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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

PDF Download • Extremely Rare! — 1966 “Book of Catholic Worship” (809 pages)

Jeff Ostrowski · September 29, 2020

ASCINATING. That is the only word I can use to describe a book recently given to me called “The Book Of Catholic Worship.” It bears a 12 January 1966 IMPRIMATUR from Most Rev. Lawrence Shehan (d. 1984), the Archbishop of Baltimore, who—it seems fair to say—ended up with a stained history. I don’t need to describe to our readers that 1966 was an absolutely crucial year for liturgical reform. The characters who assembled the book were a “mixed bag”—and that is often what we see vis-à-vis 1960s musical committees. For example, we find members who were liturgically “conservative” (such as Sister Josephine Morgan of the Pius X School of Liturgical Music). Yet, we also find members like Father Eugene A. Walsh, who later became a formal heretic for teaching that the assembly—not the priest—consecrates the SANCTISSIMUM during Holy Mass. 1

*  PDF Download • BOOK OF CATHOLIC WORSHIP (1966)
—This PDF file contains the “Hymnal” section, but the other sections are not included.

In Daniel Craig’s Comparison of 15 traditional Catholic hymnals, he spilled quite a bit of ink describing what he called “The ADOREMUS-50”. I’m not going to attempt to repeat everything Mr. Craig said, but this 1966 hymn book seems to match the “ADOREMUS-50” in a way that’s almost scary!

Do you agree?

Shocking Theft

I was absolutely shocked—flabbergasted, even!—to observe that The Book of Catholic Worship did something very sneaky. They stole all their hymns from the 1940 Episcopal Hymnal. Technically they did acknowledge this, but only if somebody realizes what “The Church Pension Fund” is all about. Here is proof is what I am saying:

I could easily give 50 more examples, but here’s just one more—and examine the lyrics closely to discover the vandalism they thought they could get away with:

Almost without exception, the PROPRIUM MISSAE are taken from the 1965 Missale Romanum, which provides an official English translation of the Roman Gradual, approved for liturgical use in the United States of America. We have discussed this topic over and over again. Here is proof they took their antiphon translations from the 1965 Roman Missal:

Here is more proof; the REPROACHES from Good Friday:

I said “almost without exception” because I have noticed a few items which do not come from the 1965 Roman Missal, such as the English translation of the Pange Lingua from Good Friday. By the way, if enough people show interest, I would like to scan (and upload) all 809 pages of the “Book of Catholic Worship” (1966)…but only if enough people show interest.

HROUGHOUT the past five years, we have examined the history of Catholic hymnody. We have seen that until about 1962, most Catholic hymnals never used Protestant texts or translations. If they did use them, the editors tried to disguise them. An example we looked at was Father Bonvin’s Hosanna Hymnal, published in 1914 (St. Louis, Missouri). We spoke about how Father Bonvin tried to hide what he did. I recently discovered a PDF file which I have never shared with you, a Catholic hymnal granted IMPRIMATUR by Most Rev’d William Joseph Walsh, Archbishop of Dublin from 1885-1921. This hymnal has the name: Vox Angelica: A New Collection of Catholic hymns (organ edition). I don’t know anything about the person who created this Catholic hymnal, but I can say that it’s remarkable in terms of its heavy inclusion of Protestant hymnody. When this Dublin hymn book appeared in 1913, including even translations by Protestants was incredibly rare. But we have already discussed this, so I won’t belabor the point…

 


NOTES FROM THIS ARTICLE:

1  I don’t know all the members, but the names of several of them—such as Gabe Huck and Father Godfrey Diekmann (who later supported women’s ordination)—are extremely troubling. They should not have been allowed anywhere near a liturgical project!

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

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Filed Under: Articles, PDF Download Tagged With: Affordable Hymnal for Catholic Parishes Last Updated: December 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

    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

“I examined him in your presence, and could find no substance in any of the charges you bring against him; nor could Herod, when I referred you to him. It is plain that he has done nothing which deserves death. I will scourge him, and then he shall go free.”

— Pontius Pilate

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