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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

PDF Download • “Entrance Chant” for the Fifth Sunday of Easter

Jeff Ostrowski · May 13, 2025

HE SUPREME AUTHORITY vis-à-vis the sacred liturgy (except for the pope) during the 1960s was the CONGREGATION OF RITES. Even the Consilium had to seek approval from that dicastery for its decisions. More than a year after Vatican II promulgated the Constitution on the Liturgy (“Sacrosanctum Concilium”), the CONGREGATION OF RITES warned that Latin must remain primary while the vernacular was supposed to be secondary.1 To be precise, that dicastery warned (on 23 July 1964) that using the vernacular to the exclusion of Latin would create an undesirable “paradox” (their word), lamenting that if such were to occur: “Latin imposed as a basis would become an exception, and the vernacular, which must be given a secondary place, would occupy the main position.”

Accepting Reality • The situation we ended up with is a Mass without any Latin at all. This was done in violation of the explicit mandate of Vatican II—but what can I do about it? I’m not a bishop. I’m not even a priest. I’m a husband and father who just wants to make it to heaven.

Consider the following:

*  PDF Download • Musical Score
*  PDF Download • Organ Accompaniment

Here’s the direct URL link.

(1 of 5) English Adaptations • I don’t believe our Lord wants me to spend each day bewailing the fact that most Masses eliminated Latin in spite of what Vatican II mandated and in spite of the warning I quoted earlier (from the CONGREGATION OF RITES, dated 23 July 1964).

(2 of 5) English Adaptations • Instead of spending my energy complaining, I’ve been attempting to promote the splendid English adaptations of Gregorian Chant by the CHAUMONOT COMPOSERS GROUP. Specifically—as you can see above—I’ve been harmonizing them and creating rehearsal videos.

(3 of 5) English Adaptations • Dr. Lucas Tappan once told me he’d attempted to program at his Masses popular Proprium Missae adaptations in English,2 but could not continue using them because his choir felt bored out of their minds with them (and his priest felt the same way). I must admit, he is correct. There are some atrocious plainsong ‘adaptations’ out there. Some companies produce the equivalent of “artificial intelligence” adaptations: boring, uninspired, inartistic, and eminently forgettable.

(4 of 5) English Adaptations • The settings by the CHAUMONOT COMPOSERS GROUP are gorgeous, and I wish you could hear the females in my choir singing these each Sunday. Their beauty melts my heart—and unfortunately a recording device or microphone cannot ‘capture’ their wonderful sound accurately.

(5 of 5) English Adaptations • I never thought I would do plainsong in English. My whole life has been dedicated to singing, teaching, recording, promoting, and studying Gregorian Chant in Latin. But let’s be honest: there was no “perfect time” for the Catholic liturgy. Some bloggers claim the liturgy was perfect before 1954—but that’s false. Indeed, the “pre-1954” Missale Romanum contained many undesirable items, such as insanely ancient feasts being replaced by modern feasts. Those who claim to follow the “pre-1954” missal unwittingly create a “mixture” or “hybrid” liturgy; e.g. they allow Solemn Mass with incense even if there’s no Deacon and Subdeacon, they offer evening Masses, they distribute Holy Communion to the faithful during Mass, they modify the fasting laws, and so forth. I repeat: There is no “perfect” year for the sacred liturgy. Indeed, the liturgy during the 19th-century was unrecognizable because local feasts and modern feasts frequently replaced the ancient TEMPORALE.

Final Thoughts • Father John Vianney never offered the Roman Rite. (Or, if he did, it happened only towards the end of his life.) In those days, France had various “Neo-Gallican” rites. Nonetheless, I believe Saint John Vianney was a great saint. And this is why I don’t think God wants me to spend all day complaining that people violated the mandates of Vatican II. Instead, I feel called to make the best of the situation we have—and to give God as much glory as we possibly can.

1 According to Vatican II, the local bishop was “to decide whether, and to what extent, the vernacular language is to be used.” After the council, certain dishonest people pretended they didn’t know the meaning of the word “whether.” On this, cf. SACROSANCTUM CONCILIUM §36.3. The phrase used by Vatican II was amplior locus (“more space”). The specific Vatican II mandate regarding the vernacular said “the limits of its employment may be extended.” It did not say Catholics should eliminate Latin and replace it with the vernacular. ALFONS CARDINAL STICKLER attended Vatican II as a perítus (“expert”). In a 1999 interview, he said: “I still remember very well how after several radical proposals a Sicilian bishop rose and implored the fathers to allow caution and reason to reign on this point, because otherwise there would be the danger that the entire Mass might be held in the language of the people—whereupon the entire hall burst into uproarious laughter.” The idea that liturgical Latin would be abandoned was absurd to the fathers of Vatican II.
2 If you think I’m going to reveal which set of propers Dr. Tappan was speaking of … I’m not. I already have enough enemies—the last thing I need is more people angry with me!

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

Filed Under: Articles, PDF Download Tagged With: Chaumonot Entrance Chant Collection, Congregation for Divine Worship, Congregation of Rites, English Adaptation Gregorian Chant, English Adaptation Plainsong, Plainsong in English Last Updated: May 13, 2025

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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

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

“The recitation of the Office of the Dead, the Christmas Office, the spectacle of the days of Holy Week, the sublime chant of the Exultet, beside which the most intoxicating accents of Sophocles and Pindar seemed to me to be insignificant—all of this overwhelmed me with respect and joy, with gratitude, repentance, and adoration!”

— Paul Claudel (1913)

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  • PDF Download • “Quasi Modo Sunday”
  • ‘German’ Introductions for Hymns

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