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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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Corpus Christi Watershed

President’s Corner

    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski
    Music List • (1st Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I’ve prepared for this coming Sunday—22 February 2026—the 1st Sunday of Lent (Year A). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the outstanding feasts website alongside the official texts in Latin. I spent an enormous amount of time preparing this ORDER OF MUSIC—because the children’s choir will join us—and some of its components came out great. For example, the COMMUNION ANTIPHON with Fauxbourdon is utterly resplendent, yet still ‘Lenten’.
    —Jeff Ostrowski
    2-Voice Arrangement for Lent
    Those seeking a two-voice arrangement for LENT and PASSIONTIDE should click here and scroll down. It’s based on number 775 in the Brébeuf Hymnal, with an enchanting melody written by Kevin Allen (the legendary American composer of sacred music). That text—“Pendens In Crucis Cornibus”—is often used for the Feast of our Lady of Sorrows. That link is important because, in addition to the musical score, it provides free rehearsal videos for each individual voice: something volunteer choirs appreciate!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (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
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —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

Random Quote

It is frightful even to think there are children, victims of abortion, who will never see the light of day.

— Pope Francis (13 January 2014)

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  • “Chant Is Not a Penitential Act” • Lenten Reflection by Daniel Marshall

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