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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

“Reform of the Reform” officially embraced by USCCB

Jeff Ostrowski · August 25, 2025

HE SECOND Vatican Council, in §50 of its first document, said that “the rite of the Mass is to be revised.” Pope Saint Paul VI gave this task to various groups, and the Novus Ordo was released circa 1970. Later on, when folks began to study SACROSANCTUM CONCILIUM, it became apparent the liturgical changes far exceeded the “revisions” mandated by Vatican II. The question then became is it possible to reform the reform? Is such a thing possible?

Vatican Says “Yes” • The Vatican has shown that it’s possible for such a thing to occur. For instance, in 1981 a Vatican official didn’t like the Responsorial Psalm assigned for the 18th Sunday in Ordinary Time (Year C) … so he changed it to a different one. Every country since 1981 has been mandated to use the new psalm—not what was mandated in 1970—and none have resisted. This is an example of reforming the reform.

USCCB Joins The Cause • On 27 November 2011, the USCCB took a more audacious and far-reaching step. This has to do with the antiphons assigned for the Introit and Communion. As part of the 1970 reform, a Benedictine priest from Spain named DOM ADALBERT FRANQUESA GARRÓS created a bunch of “alternate” propers, to be used for private Masses and Masses without music. These are generally referred to as the Adalbert Propers or the Spoken Propers. Sadly, the Adalbert Propers manifest an impoverished theology. Dom Adalbert claimed certain passages of Sacred Scripture “lose almost all of their meaning” unless they are sung to certain melodies—an assertion which is bizarre and seems close to heresy. There’s no need to repeat what’s already been said about the Adalbert Propers. The main thing to understand is what Pope Saint Paul VI declared on 3 April 1969:

“Although the text of the Roman Gradual—
at least that which concerns the singing—
has not been changed, the Entrance
antiphons & Communions antiphons have been
revised for Masses without singing.”

To view this quotation with your own eyes, simply open any ALTAR MISSAL printed after 1969. It’s included in the front of each and every printed copy, even the most recent American editions.

Major Alteration to 1970 Missal • But on 27 November 2011, the USCCB made a significant change to what the reformers had done. They got approval from the Vatican for a special “United States Adaptation” which changed the 1970 rite. Specifically, the “United States Adaptation” says the Adalbert Propers can replace the antiphons in the (post-conciliar) GRADUALE ROMANUM. Sometimes, the Adalbert Propers correspond loosely to the antiphons assigned by the 1970 liturgical books, but frequently they’re taken from completely different books of the Bible.

Conclusions • It isn’t known why this USA adaptation—which fundamentally modifies the 1970 rite—was requested (or granted). Indeed, the chairman of the USCCB liturgical committee in November of 2007 told the conference of bishops the Adalbert Propers “were never intended to be sung, but are provided without notation to be recited whenever the GRADUALE ROMANUM or another song is not sung.” He said this was made clear to him by “recent research, confirmed by unofficial discussions with officials of the Holy See during the past several years.” He then felt the need to reiterate that the Adalbert Propers “which differ substantially from the sung antiphons of the GRADUALE ROMANUM, were never intended to be sung.” So a case can’t be made the USCCB didn’t know what they were doing in this particular instance.

Nothing, therefore, stands in the way in principle of a “Reform of the Reform.”

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

Filed Under: Articles Tagged With: Father Adalbert Franquesa Garrós, THE ADALBERT PROPERS Last Updated: August 25, 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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Corpus Christi Watershed

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

Had the Church never spoken on this matter, it would still be repugnant to our Catholic people’s sense of what is fit and proper in the holiest of places, that a priest should have to struggle through the prayers of the Holy Mass, because of such tunes as “Alice, where art thou?” the “Vacant Chair,” and others of more vulgar title, which, through the carelessness or bad judgment of organists, sometimes find their way into our choirs.

— Preface to a Roman Catholic Hymnal (1896)

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