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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

Anglican Ordinariate: “A Hymn For Saint Joseph”

Jeff Ostrowski · May 3, 2024

NYONE WHO’S EVER played the “telephone game” knows how things can get distorted when they are mimicked. This happens far too frequently when it comes to the sacred liturgy. Folks hear somebody passionately pontificating, but when they attempt to repeat the message it gets garbled. For instance, a number of years ago somebody began claiming that the Gregorian propers for the feast of Saint Joseph the Worker were “ugly” whereas the the Gregorian propers for The Patronage of Saint Joseph had been beautiful. Such an assertion is completely indefensible (as this article shows) because many of the Worker propers were adopted from the Patronage. It would be lunacy to pretend they’re “beautiful” when sung for the Patronage but “ugly” when sung for the Worker.

Father Christopher Phillips • My volunteer choir recently sang a Hymn to Saint Joseph by Father Christopher Phillips, who was instrumental in founding the ANGLICAN ORDINARIATE.

To access this hymn’s media in the Brébeuf Portal, click here.

Saint Joseph The Artisan • The diaries1 of Cardinal Antonelli reveal that on 7 October 1955, the Commissio Piana—meeting in the apartments of the Gaetano Cardinal Cicognani (Prefect of the Congregation of Rites)—began examining drafts of the Mass and Office for the new feast they were creating: Saint Joseph “Artigiano” (Saint Joseph the Artisan). On 17 January 1956, they continued their examination. According to Antonelli’s diary: “Two new hymns, composed by Fr. Evaristo d’Anversa of Tivoli, were proposed and accepted for Matins and Lauds.” On 6 April 1956, they continued their examination. Antonelli’s diary says: “Some texts giving too much emphasis to manual labor were revised, modified, or replaced.”

Cardinal Antonelli (1 of 4) • Those familiar with the post-conciliar writings of MONSIGNOR ROBERT SKERIS and his colleague, MONSIGNOR JOHANNES OVERATH, perhaps noticed that many sacred music authors who came later frequently ransacked their footnotes (without giving them credit). In the 1980s, Monsignor Skeris made reference to “the Franciscan Ferdinando Antonelli.” Remember: Antonelli was made a cardinal but never a bishop.

Cardinal Antonelli (2 of 4) • Much could be said about Antonelli (1896-1993), who late in life—on 5 March 1973—was made a cardinal. At this moment, a few brief comments are in order. On 5 June 1960, in preparation for the Second Vatican Council, a “liturgical preparatory commission” (De sacra liturgia) was created. GAETANO CARDINAL CICOGNANI (Prefect of the Congregation of Rites) was named its president and Annibale Bugnini its secretary. As secretary, Bugnini had great power because Cardinal Cicognani—who would die on 5 February 1962—was not present at every meeting.

Cardinal Antonelli (3 of 4) • When Vatican II began, the Spanish CARDINAL LARRAONA was appointed president of the Conciliar Commission on the Liturgy but Bugnini was rejected. That’s because, on 4 October 1962—a date chosen specifically to honor him, since it was the feast of Saint Francis of Assisi—Cardinal Larraona appointed FERDINANDO CARDINAL ANTONELLI as “Secretary General of the Conciliar Commission on the Sacred Liturgy.” Father Antonelli had also played a key role on the Commission Piana, a secret liturgical committee established by Pope Pius XII on 28 May 1948, run by CLEMENTE CARDINAL MICARA. On 15 October 1962, Father Frederick R. McManus (one of the most radical liturgical “progressives”) wrote a letter to Father Godfrey Diekmann claiming the Bugnini’s “fall from grace is due to Larraona and Antonelli.” But on 1 November 1962, McManus wrote a letter to Thomas Merton claiming that “very likely it was [Cardinal Ottaviani’s] influence that removed Bugnini.”

Cardinal Antonelli (4 of 4) • Like John Henry Newman, Antonelli was priest. He was never consecrated a bishop. Perhaps the key figure of the liturgical reform—and certainly the preëminent witness of SACROSANCTUM CONCILIUM—Cardinal Antonelli admitted privately the liturgical reform was a disaster. For instance, Cardinal Antonelli wrote as follows:

“In the Consilium, there are few Bishops with a specifically liturgical expertise, and very few are really theologians. The most acute deficiency in the Consilium is the lack of theologians. In fact, it could be said that they had been excluded altogether, which is something dangerous. In the liturgy, every word and every gesture expresses an idea which is always a theological idea.”

God-willing, I will have much more to say about Cardinal Antonelli as time goes on.

1 In 2009, Monsignor Nicola Giampietro published The Development of the Liturgical Reform As Seen by Cardinal Ferdinando Antonelli from 1948 to 1970 based upon his private diaries. This article includes citations from that indispensable book.

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

Filed Under: Articles Tagged With: Anglican Ordinariate, Commissio Piana, Father Godfrey Diekmann, Feast of Saint Joseph May 1, Joseph Opifex, Saint Joseph the Craftsman, Saint Joseph The Worker, The Patronage of Saint Joseph Last Updated: May 23, 2024

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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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

It is unworthy that the stone holds Him, Who encloses everything in His hand, Locked in by the forbidding rock. (“Indígnum est cujus claudúntur cuncta pugíllo | Ut tegat inclúsum rupe vetánte lapis.”)

— SALVE FESTA DIES (Eastertide)

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