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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

Two Lenten Passages

Fr. David Friel · February 24, 2013

HERE ARE TWO STORIES in the Gospel of Luke that are closely related. They both have the same characters: Jesus, and the Apostles Peter, James, & John. They both take place at decisive moments in our Lord’s life. In both stories, Jesus is praying, while Peter, James, & John fall asleep. Both scenes take place on mountains—one on Mount Tabor, and the other on the Mount of Olives. And both of these stories are passages we encounter in the Lectionary during Lent. What are these stories?

The first is the Gospel for the 2nd Sunday of Lent: the Transfiguration of our Lord. Jesus takes His closest three friends up a high mountain to pray. True to form, they fall asleep! When they wake up, Saint Luke tells us that “they saw His glory” (Luke 9:32). Our Lord’s face “changed in appearance and His clothing became dazzling white” (Luke 9:29). Then they hear a voice from the cloud, saying, “This is my chosen Son; listen to Him” (Luke 9:35).

The second, very similar story, is the First Sorrowful Mystery: the Agony in the Garden. The scene takes place on Holy Thursday evening, immediately after the Last Supper. Fearful for the suffering He knows He must undergo, our Lord goes to the Garden of Gethsemane to pray. He again takes Peter, James, & John with Him, but they cannot stay awake. Luke writes that “He was in such agony and He prayed so fervently that His sweat became like drops of blood falling on the ground” (Luke 22:44).

These two scenes are similar in so many details, and I propose that their ultimate meaning is also the same. What is the shared meaning of these events? Both on Mount Tabor and on the Mount of Olives, Jesus gives us an example of One Who has given Himself up completely to the will of God. The Transfiguration could only happen because God the Father was revealing His glory through God the Son. Jesus, at that moment, is accepting His identity as the “chosen Son” of the Father. And, in the Agony in the Garden, the strength and peace of God are again being revealed by the Father through the Son. Jesus, in the garden, accepts the Passion He must undergo for the salvation of the world.

It would be hard to underestimate the effect that the Transfiguration and the Agony in the Garden had on Peter, James, & John. They were the sole witnesses to both events, but those sacred moments changed the course of their lives. Having seen our Lord both in glory and in agony, those three men were empowered to give themselves up to the will of God. They spent their lives spreading the Gospel message throughout the world. Peter & James eventually gave even their lives for the Gospel. In doing God’s will, they became light for the world.

These two scenes, which we encounter every Lent, provide the perfect message for our Lenten pilgrimage. When we give ourselves up to the will of God, we give testimony to the Gospel. When we give ourselves up to the will of God, we receive strength to endure our suffering. When we give ourselves up to the will of God, we, like Jesus, become radiant.

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

Filed Under: Articles Last Updated: January 1, 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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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 September 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“It would be a grave error to imagine that the principle orientation of the sacrificial action is towards the community. If the priest celebrates «VERSUS POPULUM», which is legitimate and often advisable, his spiritual attitude ought always to be «VERSUS DEUM PER JESUM CHRISTUM», as representative of the entire Church.”

— Official Vatican Statement (25 September 2000)

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