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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

It’s Personal

Fr. David Friel · June 5, 2012

As a kid growing up, I went to Our Lady of Mt. Carmel School in Doylestown, Pennsylvania. Sometime—I believe around 4th grade—a new kid moved into the area and joined our class. For whatever reason, I became friends with him, and I can distinctly remember the first time I called his house. Like most kids that age, I always got nervous before making phone calls, and my mom would prep me with what to say. So, when I called my friend’s house and his mom answered, I said, as though from a script, “Good morning, this is David Friel. May I please speak with John Smith?”

She replied, “Which one?” I froze. That wasn’t in the script! My mom never prepared me for that!

I came to find out that not only was my friend’s name John Smith, but his father had the same name. And not only that, but his paternal grandfather also lived in the house, and he, too, had the same name. We eventually came up with a system: my friend became just “John,” his dad became “Mr. Smith,” and his grandfather, inventively enough, became “Mr. Mr. Olenick.” Since there were three different people with the same name, I had to do something to specify to whom I was speaking.

When you pray, to Whom do you pray? If your answer is God, let me suggest that we should clarify that. We celebrated this past Sunday the Solemnity of the Most Holy Trinity, the day on which we highlight our belief in a Trinity of three Persons Who are one God—three distinct People, Who go by the one name of “God.” So, perhaps it would be good for us to specify, when we pray, precisely to Whom we are praying.

In the course of a single day, we might pray to all three members of the Trinity, but that doesn’t preclude us from having a unique relationship with each of them. Perhaps we had a troubled relationship with our human father, and so we feel most comfortable praying to God the Father. Maybe we can really relate to Jesus, since He has a human nature, so we want to pray to Him. Or maybe you really need special inspiration, and so you turn to the Holy Ghost.

Why does it matter? Why can’t we just pray generically to “God” and let Him sort out where the prayers go?

Because God is not just a cabinet with different mail slots; nor is He just some amorphous blob in the clouds. God is a Person—three distinct, though not separate, Persons. When I wanted to talk to my friend, I couldn’t just call and speak to “John Smith-ness.” I had to specify which John Smith—which person. In the same way, when we talk to the Lord, we can do better than just addressing “God.” We can specify the Father or the Son or the Holy Spirit.

The fabulous news for us is that, because God is a Personal Being, we can have a relationship with Him. He’s not just a rock or a piece of furniture. He has Personality, to which we can relate. And, for that reason, prayer is a relationship, not just the filing of a memo with God.

If we learn to pray in this way, we may discover sides to God that we’ve never before encountered. We may come to experience the Father, Son, and Holy Spirit more deeply, more vibrantly, and more personally.

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

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

The literal translation: “Lord, have mercy—Christ, have mercy,” does not offer much material for an acceptable song text. The words, not having any feminine syllables, are abrupt; the sounds are almost all muted and colorless; the rhythmic flow is too brief. So many people may prefer responses that further extend the song of the assembly, e.g., “Have pity on us, Lord” or “Pardon us and change our hearts.

— J. Gelineau attacking the KYRIE ELEYSON (page 64 in “Learning to Celebrate,” 1985)

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