Views from the Choir Loft

Beautiful Churches?

Fr. David Friel · November 9, 2011 ·

Around this time last year, Pope Benedict XVI traveled to Barcelona to dedicate the extraordinary Sagrada Familia Basilica. The Holy Father’s homily was equally extraordinary. He said at that time: “Beauty . . . reveals God because, like Him, a work of beauty is pure gratuity.” What a line for meditation: “A work of beauty is pure gratuity.”

Today, we celebrate the dedication of St. John Lateran, which is the mother church of the universal Church. Most of us can’t be in the Lateran Basilica today, but we join in the celebration because we’re in union with our Holy Father, whose cathedral it is. Many people would think it funny that we celebrate the dedication of a building centuries-old and thousands of miles away. They would also think it funny that so much time and money has been spent on Sagrada Familia.

But ours is an Incarnational faith, and so we see value in art and beauty. Beauty is certainly found in creation, but God takes especially great delight in what we create out of His creation. He enjoys the beauty of things that “Earth has given and human hands have made.”

Yes, the beauty of our churches and chapels is, indeed, gratuitous—that is, not necessary. But God’s love for us is gratuitous! His mercy is gratuitous! The fact that we even exist is gratuitous! So, the fact that beauty is unnecessary doesn’t mean that we shouldn’t bother with it. Instead, we, who are “temples of the Holy Spirit,” become more beautiful and more pleasing to God precisely by our gratuitous acts of charity.

Mother Teresa famously encouraged us to “do something beautiful for God.” Today, let’s do something gratuitous for God. It may not mean the building of a basilica, but it will certainly mean the building up of the temples of our own souls.

About Fr. David Friel

Ordained in 2011, Father Friel served for five years as Parochial Vicar at St. Anselm Parish in Northeast Philly. He is currently a doctoral candidate in liturgical theology at The Catholic University of America in Washington, D.C.

Could Pope St. Pius X Sing?

“On 12 March 1908, the complete publication of the Roman Gradual was issued by the Vatican Press. On that very day, Dom Pothier solemnly presented the first copy to the Holy Father. A witness of the audience says that Pius X wished to be the first to see the new book; he opened it at random, at page 128 of the supplement pro aliquibus locis—it was the Introit of the new Feast of Our Lady of Lourdes. The Pope sang it with perfect taste to the last note.” (Catholic Choirmaster, February 1915)

—Jeff Ostrowski

Julius Bas Accompaniment

A very prolific harmonizer of Gregorian chant in the early 20th century was Mr. Julius Bas. He often uses a very strange technique, wherein he employs rests to eliminate the Alto, Tenor, and Bass voices. Consider what he did with “Lumen ad revelationem” here:

* JPEG • Lumen ad revelationem

It seems quite lazy, and I’ve never seen anyone else use such a technique, although Dr. Peter Wagner often switched to parallel octaves when he ran out of ideas… (Yuck!)

—Jeff Ostrowski

Hitting wrong notes

Fr. Valentine Young, OFM, used to say: “The organist can play 1,000 correct notes and one wrong note—and the only thing people will care about is the wrong note.” Last Sunday I hit some wrong notes, and felt bad. Then I remembered a story about Rudolf Serkin and started to chuckle. Charles Rosen (or was it Leon Fleisher?) told the story of Serkin playing a Beethoven Sonata in front of a large audience. The theme is all in octaves; but Serkin hit some wrong notes, and played parallel 7ths instead. This so unnerved him that every time the theme returned, he played the entire thing in parallel 7ths! We must remember that even the greatest hit wrong notes. Alfred Cortot, Vladimir Horowitz, Wilhelm Backhaus, Edwin Fischer, Sviatoslav Richter, Egon Petri—they all hit wrong notes, which we can hear on recordings. (Josef Hofmann was an exception, but he was super-human so he doesn’t count!)

—Jeff Ostrowski