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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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Corpus Christi Watershed

President’s Corner

    Which Mass?
    In 1905, when the Vatican Commission on Gregorian Chant began publishing the EDITIO VATICANA—still the Church’s official edition— they assigned different Masses to different types of feasts. However, they were careful to add a note (which began with the words “Qualislibet cantus hujus Ordinarii…”) making clear “chants from one Mass may be used together with those from others.” Sadly, I sometimes worked for TLM priests who weren’t fluent in Latin. As a result, they stubbornly insisted Mass settings were ‘assigned’ to different feasts and seasons (which is false). To understand the great variety, one should examine the 1904 KYRIALE of Dr. Peter Wagner. One should also look through Dom Mocquereau’s Liber Usualis (1904), in which the Masses are all mixed up. For instance, Gloria II in his book ended up being moved to the ‘ad libitum’ appendix in the EDITIO VATICANA.
    —Jeff Ostrowski
    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“These French offices represent a new case of the old tendency towards local modification—which the Council of Trent had meant to repress. They are commonly attributed to Gallican ideas and are supposed to be not free from Jansenist venom. Some of these local French uses survived almost to our own time. They were supplanted by the Roman books in the 19th century, chiefly by the exertions of Dom Prosper Guéranger (d. 1875).”

— Dr. Adrian Fortescue (d. 1923)

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