Today marks the 90th anniverary of the publication of
Divini Cultus, an Apostolic Constutition issued by Pope Pius XI to commemorate the 25th anniversary of St Pius X’s motu proprio
Tra le sollecitudini. Although the post-Conciliar reform was effected with almost total disregard for earlier legislation and magisterial pronouncements on the liturgy, as an Apostolic Constitution, this remains part of the law of the Church to this day, no less than the motu proprio which inspired it. It is very much to be hoped that when the time comes to reform the liturgy properly (which it most surely will, though we know not the day nor the hour), the Church will take the wisdom of this document into serious consideration. particularly in regard to the importance it lays on the training of the clergy in the field of sacred music, and the importance of the public celebration of the Divine Office. We here present some excerpts from
an English translation published on the website of the Adoremus Bulletin, where you can read the complete text;
the Latin original is available on the Vatican website. (h/t Nicola.)
“... No wonder, then, that the Roman Pontiffs have been so solicitous to safeguard and protect the Liturgy. They have used the same care in making laws for the regulation of the Liturgy, in preserving it from adulteration, as they have in giving accurate expression to the dogmas of the faith. This is the reason why the Fathers made both spoken and written commentary upon the Liturgy or “the law of worship”; for this reason the Council of Trent ordained that the Liturgy should be expounded and explained to the faithful.
In our times too, the chief object of Pope Pius X, in the Motu Proprio
Tra Le Sollecitudini which he issued twenty-five years ago, making certain prescriptions concerning Gregorian Chant and sacred music, was to arouse and foster a Christian spirit in the faithful, by wisely excluding all that might ill befit the sacredness and majesty of our churches. The faithful come to church in order to derive piety from its chief source, by taking an active part in the venerated mysteries and the public solemn prayers of the Church. It is of the utmost importance, therefore, that anything that is used to adorn the Liturgy should be controlled by the Church, so that the arts may take their proper place as most noble ministers in sacred worship.
Far from resulting in a loss to art, such an arrangement will certainly make for the greater splendor and dignity of the arts that are used in the Church. This has been especially true of sacred music. Wherever the regulations on this subject have been carefully observed, a new life has been given to this delightful art, and the spirit of religion has prospered; the faithful have gained a deeper understanding of the sacred Liturgy, and have taken part with greater zest in the ceremonies of the Mass, in the singing of the psalms and the public prayers. ...
It is, however, to be deplored that these most wise laws in some places have not been fully observed, and therefore their intended results not obtained. We know that some have declared that these laws, though so solemnly promulgated, were not binding upon their obedience. Others obeyed them at first, but have since come gradually to give countenance to a type of music which should be altogether banned from our churches. ...
In order to urge the clergy and faithful to a more scrupulous observance of these laws and directions which are to be carefully obeyed by the whole Church, We think it opportune to set down here something of the fruits of Our experience during the last twenty-five years. ...
We wish, then, to make certain recommendations to the bishops and ordinaries, whose duty it is, since they are the custodians of the Liturgy, to promote ecclesiastical art. ...
![]() |
| Holy Thursday in the Sistine Chapel in the reign of Pope Pius XI |
All those who aspire to the priesthood, whether in seminaries or in religious houses, from their earliest years are to be taught Gregorian Chant and sacred music. At that age they are able more easily to learn to sing, and to modify, if not entirely to overcome, any defects in their voices, which in later years would be quite incurable. Instruction in music and singing must be begun in the elementary, and continued in the higher classes. In this way, those who are about to receive sacred orders, having become gradually experienced in chant, will be able during their theological course quite easily to undertake the higher and “aesthetic” study of plainsong and sacred music, of polyphony and the organ, concerning which the clergy certainly ought to have a thorough knowledge.
In seminaries, and in other houses of study for the formation of the clergy both secular and regular there should be a frequent and almost daily lecture or practice — however short — in Gregorian Chant and sacred music. ... Thus a more complete education of both branches of the clergy in liturgical music will result in the restoration to its former dignity and splendor of the choral Office, a most important part of divine worship; moreover, the scholae and choirs will be invested again with their ancient glory.
Those who are responsible for, and engaged in divine worship in basilicas and cathedrals, in collegiate and conventual churches of religious, should use all their endeavors to see that the choral Office is carried out duly — i.e. in accordance with the prescriptions of the Church. And this, not only as regards the precept of reciting the divine Office “worthily, attentive and devoutly”, but also as regards the chant. ...
... it should be observed that, according to the ancient discipline of the Church and the constitutions of chapters still in force, all those at least who are bound to office in choir, are obliged to be familiar with Gregorian Chant. ...
We wish here to recommend, to those whom it may concern, the formation of choirs. These in the course of time came to replace the ancient scholae and were established in the basilicas and greater churches especially for the singing of polyphonic music. Sacred polyphony, We may here remark, is rightly held second only to Gregorian Chant. We are desirous, therefore, that such choirs, as they flourished from the fourteenth to the sixteenth century, should now also be created anew and prosper especially in churches where the scale on which the Liturgy is carried out demands a greater number and a more careful selection of singers.
Choir-schools for boys should be established not only for the greater churches and cathedrals, but also for smaller parish churches. The boys should be taught by the choirmaster to sing properly, so that, in accordance with the ancient custom of the Church, they may sing in the choir with the men, especially as in polyphonic music the highest part, the ..., ought to be sung by boys. Choir-boys, especially in the sixteenth century, have given us masters of polyphony: first and foremost among them, the great Palestrina. ...
The traditionally appropriate musical instrument of the Church is the organ, which, by reason of its extraordinary grandeur and majesty, has been considered a worthy adjunct to the Liturgy, ... We wish, within the limits prescribed by the Liturgy, to encourage the development of all that concerns the organ; but We cannot but lament the fact that, as in the case of certain types of music which the Church has rightly forbidden in the past, so now attempts are being made to introduce a profane spirit into the Church by modern forms of music; which forms, if they begin to enter in, the Church would likewise be bound to condemn. Let our churches resound with organ-music that gives expression to the majesty of the edifice and breathes the sacredness of the religious rites; in this way will the art both of those who build the organs and of those who play them flourish afresh and render effective service to the sacred liturgy.
In order that the faithful may more actively participate in divine worship, let them be made once more to sing the Gregorian Chant, so far as it belongs to them to take part in it. It is most important that when the faithful assist at the sacred ceremonies, or when pious sodalities take part with the clergy in a procession, they should not be merely detached and silent spectators, but, filled with a deep sense of the beauty of the Liturgy, they should sing alternately with the clergy or the choir, as it is prescribed. If this is done, then it will no longer happen that the people either make no answer at all to the public prayers — whether in the language of the Liturgy or in the vernacular — or at best utter the responses in a low and subdued manner.
Let the clergy, both secular and regular, under the lead of their bishops and ordinaries devote their energies either directly, or through other trained teachers, to instructing the people in the Liturgy and in music, as being matters closely associated with Christian doctrine. This will be best effected by teaching liturgical chant in schools, pious confraternities and similar associations. Religious communities of men and women should devote particular attention to the achievement of this purpose in the various educational institutions committed to their care....
We are well aware that the fulfillment of these injunctions will entail great trouble and labor. But do we not all know how many artistic works our forefathers, undaunted by difficulties, have handed down to posterity, imbued as they were with pious zeal and with the spirit of the Liturgy? Nor is this to be wondered at; for anything that is the fruit of the interior life of the Church surpasses even the most perfect works of this world. Let the difficulties of this sacred task, far from deterring, rather stimulate and encourage the bishops of the Church, who, by their universal and unfailing obedience to Our behests, will render to the Sovereign Bishop a service most worthy of their episcopal office.”
![]()
