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Corpus Christi Watershed

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

Must Art Be Permanent?

Fr. David Friel · November 17, 2013

BOOK RECOMMENDATION came to me several years ago during a hallway conversation with my esteemed professor of philosophy, Dr. Atherton Lowry. I am somewhat shamed to confess that it took me until this summer to follow through on his recommendation. Nevertheless, I happily spent my flight to Salt Lake City for this year’s Sacred Music Colloquium reading Evelyn Waugh’s The Loved One.

Subtitled “An Anglo-American Tragedy,” the book is an uproariously funny satire of the film & funeral industries, among other topics. When I first encountered Dennis Barlow, one of the major characters in the book, I began to question my professor’s recommendation. Barlow, having been fired from his work in Hollywood, had taken a job at “Happier Hunting Ground,” a funeral & burial outfit for pets. The modern American obsession with pets and the absurd things people will do in their name has long been one of my “pet” peeves, so I was unsure if the plot would be tolerable. It quickly became apparent, however, that this was all part of the well-crafted satire.

The story develops into a tale at times humorous, startling, and ridiculous. In the midst of the satire, though, arises an insightful passage about art that seized my attention.

The protagonist, a certain Aimée Thanatogenos, works as a makeup artist for an unconventional funeral director (for humans). She laments that all her art is ephemeral, because it is “burned sometimes within a few hours” in the crematorium; other times, if the body is placed in a mausoleum, her handiwork has often “completely lost tonality” within ten years time. She philosophizes, “Do you think anything can be a great art which is so impermanent?”

That seems to me a fair question, and a question worth asking. Can art that does not last for whatever reason—planned destruction, limitations of the medium, etc.—ever be considered “great” art? Can it, for that matter, be considered “art” at all? Is permanence a necessary attribute of beauty?

The answer Barlow offers is thoughtful: “You should regard [your art] as being like acting or singing or playing an instrument.” Acting transpires, and music can only be made in the moment. Surely, both of these art forms can be recorded, yet there is a fundamental difference between a movie & a stage production, between a digital play list & a live orchestra. This is why the Church wisely does not permit recorded music in liturgical contexts. Consider, also, the Earth and its seasons. Is not all of nature the handiwork of God, and yet it flows on in an unceasing torrent of change?

The Loved One reminded me of the particular privilege it is to be involved in the work of sacred music. Whereas photography and painting and architecture are arts that last, music is in some ways a transient art form. I believe there is actually something beautiful in the very reality of music’s passing nature.

In all its many forms, art is, as Waugh writes, “a work of consolation.” Music may only last for a moment, but its beauty endures.

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

Filed Under: Articles Tagged With: Beauty, Sacred Music Colloquium 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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President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“The spark of conversion can be struck by a single perfect liturgical gesture.”

— Cristina Campo (1966)

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