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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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President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

“A vigorous search is instituted for the best tenor and bass singers to be found in the realm. Luys de Villafranca, master of the altar boys and instructor of plainchant, petitions on November 27 that the boy-bishop festivities be combined this year with those for the Feast of St. Nicholas.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (20 November 1562)

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