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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

The Mass

Fr. David Friel · January 20, 2013

E’VE ALL SEEN THE CLASSIC magician’s trick of pulling a rabbit out of a hat. First, the magician shows everyone a top hat. He turns it upside-down to prove that it’s empty. Then, maybe he’ll wave a wand or shake the hat a bit, and he pulls out of it a living rabbit. It’s the most basic, most iconic magic trick of them all. The magician makes something appear out of nothing.

So it might seem like what Jesus did at the wedding feast at Cana was magic. At the request of His Mother, He takes six huge jars of water—about 150 gallons (!)—and, presto-chango, turns them into wine. But this wasn’t a magic trick. It was Jesus’ first miracle.

Something similar happens at every Mass. Whereas Jesus took water and changed it into wine, in every Mass, the priest takes wine and, by God’s power, changes it into the Precious Blood of Christ. That change is utterly complete. When Jesus turned the water into wine at Cana, He turned it into the best kind of wine. He didn’t make just some ratty batch of Shiraz. It was so good, the headwaiter says, “You have kept the best wine until now.”

In much the same way, at Mass, the wine that’s sitting there on the offertory table is brought to the altar and, by the power of the Holy Spirit, it is utterly transformed into the Precious Blood of Christ. There’s a special word for that transformation; it’s called “transubstantiation,” the complete changing of bread and wine into Christ’s Body & Blood at the words of consecration. The Mass is not magic. It is, however, miraculous. What transpires before us every Sunday—what I, as a priest, celebrate every single day—is a miracle of the first order.

Many folks have accused the Mass of being magical, although it is not. In fact, the magician’s phrase, Hocus pocus, came about as a parody of the words said by the priest at Mass. In Latin, the priest prays, Hoc est enim corpus meum, “This is my body.” That was shortened to Hocus pocus, and it came to be used by magicians when bringing about some sort of change.

In the rabbit-from-a-hat trick, the magician makes something appear out of nothing. Differently, at Cana, Jesus took water and changed it into wine. And at every Mass, the priest takes wine, mingled with water, and consecrates it to become the Precious Blood of Christ. As astonishing as this is, the Mass is not magical. It is marvelous, mysterious, and miraculous.

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

    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski
    Simplified Accompaniment (Epiphany Hymn)
    About a month ago, I created a simplified keyboard accompaniment for “Come, Thou Long-Expected Jesus”—the famous ADVENT hymn—using a melody called CROSS OF JESUS. It was soon downloaded more than 1,000 times. As of this morning, you can download a simplified keyboard accompaniment for the belovèd Epiphany hymn “Bethlehem! Of noblest cities” (O Sola Magnarum Urbium) by clicking on this link (PDF file). 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.
    —Jeff Ostrowski
    Psalm Tone Challenge!
    Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

“The recitation of the Office of the Dead, the Christmas Office, the spectacle of the days of Holy Week, the sublime chant of the Exultet, beside which the most intoxicating accents of Sophocles and Pindar seemed to me to be insignificant—all of this overwhelmed me with respect and joy, with gratitude, repentance, and adoration!”

— Paul Claudel (1913)

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