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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

“Schizophrenia” • Pius XII Annihilated Tenebræ

Jeff Ostrowski · April 7, 2022

OME PEOPLE can’t think for themselves. By their very nature, such “sheep” require opinion makers to tell them how they feel about something. We observe this not only in politics, but in countless other spheres. For example, some folks wait until the following morning—when they read newspaper reviews by critics—to determine whether they enjoyed the concert! Our society also contains many “contrarians” who adopt the opposite position about everything … no matter what. Contrarians (especially liturgical contrarians) can’t think for themselves.

“Schizophrenia Flaw”: Regarding liturgical reforms of the 1950s and 1960s, some have been convinced that everything undertaken by the reformers was evil—FULL STOP. That’s what they’ve been told, so they believe it (even though many can’t defend this position). That being said, serious Catholics—not “sheep”—have soberly discovered major flaws in the reforms, especially the schizophrenia flaw. On one hand, the reformers said they wanted to restore the “pristine and original” traditions of the primitive Church. On the other hand, the reformers fabricated a whole bunch of new stuff so the liturgy would become “suitable” to homo modernus and the zeitgeist. I know of no author who has attempted to reconcile, explain, or justify the (obviously contradictory) “schizophrenia flaw.”

His Own Words: An indisputable expert on the reforms was Ferdinando Cardinal Antonelli, who on 10/4/1962 was named “Secretary of the Conciliar Commission on the Liturgy.” Cardinal Antonelli wrote as follows (regarding the Holy Week reform of Pius XII): “Its object was to facilitate the participation of all the faithful in the great mysteries of our redemption.” Cardinal Antonelli also said—writing to the Holy Father—that the only people displeased with these reforms are “those who either from indolence or lack of liturgical sensibility do not want anything to change.”

Such Arrogance! Talk about worshipping the zeitgeist! Imagine condemning the ancient traditions of the Church in such a way! Imagine declaring that anyone who disagrees with your modifications is “indolent” (lazy) or “lacks liturgical sensibility!” And yet, in 1955, Cardinal Antonelli and his cadre of reformers—which was a secret committee known as the Commissio Piana—got rid of something which the faithful loved very much. I’m talking about TENEBRAE, which the 1955 reforms de facto destroyed:

*  PDF Download • SUPPRESSION OF TENEBRAE
—The 1962 Holy Week seems to forbid Tenebræ.

They Knew It: The reformers knew what they were doing! For example, in one of their meetings:

“Msgr. Carinci observed that
the Matins of Tenebrae was
much beloved of the faithful, with
many of them participating at it.”

So the faithful loved it and participated in it … yet it must be destroyed? What happened to “facilitating the participation of all the faithful” (see above)? My friends, this is schizophrenia. Indeed, one of the reformers (Cardinal Anselmo Albareda) on 23 March 1954 “stressed that what was required by the principles of reform, even if at times costly, obliged that the present situation be suspended, even if everybody was attached to it.” For the record, I’m told that many churches in Rome simply ignored the suppression of Tenebræ in the 1950s.


NOTES FROM THIS ARTICLE:

*   Source of these quotations:
Father Nicola Giampietro’s Il cardinale Giuseppe Ferdinando Antonelli e gli sviluppi della riforma liturgica dal 1948 al 1970 (Pontifical Institute of Sacred Liturgy, 1996).

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

Filed Under: Articles Tagged With: Cardinal Ferdinando Giuseppe Antonelli OFM Last Updated: May 3, 2022

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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

    💲 5.00 💵
    Our tiny 501(c)3 nonprofit organization exists solely by generous readers who donate $5.00 per month. We have no endowment; we have no major donors; we run no advertisements; we have no savings. A donor wrote to us: “I so appreciate all you do and have done, and your generosity is unprecedented. I am honored to be able to make a monthly contribution.” Another monthly donor says: “Thank you for everything CC Watershed does. We are able to add so much solemnity to Holy Mass due to the resources made available here.” Can you spare a few dollars each month to help us survive?
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    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —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

Agnes De Mille: “When I see my work, I take for granted what other people value in it. I see only its ineptitude, inorganic flaws, and crudities. I am not pleased or satisfied.” — Martha Graham: “No artist is pleased.” ADM: “But then there is no satisfaction?” — MG: “No satisfaction whatever at any time,” she cried out passionately. “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”

— “Martha Graham on the Life-Force of Creativity”

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