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Views from the Choir Loft

In the Beauty of Holiness: Music and the Transcendent

Fr. David Friel · October 8, 2017

HILADELPHIA is home to a fascinating organization called the International Institute for Culture (IIC). Their website describes the non-profit as a research center devoted to promoting international understanding through cultural means. Practically, this means that the IIC hosts conferences and concerts, art exhibits and Oktoberfests, and even courses in Latin and Greek.

At the heart of the IIC’s vision for culture is the Catholic Faith. As their website explains:

The purpose of IIC is not to advance the idea that it is possible to restore some ideal Christian past. There never has been one. Rather, it is to look at the way in which the Faith has shaped cultures in the past and the culture in which we live today, the manner in which it preserved and elevated whatever was good and noble in any culture which it encountered and repudiated whatever debased the human spirit. With such knowledge and with a commitment to the Redeemer of Culture, we can begin working together to build the new “civilization of love.”

Recently announced is a new program of talks at the IIC, billed as a “Sunday Brunch and Lecture Series.” Building upon an earlier lecture series that focused on art and architecture, this new series finds its focus in music and kicks off next week.

In the Beauty of Holiness: Music and the Transcendent

Sunday, October 15, 2017
The Unity of Ascent: Musical Supplication and Redemption in Early Modern Venice
Dr. Sara Pecknold, Musicologist, The Catholic University of America

Sunday, November 5, 2017
Pedro de Gante and the Creation of Euro-Aztec Catholic Song in Sixteenth Century Mexico
Dr. Lorenzo Candelaria, Music Historian, University of Texas at El Paso

Sunday, December 3, 2017
Gregorian Chant and the Spirit of Liturgical Prayer
Dr. Timothy McDonnell, Director of the Institute of Sacred Music, The Catholic University of America

Sunday, January 7, 2018
The Language of Music to Address the Holy
Mark Bradford, former Director of Sacred Music, St. Charles Borromeo Seminary

Sunday, February 4, 2018
Pythagoras, Bach, and Universal Harmony in the Great B-Minor Mass
Dr. Lorenzo Candelaria, Music Historian, University of Texas at El Paso

Sunday, March 4, 2018
Music in Honor of San Gennaro: Early Modern Martyr, Miracle Worker, and Musical Protagonist
Dr. Anthony DelDonna, Musicologist, Georgetown University

Sunday, April 8, 2018
The Island of Catholic Exuberance in Protestant Germany: Music of the Dresden Court
Dr. Timothy McDonnell, Director of the Institute of Sacred Music, The Catholic University of America

For each of these events, brunch will be served at 12:45 PM at Ivy Hall (6331 Lancaster Avenue, Philadelphia, PA 19151), which follows the 11:30 AM Mass at Our Lady of Lourdes Church nearby. The lectures will begin at 2 PM, and the suggested donation is $15/person or $35/family to defray the cost of the brunch and lecture.

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

Filed Under: Articles Tagged With: Gregorian Chant, Johann Sebastian Bach 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 • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Abbat Pothier’s great accomplishment is having returned to the Catholic world—along with the traditional melody—the traditional way of performing it. The foundations laid by this providential man have been accepted by all those who practice Gregorian chant.”

— Dr. Peter Wagner (Commissionis Pontificiæ Gregorianæ Membrum)

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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