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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

Installment #5 • “Serious Problems with the Lectionary Translation”

Guest Author · August 28, 2025

E WERE NOTIFIED last week that Monsignor Andrew Wadsworth, ICEL’s executive director from 2009-2023, added several unsolicited but welcome public messages about our series: “Serious Problems with the Lectionary Translation.” Wadsworth’s scholarship is respected and his priestly reputation is pristine. Below, we explore the assertions he made publicly. On 21 August 2025, Wadsworth said the “principal reason for the copyrighting of the liturgical text [is] to ensure everyone uses the same officially approved text.” His pronouncement is difficult to accept, since bishops already have authority to tell their priests which books they must pray from. It’s false to claim such a thing can only happen if shell corporations are allowed to make a (never-ending) profit by selling the mandatory Mass texts. If a particular mentality demands copyright, why not use Creative Commons?

Monsignor Wadsworth’s next statement (screenshot) is worth quoting in full:

The production of liturgical texts, their translation, and the process of their authorization and approval all costs money, and the copyright fees are only charged when people are making money from the sale of their publication, and at a maximum 10% of the retail price of the publication, such a fee is a modest recompense.

First Problem • That statement is inaccurate. We know of at least four (4) shell corporations which have been ‘selling’ texts they don’t own for 60+ years. They claim ownership in perpetuity over all use: transmission, broadcast, sharing, and so forth. Even when they grant ‘permission’ to someone to place a recorded Mass on YOUTUBE, they reserve the right to compel that person (later on) to remove the video for any reason or for no reason at all. Furthermore, the policies aren’t enforced fairly. We’ve been sent documentation stretching all the way back to 2009 wherein special ‘favors’ are given to certain entities but not others.1

Second Problem • Let’s explore further the assertion made by Monsignor Wadsworth that the translation of liturgical texts “costs money.” Let’s consider PSALM 17, in a translation sold for a profit by certain shell corporations since 1970. [This has not ceased, even now.] Except for a single word, the ‘translation’ being sold is verbatim identical to the Confraternity translation produced a few years after World War II:

*  PDF Download • COMPARISON CHART
—We thank the CCW staff for technical assistance with this graph.

Questions which suggest themselves:

(a) Who changed that one word in 1970? What is his name?

(b) Over the last sixty years, how much has that person been paid?

(c) Since only one word was changed, the other 99% of that psalm did not belong to the shell corporations. When will all that money (fraudulently gained) be given back?

That’s just one psalm, but it’s estimated the shell corporations bring in (perhaps) $16 million per year, and this has continued unabated for 60+ years. The ‘profit’ comes directly from the pockets of the people sitting in the pews, and we respectfully demand that all royalties—going back to 1970—be immediately made public. There must be accountability.

More Of The Same • As we’ve mentioned throughout our series, the so-called ABBEY PSALMS & CANTICLES seems pirated from various sources. The USCCB recently purchased this ‘translation’ from a non-Christian private company. It was purchased using the faithful’s money (without their knowledge or consent). Consider a few lines from PSALM 17, which were taken almost verbatim from the Confraternity translation produced 15 years before the Second Vatican Council:

Abbey Psalms:
(7) In my anguish I called to the Lord;
I cried to my God for help.
From his temple he heard my voice;
my cry to him reached his ears.
1940s confraternity Translation:
(7) In my distress I called upon the Lord
and cried out to my God;
From his temple he heard my voice,
and my cry to him reached his ears.

Conclusions • Copyright laws were intended to protect things like television shows, books, original poems, inventions, and musical compositions. If a company spends millions of dollars making a movie, it would clearly be unjust to steal it and make it available on one’s YOUTUBE channel.

On the other hand, when it comes to pirating a translation, changing a single word, and then forcing Catholics to pay for it every time they want to assist at Mass—how can Monsignor Wadsworth defend this? Moreover, the shell corporations claim ownership in perpetuity (!) with regard to whether ‘their’ property can be shared on YOUTUBE, and under what circumstances it can be shared. Is anyone willing to defend this shameful arrangement? One reason we chose this outlet is that it receives millions of visits from all over the world. Is even one reader willing to defend these shell corporations forcing unsuspecting Catholics to purchase (over and over again) ‘translations’ plagiarized from others’ sweat and toil? Again we demand to know: “Who specifically is behind all this?” The bishops with whom we speak claim virtually nothing is shared with them until it’s time to vote at the November meetings.

To be continued.

ROBERT O’NEILL
Former associate of Monsignor
Francis “Frank” P. Schmitt
at Boys Town in Nebraska

JAMES ARNOLD
Formerly associated w/ King’s College, Cambridge
A convert to the Catholic Church, and
distant relative of J. H. Arnold

MARIA B.
Currently serves as a musician in the
Roman Catholic Diocese of Charlotte.
Those aware of the situation in
her diocese won’t be surprised she
chose to withhold her last name.

1 Astoundingly, the shell corporation don’t disclose their ‘profit’ scale or rates to inquirers. Why on earth have these rates not been made public after 60+ years? But when asked, the shell corporations stubbornly refuse to disclose that information. Such secrecy comes across as shady. The rates should be the same for everyone. The various guidelines, such as this one, are changed with such frequency—and so filled with contradictory statements—one knowledgeable person described them as “a moving target.”

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

Filed Under: Articles, PDF Download Tagged With: Abbey Psalms and Canticles, Serious Problems with the Lectionary Translation Last Updated: September 21, 2025

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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

“After the Second Vatican Council, the impression arose that the pope really could do anything in liturgical matters, especially if he were acting on the mandate of an ecumenical council. Eventually, the idea of the givenness of the liturgy, the fact that one cannot do with it what one will, faded from the public consciousness of the West.”

— Joseph Cardinal Ratzinger

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