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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

Liturgy vs. Social Justice

Fr. David Friel · August 31, 2014

F YOU PRAYED MATINS yesterday morning (Saturday of the 21st Week in Ordinary Time), you read a passage from St. John Chrysostom that might have made you feel uneasy. Anyone reading this post is presumably a lover of liturgy, and Chrysostom’s words could easily, at first, appear like a challenge to liturgy lovers.

The passage is from a homily on the Gospel of Matthew, chapter 25 (“Whatever you did to the least of My brethren, you did unto Me”). In the first paragraph of the selection, Chrysostom launches his first salvo: “What we do here in the church requires pure heart, not special garments. God does not want golden vessels, but golden hearts.” Fair enough, we say. It is agreed that the sacrifice of a humble, contrite heart is more essential than ecclesiastical finery. But, we would eagerly add, beauty in the liturgy—from architecture, to music, to vestments—is not merely superfluous. Not only is it integral to the sacred liturgy, but it is also essential for the health of the human soul.

Chrysostom would not disagree. He continues:

Now, in saying this I am not forbidding you to make such gifts; I am only demanding that, along with such gifts and before them, you give alms. God accepts the former, but He is much more pleased with the latter. In the former, only the giver profits; in the latter, the recipient does, too. A gift to the church may be taken as a form of ostentation, but an alms is pure kindness.

So often, the impression is given that there are sides to be taken, as though it were impossible to share an interest in both liturgy & social justice. Many who work with the poor are sharply critical of those who live in the realm of “impractical” things such as sacred music. Conversely, if we’re honest, there are many liturgists who are too quick to accuse those in the trenches of social advocacy of irreverence and disinterest toward divine worship. Need these things be pitted one against the other? Are they really such entirely separate domains?

Chrysostom speaks strongly about the moral duty to serve Christ in the poor:

Of what use is it to weigh down Christ’s table with golden cups, when He, Himself, is dying of hunger? First, fill Him when He is hungry; then use the means you have left to adorn His table. Will you have a golden cup made but not give a cup of water? What is the use of providing the table with cloths woven of gold thread, and not providing Christ, Himself, with the clothes He needs? . . . What if you were to see Him clad in worn-out rags and stiff from the cold, and were to forget about clothing Him and instead were to set up golden columns for Him, saying that you were doing it in His honor? Would He not think He was being mocked and greatly insulted?

No one has ever been accused for not providing ornaments, but for those who neglect their neighbor a hell awaits with an inextinguishable fire and torment in the company of the demon. Do not, therefore, adorn the church and ignore your afflicted brother, for he is the most precious temple of all.

We Catholics ought not to apologize for building beautiful churches or celebrating grand liturgies; the Catholic Church ought rather to be thanked for contributing these humanizing gifts to the world. Nor should the Church apologize for her missionary efforts to serve the underprivileged; she ought instead to be esteemed for the immeasurable aid given to the poor and suffering day after day throughout the world through the auspices of Catholic parishes, institutions, and associations.

As with so many aspects of theology, the best Catholic approach here is not one of “either/or” but one of “both/and.” Beautify the liturgy, yes, but also serve the poor. Work for social justice, to be sure, and also render to God the best of everything. These things are not incompatible. As my fellow blogger, Richard Clark, has written, it is not hypocritical for a parish to be both reverent and welcoming. Similarly, being a proponent of beautiful liturgy and being an advocate for true social justice are not mutually exclusive realities. In fact, it is hard for me to imagine the one not naturally leading to the other.

The words of St. John Chrysostom are challenging. They might serve as a good examination of conscience for folks invested in the careful celebration of the sacred rites. Am I as committed to serving the poor as I am to celebrating the liturgy?

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

Filed Under: Articles Tagged With: Beauty, Liturgy Wars, reverent and welcoming 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 • “Sprinkling Rite”
    Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.
    —Jeff Ostrowski
    ‘Sarum’ Good Friday?
    Plainsong of the Roman Rite has many variants—i.e. slight ‘variations’ or ‘alterations’ made to the ancient melodies. Variants often thrive in particular religious orders. Likewise, before Henry VIII broke away from the Catholic Church, Gregorian Chant variants were frequently associated with individual cathedrals in England: Hereford, Lincoln, Salisbury, and so forth. In the early 20th century, the (Anglican) organist at Westminster Abbey married “Let All Mortal Flesh Keep Silence” to this beautiful variant melody from England. Those who sing Gregorian Chant on Good Friday will recognize the melody. What do you think of this pairing?
    —Jeff Ostrowski
    PDF Download • “Eb Organ Postlude”
    Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?
    —Jeff Ostrowski

Quick Thoughts

    “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
    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
    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

Random Quote

On March 24th, 1945, Pope Pius XII, by the Motu Proprio “In cotidianis precibus” gave permission to all who recite the divine office to use a new version of the Psalter made by six Jesuit professors of the Biblical Institute. This, contrary to some expectations, was neither a revision of the existing Vulgate nor of Saint Jerome’s ‘Psalterium juxta Hebraeos’, but a new translation altogether, based on the Massoretic text, the versions, and (in a few instances) on conjectural emendations.

— Dr. T. E. Bird

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  • PDF Download • “Eb Organ Postlude”
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