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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

The 15th Station?

Fr. David Friel · August 3, 2014

S A CHILD, I went to Catholic school, where I was happily made to memorize the 14 Stations of the Cross. Since that time, the Stations have been one of my favorite devotions because of how they so naturally draw us into the human suffering of our Lord. I’ve always liked the somewhat abrupt manner in which they conclude, with “Jesus Is Laid in the Sepulchre” and the sealing of the tomb with a giant rock. The Stations leave us with an unmistakable sense of sorrow and sobriety. There’s a certain finality and gravitas to the devotion.

Imagine my surprise the first time I encountered a Stations of the Cross booklet marketing 15 stations. What is this about, I wondered? What were the Stations lacking that needed to be fulfilled with a fifteenth station? Needless to say, I firmly believe in the Resurrection and cling dearly to that belief as the hope of my eternal salvation. But I would rather linger a bit with the mystery of the tragic than leap irreverently into a shallow buoyancy.

People naturally crave happy endings. We love stories that end “happily ever after.” We long for music to come to resolution. We are thrilled by feats of athletic success (especially by the underdog). Everybody loves a happy ending.

Yet, so much of our human experience is punctuated by grief—the experience of a not-purely-happy ending. Life is filled with death, disappointment, loneliness, illness, addiction, etc. We may look forward with hope to the Resurrection, of course, but, in the here and now, tragedy is very real. Good art has the power to capture all of this.

OR THIS REASON, I was quite pleased on my recent visit to New York City. When I visit NYC, I rarely find myself in Lower Manhattan, but on this particular trip, I took the subway down to the World Trade Center site to tour the newly opened 9/11 Memorial. The site left me with the somber feeling of the fourteen Stations, not fifteen.

Prior to this visit, I had seen pictures and video of the monuments, themselves—the empty black footprints of once-grand buildings that catalog names of the departed above walls of cascading water. Serious art criticism is not a competence of mine, but my initial reaction to pictures of the memorial was rather negative. Having finally experienced the site, after nearly 13 years, my reaction is now much more positive toward the manner in which the memorial was executed. It is clear that the intention was to capture the sense of loss experienced by so many family & friends of the victims of September 11th, 2001. The names along the railing, for instance, are not merely engraved, but actually cut clear through the stone, highlighting the void that has been left by that person’s absence. Moreover, one cannot see the bottom of the pit into which the water falls, presumably symbolizing the emptiness of the place.

For some people (like me, initially), perhaps the place is too somber. Shouldn’t good art, though, be able to communicate something of the catharsis we all experience? I, for one, am grateful that those who conceived the 9/11 Memorial did not make the same judgment made by the publishers of the 15 stations booklets. Instead, they resisted the temptation to force the “happy ending.” Tragedy is real, it is concrete, and it must be dealt with squarely. There is always hope of resurrection, to be sure, but jumping the gun to hope can shortchange us of a healthy period of reflection and grief.

T OCCURS TO ME that, when the rising eighth-graders set off on their field trip to NYC this spring, they will be the first class of students to make that annual trip from our parish who have known only a post-9/11 world and have no personal memories of the highjackings & crashes & implosions. At least, by visiting this somber site, perhaps the students will be able to appreciate in some limited fashion the anguish & agony of that terrible day.

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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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —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 ratio of voices in modern choirs is usually wrong. Basses should be numerically greatest, then altos, then tenors, then sopranos. One good soprano can carry a high “A” against 30 lower voices.

— Roger Wagner

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