Changes in the liturgy: musical ramifications

The Jan. 16, 2004 edition of John Allen’s “The Word from Rome” included previews from the upcoming English translation of the Missale Romanum. Following are two texts that will require new musical settings.

• In the “Glory to God,” an extra phrase is added: “We praise you, we bless you, we worship you, we glorify you, we give you thanks for your great glory.” This restores Latin phrases originally dropped from English translations to avoid what was seen as redundancy.

• In the Eucharistic prayer, when the priest says “Let our hearts be lifted high,” the people respond, “We hold them before the Lord,” rather than the familiar “We lift them up to the Lord.”

Regardless of whether the rest of the Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) will be translated differently, the translations will provide new fodder for liturgical composers.

That said, I offer no opinion about the forthcoming translation other than this one.

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16 Comments

That translation of Sursum Corda / Habemus ad Dominum is, to my ear, just awful.


The downside is that all existing English settings of the Gloria become useless. The upside is that all existing English settings that are in use in real-life parishes become useless.

Back to the downside: the publishers who have long pushed the less-than-sober settings will be the ones with the resources to scatter new ones all over American parishes. Back to the upside: it’s an opportunity to draw attention to better approaches.


Agreed, agreed, agreed. One thing that this may do is to provide an opportunity for non-OCP/St. Louis Jesuit composers to get their proverbial foot in the door just as they were given the chance 40 years ago.


With the exception of the Sursum Corda / Habemus ad Dominum (which to my ear grates as well), I like what they’ve done so far.

I believe that we musicians in the Church have a responsibility to introduce excellent, uplifting, and appropriate liturgical music to our parishes — and what better time to accomplish this than now, when there will be a need for new music? Here is our chance to write Mass settings that we can play without cringing (grin) — music that will be conducive to “fitting worship.”


Does anyone know if the “bonae voluntatis” part of the English Gloria will be restored?

What was wrong with “men of goodwill”, anyway?

(I’m thrilled to bits that Anderson’s so-called Gloria will never, ever, be sung again!)


For those of you considering offering your compositional services in the service of any new translations of the ordinary:

Please be sure to scan the Sanctus correctly. It would be nice for a change to encounter a setting that scans: “Holy, Holy, Holy / Lord God et cet” rather than “Holy, Holy, Holy Lord / God et cet.”

and in the Our Father: “thy will be done on earth / as it is in heaven” rather than “thy will be done / on earth as it is in heaven” (the classic Snow vernacular chant mercifully gets this quite right).

Admittedly nitpicky, but if people are going to try to get it right, these kinds of things need to be remembered, as much as translation.


Already made sure those points were covered. Thanks for the reminder.


In practice it will have no effect on most Masses in the US. We’ll keep singing the Mass of Creation forever, and I doubt many bishops will enforce the use of the new translation (at least in music) anyway.


IMO Mike Roesch is most probably correct about the music, unfortunately. The day that the music used at mass is subject to any kind of real oversight I’ll be turning over in my grave. (And I’m sure the mass of creation will survive the coming nuclear winter.) With regard to the translation itself, it would be bizarre, I think, if the bishops did not enforce a translation they themselves voted for - there seems to be no lack of vigor in the enforcement of most other new liturgical regulations.

And Liam, excellent points, esp. about the Sanctus. If you’ll pardon the expression, with these things the devil’s in the details.


Any chance they will change “of power and might” to something with a bit more poetry and majesty?


Liam wrote:

“Holy, Holy, Holy / Lord God et cet” rather than “Holy, Holy, Holy Lord / God et cet.”

Thanks, Liam for this excellent point. This is the main reason that in my parish, we stick to Owen Alstott’s Heritage Mass year in and year out. His is about the only Sanctus that gets this correctly. (Well, his wife, Bernadette Farrell, also gets this scan correctly, but her piece is way too complex for our unsophisticated congregation with what I think to be unnecessary repetition of phrases.)

Someone did point out that the “Jubilate Deo” Sanctus (used in pre-Vatican II requiem Masses) scanned incorrectly like any other English “Holy.” Not being an expert in neumes, I had no explanation to that.

I wonder if the authorities would put back the “Lord God of hosts,” into the Sanctus rather than stick to “Lord God of power and might.” “Hosts” seems to me like huge armies of angels at the service of God.

(But then again, to some people “hosts” simply mean a handful of unconsecrated bread.)


I’d like to see that, Marie.
Hmmm. The phrase “Holy, Holy, Holy | Lord God Sabaoth” or the phrase “Holy, Holy, Holy | Lord God of hosts” can be reasonably substituted in both the “massive cremation” (g) and the Mass of Angels & Saints by lengthening the 3rd instance of the word ‘holy.’

If, as Mike and Sam point out, we will retain the mass settings of today, perhaps this is at least one change for accuracy’s sake?


“massive cremation”

I almost didn’t get that! LOL! Mind if I borrow it?


Sure, Marie. I stole it from someone else — don’t remember who at this point. (g)


Marie–

Are you like me? So sick of #234 in the Red Book? Do you know that you can take the middle part of Anderson’s Gloria and sing it to Offenbach’s famous “Can-Can” theme? Well, you can (can).


And you can take Haugen’s “We Are Many Parts” and meld the refrain with the Beatles’ “Birthday” song, too. Really! It fits — all too well, I’m afraid. (If anyone wants the MIDI I made to prove it, email me and I’ll send it out. It’s scary.)


A Musical Journey through GIRM