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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

ICEL added “Died” to the Nicene Creed • (I am not kidding!)

Jeff Ostrowski · October 27, 2020

HENEVER I DISCOVER something interesting, I follow the example of Josef Hofmann and jot it down 1 in a designated spot. An example would be how President Ronald Reagan chose someone as his Chief of Staff whose name was almost identical: Donald Regan. Well, today I have something to say which you might want to write down. You probably won’t believe it, but it’s true:

The Nicene Creed does not
say that Our Lord “died”—
the word “death” was added
in the 1970s by ICEL.

Now, it is certainly true that when we pray the Apostle’s Creed (not the Nicene Creed) we find these words:

“passus sub Póntio Piláto, crucifíxus, mórtuus, et sepúltus”
“suffered under Pontius Pilate, was crucified, died and was buried”

But the Nicene Creed says something different, as this 1957 Missal shows, and please pay careful attention the Latin taken directly from the official 1962 Missal:

“Crucifíxus étiam pro nobis:
sub Póntio Piláto passus,
et sepúltus est.”
“He was crucified also for us,
suffered under Pontius Pilate,
and was buried.”

This translation is nothing new, as this 1806 Missal shows. The 1965 Roman Missal says the same thing. But look at the rather strange way ICEL chose to translate this passage in the 1970s—adding “died” and tampering with suffered under Pontius Pilate:

“Crucifíxus étiam pro nobis:
sub Póntio Piláto passus,
et sepúltus est.”
“For our sake he was
crucified under Pontius Pilate;
he suffered, died, and was buried.”

To be fair to ICEL, the official Latin punctuation seems to have been modified in the 1970 version of the ORDO MISSAE—but there is still no mention of “death” (mórtuus). Was such a change justified? Was ICEL afraid that people might think Our Lord was somehow crucified yet did not die? Or was ICEL confused, unwittingly mixing up the Nicene Creed with the Apostle’s Creed? It is true that the Latin word “passio” could refer to the sufferings under Pontius Pilate (e.g. the unjust scourging) and also to our Lord’s death: the culmination of his sufferings. For example, consider the use of “passio,” as in Passio Domini Nostri Jesu Christi. The martyrdom of a saint is also called “passio.”

The revised (“MR3”) ICEL translation published circa 2010 also inexplicably adds the word “death” and thereby seems to downplay (for example) the unjust scourging of Our Lord:

“Crucifíxus étiam pro nobis:
sub Póntio Piláto passus,
et sepúltus est.”
“For our sake he was crucified
under Pontius Pilate; he
suffered death and was buried.”

It would be interesting to see if the word “death” was added in French, German, Italian, or any other language.

Since we are speaking of the “Passio” of Our Lord Jesus Christ, I would like to share some pages from an absolutely remarkable Roman Catholic manuscript:

*  (15th century MS.) • “Catherine of Cleves Hours”
—This is the greatest Dutch illuminated manuscript in the world.

Agony in the Garden • Arrest of Christ

Our Lord before Caiaphas • Christ is mocked

Our Lord before Pilate • Christ before Herod

Our Lord is unjustly scourged • Crowning with thorns

Carrying of the Cross • Preparation of the Cross

Our Lord’s Crucifixion • Joseph of Arimathaea before Pilate

Our Lord is taken down • The Lamentation

Our Lord is placed in the tomb • The Resurrection

The Holy Trinity • God the Father

God the Son

Three Divine Persons of the Trinity

Christ Accepts His Father’s Decree to Save Mankind

The Infant Christ is sent to earth

Man of Sorrows Returned to the Trinitarian Throne

The rulers of earth adore the Trinity

 


NOTES FROM THIS ARTICLE:

1   Josef Hofmann—the greatest pianist of all time—also had an excellent memory. He could hear a complicated piece of music just once and memorize it instantly. In concerts, he would play pieces he hadn’t thought about (much less practiced) for decades—which is why he would bring a copy of the program with him on stage, to find out what he was performing! Josef Hofmann once gave a series of twenty-one consecutive concerts in St. Petersburg without repeating a single piece, playing 255 different works from memory. Yet (according to Abe Chasins) Hofmann kept a little notebook with him at all times, and jotted down things he found particularly interesting so he could remember them.

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

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Filed Under: Articles, Featured Tagged With: Josef Hofmann Pianist Extraordinaire, Nicene Creed, The Lord's Passion Last Updated: November 24, 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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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

[to the executioner] Sir Thomas More: “I forgive you right readily.” [gives him a coin] “Be not afraid of your office; you send me to God.” Archbishop Cranmer: “You’re very sure of that, Sir Thomas?” More: “He will not refuse one who is so blithe to go to him.” [kneeling, he places his head on the chopping block]

— From “A Man for All Seasons” (1960 play by Robert Bolt)

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