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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

Lovely, If Unfamiliar

Fr. David Friel · February 10, 2013

This blog originally appeared as an article in The Latin Mass: The Journal of Catholic Culture and Tradition (Vol. 21, No. 4, Christmas 2012).

HEY WERE BLESSED MONTHS. I remember them with great fondness, and, even now, I am mesmerized by my experiences during that serendipitous span. Their formative value could surely never have been foreseen. I was a young, American adult living in a backwater German village, about two hours from the nearest Hauptbahnhof. Having been raised in the Delaware Valley, I spoke a rather tawdry brand of Philadelphian English. My education had included four years of elementary school Spanish, four years of high school German, and a couple semesters of college Koine Greek. All of that served in no wise to prepare me for the task of dwelling in Deutschland.

Frankfurt was easy to navigate. There were many cognates in the signage, and I remembered a handful of useful phrases from high school. Most of the time, it was easy enough to ask a question in my native tongue anyway. That sense of security was short-lived, however, since I soon drove into the lovely, if unfamiliar, Teutonic countryside.

The village where I was living had been founded in AD 591. (From the looks of the thatched roofs, I actually wondered if some could be original!) The sparse inhabitants were plain, hearty people—mostly farmers and smiths. They were schooled only by their families and neighbors and by the land, so English was about as useful as a porcelain hammer. Nor were my meager German language skills of any value, since I quickly discovered their manner of speaking to be far less textbook German than my peculiar brand of speaking is standard English.

In those first weeks, I was relentlessly reminded that I was not at home. It was utterly impossible for me to forget—even temporarily—that I had been transported to live in another world. The situation was uncomfortable, disconcerting, and a bit frightening. I was apprehensive at first, and things quickly devolved. I was decidedly alone. Only two options seemed viable for survival: either give up and go home, or put out into the deep. The transatlantic flight wasn’t cheap, so I chose the latter.

I started frequenting the few stores in the village in search of linguistic practice. I would greet every man, woman, or child I encountered in the hopes of expanding my vocabulary. I went to get my hair cut twice a month instead of once, simply in search of dialogue.

I found that I had to listen not only to their voices, but to the sum total of their aural, physical, and emotional communication. Their posture, gestures, and features became essential tools of interpretation for me. My sensitivities naturally grew heightened, so as not to miss the smallest verbal or non-verbal cue. By doing so, I began to be able to understand them. In time, I even became capable of basic responses.

Even as my facility grew, though, the sense of other-worldliness never left. It was ever-present to my mind and heart that I was not in my native home, and yet this foreign place gave me the curious impression of not being truly foreign. It presented itself, rather, as simply another type of home. This was at once an inscrutable conundrum and a delightful state of affairs.

Upon landing in Frankfurt, I had been twenty-two and confident. Upon returning to the USA, I was still twenty-two but fire-tried. I had experienced the grand confrontation of disparate cultures. It didn’t kill me; in fact, it made me stronger. The struggle stretched me. I became, paradoxically, more communicative.

Language became, for me, a glorious vehicle by which to encounter another person. It became a channel not only for communication, but also for communion. Every villager I met made me more and more acutely aware of the tremendous mystery of the human person. I became insatiable, and their mystery began to be revealed. In unexpected ways, the nature and meaning of life and personhood were discovered to me through the simple stock of that ancient hamlet.

None of this would ever have happened, of course, if I had stayed in the comfort of my home or even the terminal at Philadelphia International. If it were not for the struggle, I would never have known the benefit. I would never have learned that another type of home exists. It required putting out into the deep.

They were, indeed, blessed months. They demanded humility and charity; they fostered subtlety and vulnerability; they inspired patience and love.

And that’s how I came to love Latin liturgy.

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

Filed Under: Articles, Featured Last Updated: December 6, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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President’s Corner

    “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 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
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —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

When you consider that the greatest hymns ever written—the plainchant hymns—are pushing the age of eight hundred and that the noble chorale hymn tunes of Bach date from the early eighteenth century, then what is the significance of the word “old” applied to “Mother at Thy Feet Is Kneeling”? Most of the old St. Basil hymns date from the Victorian era, particularly the 1870s and 1880s.

— Paul Hume (1956)

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