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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

Only the Lover Sings

Fr. David Friel · October 26, 2014

AST WEEKEND, I had the honor of witnessing the marriage of two dear friends from South Philadelphia. It was a wonderful occasion, refreshing for the nobility of the celebration and the faith of the bride & groom.

South Philadelphia is a special place. Originally settled by Italian immigrants, the influence of that heritage still dominates the area. South Philly is home to super-authentic Italian restaurants, America’s oldest outdoor market, and the infamous Mummers Parade. It is the sacred soil upon which the Eagles, Phillies, and Flyers all play. Its many parishes are named after such beloved Italians saints as Monica, Nicholas of Tolentine, and Rita of Cascia.

South Philadelphians love traditions almost as much as they love cannoli. Many of their greatest traditions surround weddings, and one of them is particularly beautiful: the serenade.

N A DISPLAY that has remained a unique feature of South Philly culture, the groom is expected to “surprise” his bride at some point before the wedding (often the day before) by singing to her from the street. Originally, this was a simple affair, perhaps accompanied by a lone accordionist. Serenades have grown in modern times, however, to be a sometimes major (and costly) affair. Nowadays, they often feature Mummer string bands or DJ’s, and they are usually accompanied by food and dancing. Lights are strung up, the street is closed down, and all the neighbors join in the festivities.

Regardless of the ways in which the tradition has morphed and developed, the central feature of the serenade remains the same. Above all else, it is a time for the groom to sing to his bride, literally to “serenade” her. There is something remarkably beautiful about this. As Saint Augustine observes:

“Only the lover sings.” (Sermon 336)

It would be one thing for a groom to do this privately; that would be a good and worthy thing to do. But there is something different and equally good about this public serenade. True love, after all, is not governed by what others may think. Love “is not pompous, it is not inflated, it does not seek its own interests” (1 Corinthians 13:4-5). In much the same way, we express our love for God not only privately, but also corporately, through public worship.

One who has experienced true love knows that there is a natural impulse that impels the lover to sing. We see it throughout the Song of Songs and in the prophet Isaiah: “Now let me sing of my friend, my beloved’s song about his vineyard” (Isaiah 5:1). This impulse translates also into the sacred liturgy. If we believe that the liturgy is fundamentally a movement of love and an expression of our love for God, Who, Himself, is Love, then our liturgy should be sung!

The union of husband & wife is meant to be a sign of the manner in which God loves the world. The tradition of the South Philly serenade is much the same.

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

Filed Under: Articles Tagged With: Catholic Wedding Nuptial Mass Music, Nuptial Mass 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

    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th 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 top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— ‘Father Clemens Blume, S.J.’

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