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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

My Response Surprised A Parishioner ‘Upset’ About Latin

Mark Haas · February 23, 2026

OT LONG AGO, a parishioner approached me with critique about our Latin Ordinary. They wondered if we might sing an English setting, noting how much more familiar it felt. I assured them that, in fact, we would be singing an English Ordinary for an upcoming season. But what surprised them even more was my response to the broader question of language within the Mass.

“I don’t prefer Latin,” I said. After a pause, I added, “I don’t prefer English either.”

Most Catholics assume music directors are either champions of Latin or champions of vernacular. But I explained that my task is not to champion either language. My task is to champion the Church. The Church asks us to sing Latin and also provides an option of the vernacular. At our parish, we do both.

I went on to share with this parishioner something I’ve come to recognize over the years: many Catholics today, struggle to sing in Latin not because of any personal failing, but because it has been withheld from us for decades. Not by any one parish, or any individual priest, but by a broad cultural shift in American Catholicism that has often treated Latin as something antiquated or undesirable. And yet, the Church has never once wavered in its insistence that Latin retains a privileged place in our worship. On the contrary, at every turn, the Church begs the faithful to utilize Latin.

The Church could not be clearer:

“The use of the Latin language is to be maintained in the Latin rites.” (Sacrosanctum Concilium, 36; Musicam Sacram, 30)

Furthermore, Latin is not meant to belong only to choirs or specialists:

“Care should be taken to foster the role of Latin in the Liturgy, particularly in liturgical song…The assembly should be able to say or sing in Latin the parts of the Mass which are appropriately theirs.” (Sacrosanctum Concilium, 54; GIRM 41; 61)

And this vision has not disappeared into the dusty pages of the 1960s. The United States bishops reaffirmed it strongly in 2007:

“To the greatest extent possible and applicable, singers and choir directors are encouraged to deepen their familiarity with the Latin language.” (Sing to the Lord, 63)

“Introducing Latin chant to worshippers who have perhaps not sung it before is laudable and highly encouraged.” (Sing to the Lord, 74)

These are not suggestions for an elite group. They are instructions for all of us who serve the liturgy.
This is why, when speaking with parishioners, it is important to remain pastoral. We must resist the temptation to justify Latin—or any liturgical practice—based on personal taste. If I argue for Latin merely because I like it, I’ve missed the point.

The Church’s liturgy is not about my preference or yours. In the end, my only true “preference” is to be an obedient son of the Church. And if the Church asks us to sing in Latin, then I will gladly lead God’s people—trusting that fidelity, not preference, is the path of authentic worship.

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

Filed Under: Articles Last Updated: February 23, 2026

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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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President’s Corner

    Music List • (4th Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 4th Sunday of Lent (15 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has sublime propers. It is most often referred to as “Lætare Sunday” owing to its INTROIT. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    PDF Download • Communion (4th Snd. Lent)
    The COMMUNION ANTIPHON for this coming Sunday, which is the Fourth Sunday of Lent (Year A), is particularly beautiful. There’s something irresistible about this tone; it’s neither happy nor sad. As always, I encourage readers to visit the flourishing feasts website, where the complete Propria Missae may be downloaded free of charge.
    —Jeff Ostrowski
    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“In chronological order, [Dom Pierre Combe] traces the Gregorian reform from its beginnings under Dom Guéranger in 1833, to the problems of the Vatican Commission on Sacred Music in the first decade of the 20th century. As one reads the topic headings and development of their content, one wonders how such an innocent and un-warlike subject such as Gregorian chant could have been the focal point of such an intense and continuing battle among scholars and churchmen for so many decades.”

— Dr. Theodore Marier (1968)

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