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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

    Simplified Accomp. • Schubert’s “Ave Maria.”
    Sometimes the organist must simultaneously serve as the CANTOR. (Those who work in the field of church music know exactly what I’m talking about.) One of our contributors composed this simplified keyboard accompaniment for Franz Schubert’s “Ave Maria,” a piece which is frequently requested for Catholic funerals and weddings. In terms of the discussion about whether that piece is too theatrical (‘operatic’) for use in Church, I will leave that discussion to others. All I know is, many church musicians out there will appreciate this simplified version.
    —Jeff Ostrowski
    “Reminder” — Month of April (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 Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting in 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simply click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski

Random Quote

“Custom preserves many things in liturgy after their first reason has ceased.”

— Father Adrian Fortescue (writing in 1916)

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