• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
  • Donate
Views from the Choir Loft

A Wonderful Woman Eviscerates The Argument Of An Infamous Liturgical Radical

Jeff Ostrowski · May 6, 2024

N THAT CLASSIC spiritual work by Thomas à Kempis (Imitation Of Christ) we read: “Seek, child, to do the will of others rather than your own.” This was not the view taken by FATHER GODFREY DIEKMANN, whom some consider the most radical of all the 1960s reformers. In opposition to Thomas à Kempis, Diekmann believed that he knew better than all the saints of the last 1,200 years. Diekmann had a deep hatred for the immemorial tradition of the church and ardently desired extensive changes to the traditional liturgy.1

In A Nutshell • Since few have time to read long articles these days, let me summarize: (a) Father Diekmann believed all the saints over the last 1,200 years—as well as the fathers of the Second Vatican Council—were dead wrong about the liturgy; (b) Diekmann’s main argument was that it was impossible for anyone to become fluent in more than one language. To give just one example, on 14 November 1963 (according to Cardinal Antonelli’s diary):

“The Conciliar Commission on the Sacred Liturgy met at 5:30 p.m. in the Aula of the Sacred Congregation of Rites. Cardinal Larraona presided. […] Father Diekmann opposed the retention of Latin in the Collects. […] The President then intervened and asked the Commission to bear in mind that only 108 of the Council Fathers had approved the use of the vernacular in the Collects. He called on the Commission to respect the wishes of the Council…”

In a private letter shortly afterwards, Father Diekmann wrote:

“Even Wagner spoke up for keeping the collect in Latin! […] We argued violently … I was so mad I could spit. Wagner, Martinmort, not honest.”

Is Diekmann Correct? • Remember that Diekmann was born in Roscoe, Minnesota, and spent the rest of his life in Minnesota. People from the Midwest (like myself) often find it hard to believe anybody could know more than one language. But if Father Godfrey Diekmann had taken the time to meet someone from Belgium, he’d have discovered that most Belgians are fully fluent in at least three languages. Communication with Belgians can be annoying because they sometimes switch languages in the middle of a sentence. It’s not uncommon for people from Africa to speak three languages. The same is true for people from the Philippines. Indeed, Monsignor Robert A. Skeris (a priest from Wisconsin) was fluent in eight languages.

The Choir I Direct • The choir I direct is quite a mixture. One choir member is a U.S. Marshall. Another is unemployed. Two members earned doctorates from major universities. Several members are from Africa. One member is a ‘platinum’ artist. Some members brought their education to a close after high school. About 50% of the members of my choir are fully fluent in English and Spanish.

Jeff Is Deficient • Most of my colleagues here at Corpus Christi Watershed are fluent in at least two languages. Today I will feature just one of them. My colleague, VERONICA MORENO is a homeschooling mother of five (5) children who also volunteers her “free” time to tutor—each day (!)—her legally blind niece. She recently published two blog articles: one in English, and one in Spanish. In spite of the fact that Father Diekmann thought of himself as very, very, very much more clever than all the saints of the last 1,200 years, Veronica’s ability to speak two languages fluently eviscerates his argument.

Summary • To summarize, Father Godfrey Diekmann believed himself to be much smarter than all the saints who lived over the last 1,200 years. In reality, Diekmann was dead wrong. The church was wise to promote (and honor) a lingua sacra for the public worship Almighty God. The Congregation of Rites (23 July 1964) reminded us:

At Vatican II “the great majority of the Fathers approved the various dispositions concerning a wider use of the vernacular precisely because of the existence of that first paragraph [Sacrosanctum Concilium §1] which ensured substantial preservation of the Latin, apart from a few particular cases (salvo jure particulari), such as the concession made to China.”

1 All this is described in a biography (or perhaps a hagiography) of Diekmann by Sister Kathleen Hughes, published by Diekmann’s monastery. So much for objectivity! Indeed, in a letter dated 3 March 1964, Father Godfrey Diekmann—who was ostensibly a Benedictine monk—accidentally said the quiet part out loud, asking: “What young candidate for the priesthood would ever consider the monastic life if there is even a possibility of having to spend three hours a day praying or singing the Office in Latin?”

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

Filed Under: Articles Tagged With: Father Godfrey Diekmann Last Updated: May 6, 2024

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

At the Council of Trent, the subject was raised whether it was correct to refer to the unconsecrated elements of bread and wine as “immaculata hostia” (spotless victim) and “calix salutaris” (chalice of salvation) in the offertory prayers. Likewise the legitimacy of the making the sign of the cross over the elements after the Eucharistic consecration was discussed.

— ‘Fr. Uwe Michael Lang, Cong. Orat.’

Recent Posts

  • A Gentleman (Whom I Don’t Know) Approached Me After Mass Yesterday And Said…
  • “For me, Gregorian chant at the Mass was much more consonant with what the Mass truly is…” —Bp. Earl Fernandes
  • “Lindisfarne Gospels” • Created circa 705 A.D.
  • “Music List” • 5th Sunday of Easter (Year C)
  • Communion Chant (5th Sunday of Easter)

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.