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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

Three Years Later

Fr. David Friel · November 30, 2014

HE SEASON OF ADVENT arrives today, bringing with it a whole new “Year of Grace.” Perhaps we should use this phrase, “Year of Grace,” more frequently, as I think it is fuller & richer than simply speaking about the start of a new “liturgical year.” It’s not that there is anything wrong with the idea of the liturgical year and its various cycles; it’s just that “Year of Grace” sounds so less calendar-based.

At any rate, today we call to mind the words of Isaiah, the great Advent prophet: “Oh, that You would rend the heavens and come down!” This is a sentiment that so many people in history have shared: the people of Israel, your ancestors, my ancestors, probably even the cavemen. They have all cried out to God, saying, “Oh, Lord, if you would just come down here!” It’s a human desire that is universal to every time & place: the desire to have God come down and be close to us.

The extraordinary thing for us, as Christians, is that God has done just that. He has “come down” here to Earth. That is the unbelievable reality we will celebrate on Christmas—what we might call Christ’s coming in history. But, it is important to remember that God’s coming down to Earth was not a once-and-done deal. The Lord comes to us in prayer, in the Sacraments, in the ordinary affairs of our daily lives, does He not? That is what we might call Christ’s coming in mystery. And, we believe, the Lord will come back to Earth at the end of time to judge the living and the dead. That is what we might call Christ’s coming in majesty. So, the fact that we weren’t alive at the time Jesus walked the Earth does not put us at a disadvantage. Christ came once in history, but He comes to us in mystery all the time, and He promises us that He is coming again in majesty.

It was three years ago today that the Roman Church in the Anglophone world began using the Roman Missal, Third Edition. To commemorate this occasion, I would like to reflect on how the three comings of Christ parallel three blessings I have experienced in the new Roman Missal.

IRST, this new translation has put us in touch with our history. There is no question that the words we now pray are more faithful to the Latin original than the texts of previous editions. Why is this important? Because these words & sentiments & images have been prayed by generations & generations of Catholics. These new prayers connect us with our great-great-great-great-great-great-grandparents in a new and deeper way. They also connect us with all our brothers & sisters throughout the world who pray the same words & sentiments & images—just in other languages.

ECOND, this new translation has put us in touch with mystery. Some of the new words and phrases might not have been immediately understood by all Catholics worshippers at first glance. But that is not a bad thing. If anything in the Mass causes us to ask a question or wonder about what we mean—can that possibly be a bad thing? It is not necessary, for example, to understand at the outset and in completeness every Scriptural allusion made by the ordinary & proper prayers. There is a role for personal & group study, so that these texts can be understood more deeply. Everything that may have seemed at first mysterious has really been nothing more than an invitation—an invitation to greater, deeper understanding.

HIRD this new translation has certainly put us in touch with God’s majesty. We have all heard in the proclamation of these texts how sacred the new language is. And that, too, is good. The language we use at Mass should not be ordinary or everyday, pedestrian or colloquial. Our private prayer can be in informal, everyday language. But, when we gather as a community to celebrate the sacred liturgy, our language, too, should be sacred. The language of this Missal is beautiful, and the world is in dire need of true beauty. The beauty of these new prayers is a definite reminder to us of God’s majesty.

I have made no secret of my support for this Missal. In an article for Homiletic & Pastoral Review (Roman Missal 3.0: Updates Installed) and in numerous blog posts (for example, HERE, HERE, & HERE), I have praised, defended, & explored this new Missal. It is not, of course, above critique; there are changes I would make. On the whole, however, it is such a vast improvement over the previous Sacramentary that my overwhelming response is one of gratitude.

I am grateful to those who labored to bring us this Missal, and I am grateful to the Holy Spirit, Who guided their work. May Christ continue to come to us through these sacred words!

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

Filed Under: Articles Tagged With: Authentic Liturgical Renewal Reform, Beauty, Bishop Arthur J Serratelli Vox Clara, ICEL New Translation of the Roman Missal, Reform of the Reform, Roman Missal Third Edition 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 • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“Church officials frequently asked Tomás Luis de Victoria for his opinion on cathedral appointments because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist, and never accepted any extra pay for being a chapelmaster. Held in great esteem, his contract allowed him frequent travel away from the convent, and he attended Palestrina’s funeral (in Rome) in 1594.”

— ‘Dr. Robert Stevenson, 1961 (mod.)’

Recent Posts

  • “Thee” + “Thou” + “Thine”
  • PDF Download • “For Pentecost Sunday”
  • “Reminder” — Month of May (2026)
  • “Englished” Gregorian Chant • 5 Considerations
  • Simplified Version • “Canon in D” (Pachelbel)

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