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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

Cardinal Heenan Speaks About Monsignor Knox

Jeff Ostrowski · August 20, 2025

UNTIL it was published in the third edition of the SAINT EDMUND CAMPION MISSAL, the splendid English translation of the Roman Canon by Monsignor Ronald Knox was unpublished and forgotten. His English translation of the EXSULTET (which, in my humble opinion, is peerless) was also published by Sophia Institute Press in that same book. Like so much of his work, these renderings by Knox are glorious, memorable, and inspiring. In 2010, Father George Rutler wrote that: “Archbishop Sheen told a friend of mine—in a moment perhaps made candid by the mellowing of years—that anything he had ever said of significance was taken from either Knox or Chesterton.”

John Cardinal Heenan, Archbishop of Westminster and friend of Evelyn Waugh and Malcolm Muggeridge, wrote as follows in 1973:

I went to the Somerset village of Mells to take leave of Monsignor Ronnie Knox who was dying of cancer. We had never been close friends but rather more than acquaintances. He was perhaps the greatest figure in the Church of the twentieth century. As a writer he was admired not only by his fellow Catholics and former colleagues of the Anglican Church but by all connoisseurs of stylish prose. His greatest contribution to literature was his translation of the bible into contemporary English. To this monumental task he brought not only his wide learning but an extraordinary capacity for assembling critical views of his draft translation to enable him to produce a final polished version. A notoriously shy man he might have been expected to work in scholarly solitude but he sought the help of the widest possible range of students, young and old, famous and obscure. All were invited to give their criticisms and suggestions. He was overwhelmed by the number of those who offered advice. After the publication of his translation he thanked all those who had written. Then (typically) he could not forbear to thank ‘still more’ those who did not proffer help. Although renowned as a preacher and scholar his real greatness lay in his holiness of life. He was very near death when I visited him but he received me with great courtesy and thanked me for coming to take leave of him. Being a genuine intellectual he had an essentially simple faith. He was what we now call an old-fashioned Catholic. He loved the Imitation of Christ of which he left an excellent but unfinished translation (published posthumously).

Envy • Recently, it has been fashionable for a certain cadre (who aren’t worthy to fasten his sandals) to denigrate Monsignor Knox. Frequently, this is done out of jealousy by folks who don’t receive the recognition they feel they deserve. Unfortunately, the rise of social media has made it possible for the “terminally online” to enter conversations where they don’t belong. In any event, serious people understand how phenomenal Knox was—and he hardly requires a defense by me! As Father Valentine Young used to say: “Do not cast your pearls before swine.”

Photograph of Ronald Arbuthnott Knox (1888-1957)

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

Filed Under: Articles Last Updated: August 21, 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

    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

It would be contrary to the Constitution to decree or even to hint that sung celebrations, especially of the Mass, should be in Latin.

— Annibale Bugnini attacking “Sacrosanctum Concilium” (§36)

Recent Posts

  • 2-Voice Arr. • “Creator of the Starry Height”
  • PDF Download • Christmas Piece (SATB) — “Angels We Have Heard on High” with Text in Latin
  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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