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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.”

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Views from the Choir Loft

“A Peculiar Discrepancy” • Immac. Concep. (8 Dec.)

Jeff Ostrowski · December 4, 2024

OST MUSICIANS who have looked over the documents on sacred music realize the Ordinary Form has two sets of propers: (a) SUNG PROPERS and (b) SPOKEN PROPERS. The Sung Propers, found in the revised GRADUALE ROMANUM are among the most ancient prayers we have. The Spoken Propers were a project undertaken by Dom Adalbert Franquesa Garrós in the late 1960s, designed for private Masses or “celebrations without music.” They are found in the priest’s SACRAMENTARY. So far, nobody’s been able to explain why Dom Franquesa’s project was undertaken. For example, Dom Franquesa said the ancient propria for HOLY TRINITY SUNDAY were “inappropriate” but gave no explanation whatsoever.

Zeitgeist Of The 1960s • The Spoken Propers often minimize (or annihilate) certain ideas found in Sacred Scripture. For instance, references to God “conquering” or “destroying” enemies are often bowdlerized: cf. the Entrance Chant for the 16th Sunday in Ordinary Time. They sometimes display an impoverished (or faulty) theology: e.g. the 16th Sunday in Ordinary Time assigns Acceptábis Sacrifícium for the COMMUNION ANTIPHON—but since it reinforces how the Mass is primarily a sacrifice, it was deleted.

Specific Example:

One of my professors used to say: “An example is worth a thousand words.” Therefore, let’s examine a concrete example. Consider the COMMUNION ANTIPHON for the feast of the Immaculate Conception on 8 December:

The “Gregorian Missal” (1990, Solesmes Abbey) is quite helpful because it provides the pericope citation:

In the “spoken” version, however, we see something very sneaky and quite peculiar:

Also, consider the 1970s ICEL version of text, as shown in the (now defunct, pre-2011) SACRAMENTARY. They have a funny way of rendering “Gloriósa dicta sunt de te” into English:

Conclusion • What is there to be said about all this? What possible reason did Dom Adalbert Franquesa Garrós have when he got rid of the section from Saint Luke’s Gospel? Did he have an aversion for the New Testament? Did he consider the Gospel of Saint Luke to be somehow “deficient” or in need of bowdlerization? What specifically was deficient or unacceptable about that verse from the Gospel of Saint Luke? The zeitgeist of the 1960s seemed to be: change for the sake of change!

The Second Vatican Council solemnly declared: “There must be no innovations unless the good of the Church genuinely and certainly requires them.” Did the good of the Church “genuinely and certainly require” the annihilation of that passage from Saint Luke’s Gospel? Who specifically was being harmed by that passage?

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

Filed Under: Articles Tagged With: Father Adalbert Franquesa Garrós, Sung Vs Spoken Propers Novus Ordo Last Updated: December 4, 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

    “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
    “Entrance Chant” • 4th Sunday of Easter
    You can download the ENTRANCE ANTIPHON in English for the 4th Sunday of Easter (11 May 2025). Corresponding to the vocalist score is this free organ accompaniment. The English adaptation matches the authentic version (Misericórdia Dómini), which is in a somber yet gorgeous mode. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski
    Music List • “Repertoire for Weddings”
    Not everyone thinks about sacred music 24/7 like we do. When couples are getting married, they often request “suggestions” or “guidance” or a “template” for their musical selections. I created this music list with repertoire suggestions for Catholic weddings. Please feel free to download it if you believe it might give you some ideas or inspiration.
    —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

The Sanctus and Benedictus are one text and should be sung through without a break. The practice—once common—of waiting till after the Consecration and then singing: “Benedictus qui venit…” is not allowed by the Vatican Gradual.

— Father Fortescue, writing in 1912

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