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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 • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF • “Cantus Mariales” (192 pages)
    Andrea Leal has posted an absolutely pristine scan of CANTUS MARIALES (192 pages) which can be downloaded as a PDF file. To access this treasure, navigate to the frabjous article Andrea posted Monday. The file is being offered completely free of charge. The beginning pages of the book have something not to be missed: viz. a letter from Pope Saint Pius X to Dom Pothier, in which the pope calls Abbat Pothier “a man versed above all others in the science of liturgy, and to whom the cause of Gregorian chant is greatly indebted.”
    —Jeff Ostrowski
    Music List • (2nd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 2nd Sunday of Lent (1 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its somber INTROIT is particularly striking—using a haunting tonality—but the COMMUNION with its fauxbourdon verses is also quite remarkable. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    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

Far from dreading an encounter with the Iroquois, Fr. Garnier often told us he would be quite content to fall into their hands and remain their prisoner if—while they were torturing him—he at least had a chance of instructing them as long as his torments lasted. If they allowed him to live, it would afford him a golden opportunity to work for their conversion, which was now impossible, since the gateway to their country was closed as long as they were our enemies.

— Father Ragueneau (Jesuit Relations)

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  • Fulton J. Sheen • “24-Hour Catechism”
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