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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

“A Peculiar Discrepancy” • Immac. Concep. (8 Dec.)

Jeff Ostrowski · December 4, 2024

OST MUSICIANS who have looked over the documents on sacred music realize the Ordinary Form has two sets of propers: (a) SUNG PROPERS and (b) SPOKEN PROPERS. The Sung Propers, found in the revised GRADUALE ROMANUM are among the most ancient prayers we have. The Spoken Propers were a project undertaken by Dom Adalbert Franquesa Garrós in the late 1960s, designed for private Masses or “celebrations without music.” They are found in the priest’s SACRAMENTARY. So far, nobody’s been able to explain why Dom Franquesa’s project was undertaken. For example, Dom Franquesa said the ancient propria for HOLY TRINITY SUNDAY were “inappropriate” but gave no explanation whatsoever.

Zeitgeist Of The 1960s • The Spoken Propers often minimize (or annihilate) certain ideas found in Sacred Scripture. For instance, references to God “conquering” or “destroying” enemies are often bowdlerized: cf. the Entrance Chant for the 16th Sunday in Ordinary Time. They sometimes display an impoverished (or faulty) theology: e.g. the 16th Sunday in Ordinary Time assigns Acceptábis Sacrifícium for the COMMUNION ANTIPHON—but since it reinforces how the Mass is primarily a sacrifice, it was deleted.

Specific Example:

One of my professors used to say: “An example is worth a thousand words.” Therefore, let’s examine a concrete example. Consider the COMMUNION ANTIPHON for the feast of the Immaculate Conception on 8 December:

The “Gregorian Missal” (1990, Solesmes Abbey) is quite helpful because it provides the pericope citation:

In the “spoken” version, however, we see something very sneaky and quite peculiar:

Also, consider the 1970s ICEL version of text, as shown in the (now defunct, pre-2011) SACRAMENTARY. They have a funny way of rendering “Gloriósa dicta sunt de te” into English:

Conclusion • What is there to be said about all this? What possible reason did Dom Adalbert Franquesa Garrós have when he got rid of the section from Saint Luke’s Gospel? Did he have an aversion for the New Testament? Did he consider the Gospel of Saint Luke to be somehow “deficient” or in need of bowdlerization? What specifically was deficient or unacceptable about that verse from the Gospel of Saint Luke? The zeitgeist of the 1960s seemed to be: change for the sake of change!

The Second Vatican Council solemnly declared: “There must be no innovations unless the good of the Church genuinely and certainly requires them.” Did the good of the Church “genuinely and certainly require” the annihilation of that passage from Saint Luke’s Gospel? Who specifically was being harmed by that passage?

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

Filed Under: Articles Tagged With: Father Adalbert Franquesa Garrós, Sung Vs Spoken Propers Novus Ordo Last Updated: December 4, 2024

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th Sunday in Ordinary Time (Year C). 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 conveniently stored at the top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Little Encouragement?
    In the Gospel, our Savior tells about 10 lepers who were healed. Only one went back to give thanks. Precious few express gratitude, yet many have endless energy to complain. For that reason, I deeply appreciate receiving messages like the following, which arrived a few days ago (about the parish where I direct in Michigan): “Last Sunday, a couple I knew from Grand Rapids was at Mass at 10:00 a.m. I got a chance to talk to them after Mass. I wanted to let you know what they said about the choir. They were absolutely floored by our sound!!!!! They both said they could continuously listen to our choir and the beauty of it. They asked me: “Do you always sound like that?” And they were also very surprised at how packed the church was. They said it was nice for them to be in such a full church. I just thought you would be interested to know their thoughts about our choir.”
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“…it would be a very praiseworthy thing and the correction would be so easy to make that one could accommodate the chant by gradual changes; and through this it would not lose its original form, since it is only through the binding together of many notes put under short syllables that they become long without any good purpose when it would be sufficient to give one note only.”

— Zarlino (1558) anticipating the Medicæa

Recent Posts

  • Typo in the “Missale Romanum” (1962)
  • “Music List” • 30th in Ordinary Time (Year C)
  • “Our Father” • Musical Setting?
  • Little Encouragement?
  • Children’s Repertoire • Mueller’s Recommendations

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