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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

Lovely, If Unfamiliar

Fr. David Friel · February 10, 2013

This blog originally appeared as an article in The Latin Mass: The Journal of Catholic Culture and Tradition (Vol. 21, No. 4, Christmas 2012).

HEY WERE BLESSED MONTHS. I remember them with great fondness, and, even now, I am mesmerized by my experiences during that serendipitous span. Their formative value could surely never have been foreseen. I was a young, American adult living in a backwater German village, about two hours from the nearest Hauptbahnhof. Having been raised in the Delaware Valley, I spoke a rather tawdry brand of Philadelphian English. My education had included four years of elementary school Spanish, four years of high school German, and a couple semesters of college Koine Greek. All of that served in no wise to prepare me for the task of dwelling in Deutschland.

Frankfurt was easy to navigate. There were many cognates in the signage, and I remembered a handful of useful phrases from high school. Most of the time, it was easy enough to ask a question in my native tongue anyway. That sense of security was short-lived, however, since I soon drove into the lovely, if unfamiliar, Teutonic countryside.

The village where I was living had been founded in AD 591. (From the looks of the thatched roofs, I actually wondered if some could be original!) The sparse inhabitants were plain, hearty people—mostly farmers and smiths. They were schooled only by their families and neighbors and by the land, so English was about as useful as a porcelain hammer. Nor were my meager German language skills of any value, since I quickly discovered their manner of speaking to be far less textbook German than my peculiar brand of speaking is standard English.

In those first weeks, I was relentlessly reminded that I was not at home. It was utterly impossible for me to forget—even temporarily—that I had been transported to live in another world. The situation was uncomfortable, disconcerting, and a bit frightening. I was apprehensive at first, and things quickly devolved. I was decidedly alone. Only two options seemed viable for survival: either give up and go home, or put out into the deep. The transatlantic flight wasn’t cheap, so I chose the latter.

I started frequenting the few stores in the village in search of linguistic practice. I would greet every man, woman, or child I encountered in the hopes of expanding my vocabulary. I went to get my hair cut twice a month instead of once, simply in search of dialogue.

I found that I had to listen not only to their voices, but to the sum total of their aural, physical, and emotional communication. Their posture, gestures, and features became essential tools of interpretation for me. My sensitivities naturally grew heightened, so as not to miss the smallest verbal or non-verbal cue. By doing so, I began to be able to understand them. In time, I even became capable of basic responses.

Even as my facility grew, though, the sense of other-worldliness never left. It was ever-present to my mind and heart that I was not in my native home, and yet this foreign place gave me the curious impression of not being truly foreign. It presented itself, rather, as simply another type of home. This was at once an inscrutable conundrum and a delightful state of affairs.

Upon landing in Frankfurt, I had been twenty-two and confident. Upon returning to the USA, I was still twenty-two but fire-tried. I had experienced the grand confrontation of disparate cultures. It didn’t kill me; in fact, it made me stronger. The struggle stretched me. I became, paradoxically, more communicative.

Language became, for me, a glorious vehicle by which to encounter another person. It became a channel not only for communication, but also for communion. Every villager I met made me more and more acutely aware of the tremendous mystery of the human person. I became insatiable, and their mystery began to be revealed. In unexpected ways, the nature and meaning of life and personhood were discovered to me through the simple stock of that ancient hamlet.

None of this would ever have happened, of course, if I had stayed in the comfort of my home or even the terminal at Philadelphia International. If it were not for the struggle, I would never have known the benefit. I would never have learned that another type of home exists. It required putting out into the deep.

They were, indeed, blessed months. They demanded humility and charity; they fostered subtlety and vulnerability; they inspired patience and love.

And that’s how I came to love Latin liturgy.

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

Filed Under: Articles, Featured Last Updated: December 6, 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

    Season’s End Repertoire
    Looking at the REPERTOIRE SHEET until the end of the choral season, I see that I’ve fallen behind schedule. (The last three months have been extraordinarily busy.) As you know, I have been providing organ harmonies for all the ENTRANCE CHANTS—as well as rehearsal videos—and you can see I’m behind where I planned to be. Now I must make up lost ground. However, the choir picks up the ENTRANCE CHANT with ease, so I’m sure it will all work out. My ‘unofficial’ harmonizations are being posted each week at the flourishing feasts website.
    —Jeff Ostrowski
    PDF Download • “Funeral Procession”
    From a mediæval Book of Hours, I was sent this glorious depiction of a Roman Catholic funeral procession by Simon Bening (d. 1561). The image resolution is extremely high. I’m not sure I know of a more beautiful illustration of a mediæval church. And I love how the servers are wearing red and pink cassocks!
    —Jeff Ostrowski
    Simplified Accomp. • Schubert’s “Ave Maria.”
    Sometimes the organist must simultaneously serve as the CANTOR. (Those who work in the field of church music know exactly what I’m talking about.) One of our contributors composed this simplified keyboard accompaniment for Franz Schubert’s “Ave Maria,” a piece which is frequently requested for Catholic funerals and weddings. In terms of the discussion about whether that piece is too theatrical (‘operatic’) for use in Church, I will leave that discussion to others. All I know is, many church musicians out there will appreciate this simplified version.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski

Random Quote

“No living writer possesses a greater command over the English language than Msgr. Knox, but in this instance one cannot help feeling that he has allowed his virtuosity to get the better of him, and, in his anxiety to shield the holy of holies from vulgar intrusion, produced a text that would either pass over the listener’s head as completely as the original Latin, or else leave him groping so long after the meaning that he would be quite unable to keep pace with the officiating priest.”

— Dr. Herbert Patrick Reginald Finberg (University of Leicester)

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  • PDF Download • “Funeral Procession”
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  • PDF Download • Ascension “Entrance Chant”

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