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Views from the Choir Loft

St. Joseph Triduum — Installment No. 2

Fr. David Friel · March 19, 2012

In the first part of this series, we considered Joseph of Egypt, the character from the end of Genesis. Today, we turn our attention to one of the New Testament Josephs.

What do we know about Joseph of Arimathea? He was evidently a wealthy man, since he could afford to have a tomb hewn out of rock for himself. He was from a placed called Arimathea, which was a town of Judah (c.f., Luke 23:51). According to a description in the third Gospel (Luke 23:50), he may have been a member of the Sanhedrin. He is, furthermore, described as “a disciple of Jesus,” but, notably, “a secret one, for fear of the Jews” (John 19:38). So he was a man of faith, but a man, in some ways, ashamed of his faith.

Although we don’t know a great deal about him, what we do know is very telling. In the mind of the Gospel writers, the early life of Joseph of Arimathea is totally inconsequential. All that matters is the scene immediately following the death of Jesus. This single afternoon defined his entire character. It is, in fact, the only day of his life for which history remembers him.

There are two major things Joseph of Arimathea did on this particular day that are worthy of our special attention. The first is described in the Gospel of Luke: “He went to Pilate and asked for the Body of Jesus” (Luke 23:52). That word, “asked,” really catches my attention. In Greek, it’s a very strong word (ᾐτήσατο). It can mean to ask, or beg, or desire, or crave, or even demand.

Imagine that: Joseph of Arimathea desired, even craved the body of Jesus. Don’t you imagine Joseph of Nazareth felt that same way as Mary was pregnant with Jesus? Don’t you think he craved to see Who this little Child would be? The initiative of Joseph to go to Pilate and ask for the Body of Jesus is simply amazing.

The second major thing that Joseph of Arimathea did that day is described in the Gospel of John: “In the place where [Jesus] had been crucified there was a garden, and in the garden a new tomb, in which no one had yet been buried. . . . So they laid Jesus there” (John 19:41-42). Had it not been for this one great act of generosity, in which he gave our Lord a tomb, the name “Joseph of Arimathea” would have been forgotten centuries ago. But, instead, because of his generosity, he is well remembered. It is also significant that it was not just any tomb, but “a new tomb, in which no man had yet been buried.” As Bishop Sheen famously said, Jesus was “born of a virgin womb [and] buried in a virgin tomb, . . . ‘and a Joseph did betroth them both’” (Life of Christ, Chapter 53). He goes on to add, “Born in a stranger’s cave [at Bethlehem, Jesus was] buried in a stranger’s grave” near Calvary.

And it all came to pass because a man named Joseph—Joseph of Arimathea—gave of his wealth to perform a corporal work of mercy for his Lord. We could consider it the first memorial contribution in the history of the Church, but I don’t think he had a nameplate put on the tomb (!). By giving Jesus a tomb, of course, Joseph was not consigning Him to death. Quite the contrary in fact. By giving Him a tomb, Joseph gave the Lord a place to come to life again.

There is a tremendous beauty in these two great acts of Joseph of Arimathea—the acts whereby he “asked for the Body of Jesus” and offered Him a tomb. Joseph the Carpenter did something similar. He “craved” for the Body of Jesus in the stable at Bethlehem. Then, by many hidden acts of generosity in Nazareth, he offered Jesus a place—a home—to come to fullness of life.

Now, in our own day, each one of us is called to repeat these same very acts. Whenever we come to Mass or adoration or benediction, we are called to “desire,” to “crave” for the Body of Jesus in the Eucharist. Then, as we receive Him physically into our bodies, we are called to give Jesus a place within ourselves to come to life again.

Do we truly crave after the Lord? Are we generous enough to give Him a place in our hearts? May our craving lead us to the Eucharist, and may the Eucharist bring Jesus to life within us!

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

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

At papal Masses, the regulations against tardiness were more stringent than at Masses celebrated by cardinals or bishops. Giovanni Maria Nanino records that any singer who is not in his place—and in his vestments—by the end of the repetition of the “Introit” will be fined eight vinti. At papal Vespers, the singer who is not present at the “Gloria Patri” of the first psalm pays a fine of fifty balocchi.

— Giovanni M. Nanino (d. 1607), Papal “Maestro di Cappella”

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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