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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

When Pilgrims Sing, the World Disappears

Mark Haas · November 4, 2025

ATIN GREGORIAN CHANT is universal. It is Catholic. And I can prove it.

Take a listen to the recording below. It is a recent viral social media post of a group of pilgrims singing Credo IV.

*  Mp3 Download • Live Rec. (“Credo IV by mystery choir”)
——“Credo IV”  • Mystery choir.

Now listen closely—what country are they from? What part of the world? What accent do they have? What is their nationality? Can you tell?

In this particular recording, the singers were a group of US seminarians from Virginia on pilgrimage to Rome. Yet, when they chant in Latin, they ceased to sound American. They didn’t sound Italian, French, or African either. They sounded Catholic—universalis, belonging to no one people but to everyone at once. This is the power of the Church’s ancient language: it transcends the divisions of culture and geography and allows the faithful to sing with one heart and one voice.

Clarity • Latin is often called a “dead language,” but in the life of the Church, that is its greatest strength. Because Latin no longer evolves like modern tongues, it remains fixed—unchanged, clear, and precise. Living languages shift constantly; words pick up new meanings, phrases become outdated, and connotations change. “Don we now our gay apparel,” means something entirely different to modern ears than it did just a few generations ago. The unchanging nature of Latin preserves the clarity of doctrine and worship, ensuring that the Church’s prayers mean today what they meant a thousand years ago.

Unity • Many parishes today celebrate Mass in several languages—English, Spanish, Vietnamese, and more. This reflects the beauty of cultural diversity, but it can also lead to division. A parish may unintentionally become three or four communities sharing one building but not one heart.

The great unifier–as the Second Vatican Council envisioned–is the use of Latin for the common parts of the Mass. Sacrosanctum Concilium, the Constitution on the Sacred Liturgy, states that “the use of the Latin language is to be preserved in the Latin rites” (§36) and that “steps should be taken so that the faithful may be able to say or to sing together in Latin those parts of the Ordinary of the Mass which pertain to them” (§54).

Borders disappear • Those pilgrims from Virginia are from the United States. Many of them are likely American football fans who enjoy barbecues and hot dogs. If you spoke with them on the street, they would have American accents. But when they chanted together in Rome, they were not from any country. Their accents disappeared. Their culture blended into the harmony of the Church.
They were no longer citizens. They were Catholic. They were universal. And that, in the truest sense, is what it means to be part of the Church that sings with one timeless, heavenly voice.

You can see the original video post here.

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

Filed Under: Articles Last Updated: November 4, 2025

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About Mark Haas

Mark Haas is a composer and speaker whose music has been sung in over 600 parishes and 10 countries. He serves as the Music Director at Ave Maria Parish in Ave Maria, Florida where he lives with his wife and seven children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • “Ascension of the Lord”
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for the The Ascension of the Lord—“Festum Ascensionis Domini”—which is transferred to 17 May 2026 in our diocese. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (“Ascéndit Deus in jubilatióne”) is particularly beautiful and the ENTRANCE CHANT is simply splendid. As always, readers may go directly to the flourishing feasts website, where the complete Propria Missae may be downloaded free of charge.
    —Jeff Ostrowski
    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (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. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

This was first breach in the walls of a fortress, centuries old, stoutly built, strong and robust, but no longer capable of responding to the spiritual needs of the age. [N.B. the “fortress” is a liturgy which nourished countless great saints.]

— Annibale Bugnini (19 March 1966)

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