the director of the National Symphony Orchestra of Iraq went to the site of the first explosion with his cello and in the midst of the rubble, he played one of his own compositions titled Baghdad Mourning Melancholy. Afterwards he said “I wanted to show what beauty can be in the ugly face of car bombs, and to respect the souls of the fallen ones”. Since that moment, every time there is an attack in Bahgdad (which is getting rarer thank God), Karim Wasfi goes there and plays music.

I could talk further, for example of the starving people of Leningrad who played Shostakovich’s Seventh Symphony when they were assailed by the enemy in World War II.

To sing and make music is part of the ordinary lives of Christians, but for me it’s only in a place of suffering and danger that its profound hope is unveiled.

I wish to pose a question: what are the songs of hope that we are offering to our children here today?

Trans WJ

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

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Filed Under: Articles Tagged With: Father Timothy Radcliffe Last Updated: May 3, 2020

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About Wilfrid Jones

Wilfrid Jones is a PhD student in the theology faculty of the Albert-Ludwigs University of Freiburg, studying the theology and practice of sacred music.—(Read full biography).

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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Come now,” they said, “Thou who wouldst destroy the temple and build it up in three days, rescue Thyself; come down from that cross, if Thou art the Son of God.”

— Gospel of St. Matthew 27:42

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