• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

We’re a 501(c)3 public charity established in 2006. We have no endowment, no major donors, no savings, and run no advertisements. We exist solely by the generosity of small donors.

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

The 15th Station?

Fr. David Friel · August 3, 2014

S A CHILD, I went to Catholic school, where I was happily made to memorize the 14 Stations of the Cross. Since that time, the Stations have been one of my favorite devotions because of how they so naturally draw us into the human suffering of our Lord. I’ve always liked the somewhat abrupt manner in which they conclude, with “Jesus Is Laid in the Sepulchre” and the sealing of the tomb with a giant rock. The Stations leave us with an unmistakable sense of sorrow and sobriety. There’s a certain finality and gravitas to the devotion.

Imagine my surprise the first time I encountered a Stations of the Cross booklet marketing 15 stations. What is this about, I wondered? What were the Stations lacking that needed to be fulfilled with a fifteenth station? Needless to say, I firmly believe in the Resurrection and cling dearly to that belief as the hope of my eternal salvation. But I would rather linger a bit with the mystery of the tragic than leap irreverently into a shallow buoyancy.

People naturally crave happy endings. We love stories that end “happily ever after.” We long for music to come to resolution. We are thrilled by feats of athletic success (especially by the underdog). Everybody loves a happy ending.

Yet, so much of our human experience is punctuated by grief—the experience of a not-purely-happy ending. Life is filled with death, disappointment, loneliness, illness, addiction, etc. We may look forward with hope to the Resurrection, of course, but, in the here and now, tragedy is very real. Good art has the power to capture all of this.

OR THIS REASON, I was quite pleased on my recent visit to New York City. When I visit NYC, I rarely find myself in Lower Manhattan, but on this particular trip, I took the subway down to the World Trade Center site to tour the newly opened 9/11 Memorial. The site left me with the somber feeling of the fourteen Stations, not fifteen.

Prior to this visit, I had seen pictures and video of the monuments, themselves—the empty black footprints of once-grand buildings that catalog names of the departed above walls of cascading water. Serious art criticism is not a competence of mine, but my initial reaction to pictures of the memorial was rather negative. Having finally experienced the site, after nearly 13 years, my reaction is now much more positive toward the manner in which the memorial was executed. It is clear that the intention was to capture the sense of loss experienced by so many family & friends of the victims of September 11th, 2001. The names along the railing, for instance, are not merely engraved, but actually cut clear through the stone, highlighting the void that has been left by that person’s absence. Moreover, one cannot see the bottom of the pit into which the water falls, presumably symbolizing the emptiness of the place.

For some people (like me, initially), perhaps the place is too somber. Shouldn’t good art, though, be able to communicate something of the catharsis we all experience? I, for one, am grateful that those who conceived the 9/11 Memorial did not make the same judgment made by the publishers of the 15 stations booklets. Instead, they resisted the temptation to force the “happy ending.” Tragedy is real, it is concrete, and it must be dealt with squarely. There is always hope of resurrection, to be sure, but jumping the gun to hope can shortchange us of a healthy period of reflection and grief.

T OCCURS TO ME that, when the rising eighth-graders set off on their field trip to NYC this spring, they will be the first class of students to make that annual trip from our parish who have known only a post-9/11 world and have no personal memories of the highjackings & crashes & implosions. At least, by visiting this somber site, perhaps the students will be able to appreciate in some limited fashion the anguish & agony of that terrible day.

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

At High Mass the Celebrant is not allowed to proceed with the Offertory while the “Credo” is being sung. Likewise he should not proceed with the Consecration until the singing of the “Sanctus” is completed.

— Father Carlo Rossini (1939)

Recent Posts

  • Now Available! • “Hymns of Cardinal Newman: Kevin Allen’s Legendary Choral Settings”
  • Bugnini’s Statement (6 November 1966)
  • (Rehearsal Clips) • Sacred Music Symposium 2025
  • Hidden Gem: Ascendit Deus (Dalitz)
  • PDF Download • Soprano Descant — “Hail, Holy Queen Enthroned Above”

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up