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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 #7 • Three (3) Questions Re: Forthcoming USA Lectionary

Guest Author · September 22, 2025

FEW WEEKS AGO, the Executive Director (emeritus) of ICEL, Monsignor Andrew Wadsworth publicly weighed in on our series, “Serious Problems with the Lectionary Translation.” The claim he made is anything but new. Indeed, it’s been repeated for 60+ years. Specifically, Monsignor Wadsworth justified and defended making a profit by selling the Scripture readings which are mandatory for Holy Mass because the “translators” must be paid (screenshot). Let’s delve into this assertion.

Changing One Word • Our current LECTIONARY translation for the psalter, forcibly sold to unsuspecting Catholics over and over again since 1970 (and revised slightly in 1998), was created by FATHER LOUIS FRANCIS HARTMAN (d. 1970) and his team. It was published five years after World War II. Consider the following chart:

*  PDF Download • COMPARISON CHART (Psalm 121)
—We thank the CCW staff for technical assistance with this graph.

Notice that our lectionary
translation is identical to
Rev. Louis Hartman’s version
published 5 years after WWII
except for one word.

(1) Hartman Profits • We’ve been assured it’s absolutely fine to sell the mandatory Scripture texts because profit must go to the translators. This same psalm has been sold over and over to parishes since 1970. It is estimated that $575 million has been paid in royalties to the various shell organizations since 1970. (Remember that many countries besides the United States are English-speaking and use part of our LECTIONARY.) Father Hartman died in 1970. We demand to know how much money has gone to Father Hartman over all these years.

(2) Unaccountable • The chart shows that just one word (“brothers”) was changed in the 1998 LECTIONARY. Who specifically made that alteration? Who approved it, based upon what specific criteria? The bishops we speak to claim they have virtually nothing to do with any of these decisions. They just show up each November and vote on whatever’s been worked out by the ‘liturgical bureaucracy’ in Washington D.C. But faithful Catholics are the ones paying for all this. At a minimum, we must be told who specifically is making these decisions. (Remember that their salaries have been paid—without knowledge or consent—by faithful Catholics all these decades.)

(3) Ruthless Enforcement • The various shell corporations which profit from selling the same bits Sacred Scripture year after year are ruthless when it comes to their “rights.” They control all dissemination: broadcast, radio, television, YouTube, and so forth. As a result, the painstaking work of Father Hartman, published 5 years after World War II, is guarded as if it were the nuclear codes. The shell corporations determine who is allowed to place bits of ‘their’ Sacred Scripture on YouTube, and under what circumstances. Is anyone willing to defend such an arrangement?

Monsignor Wadsworth insisted that “the principal reason for the copyrighting of the liturgical text [is] to ensure everyone uses the same officially approved text.” But will anyone defend bizarre and reprehensible examples like this, which have been enforced for decades?

Why This Matters • For more than a decade, we’ve been told a “new” LECTIONARY is being produced for the United States. Who specifically is pushing for this? What is the specific criteria for this most recent tinkering? What specific information has been given to the bishops about this? Is there any truth to the assertion this is only being done because Father Hartman’s copyright expires in 2025? We can’t shake the feeling that foxes are once again being given free access to the chicken coop—the very same foxes who caused so much harm over the last 60+ years.

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.

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

Filed Under: Articles, PDF Download Tagged With: Father Louis Francis Hartman, Monsignor Andrew Raymond Wadsworth, Serious Problems with the Lectionary Translation Last Updated: September 28, 2025

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Corpus Christi Watershed

President’s Corner

    Spectacular Communion Setting!
    The FAUXBOURDON setting of the Communion for the Baptism of the Lord (which will occur this coming Sunday) strikes me as quite spectacular. The verses—composed by the fifth century Christian poet, Coelius Sedulius—come from a long alphabetical acrostic and are deservedly famous. The feast of the LORD’S BAPTISM was traditionally the octave day of Epiphany, but in the 1962 kalendar it was made ‘more explicit’ or emphasized. The 1970 MISSALE ROMANUM elevated this feast even further.
    —Jeff Ostrowski
    PDF • “Music List” (Sunday, 11 January)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Baptism of the Lord (SUNDAY, 11 January 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon—to say nothing of the antiphon itself—are breathtaking. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the monumental feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of January (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski
    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski

Random Quote

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— Father Clemens Blume, S.J.

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