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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

How Does Benedict XVI Perceive His Retirement?

Fr. David Friel · December 1, 2018

JulianNorwich IGHT YEARS have passed since Pope Benedict XVI participated in a rather ordinary, Wednesday general audience. The date was December 1, 2010, and the Holy Father offered a thoughtful catechesis on Julian of Norwich, the English mystic of the late-14th/early-15th centuries whose Revelations of Divine Love is counted among the spiritual classics.

At the time, the speech delivered at this audience seemed like a nice, albeit inconspicuous, reflection. At various points in his life as a cardinal and as the Roman Pontiff, after all, Benedict XVI had spoken admiringly of such notable Catholic women as Hildegard of Bingen, Catherine of Siena, Bridget of Sweden, Teresa of Avila, and Clare of Assisi.

In hindsight, however, his reflections upon Julian stand apart.

From our present vantage point—knowing that Benedict XVI would ultimately step down from the chair of Peter and become the Pope Emeritus—the 2010 catechesis on Julian of Norwich appears prescient. In that talk, the Holy Father made the following observations:

Inspired by divine love, Julian made a radical decision. Like an ancient anchoress, she decided to live in a cell located near the church called after St. Julian, in the city of Norwich—in her time an important urban center not far from London. . . .

This decision to live as a “recluse,” the term in her day, might surprise or even perplex us. But she was not the only one to make such a choice. In those centuries a considerable number of women opted for this form of life, adopting rules specially drawn up for them, such as the rule compiled by St. Aelred of Rievaulx.

The anchoresses, or “recluses,” in their cells, devoted themselves to prayer, meditation and study. In this way, they developed a highly refined human and religious sensitivity which earned them the veneration of the people. Men and women of every age and condition in need of advice and comfort, would devoutly seek them. It was not, therefore, an individualistic choice; precisely with this closeness to the Lord, Julian developed the ability to be a counsellor to a great many people and to help those who were going through difficulties in this life.

We also know that Julian received frequent visitors, as is attested by the autobiography of another fervent Christian of her time, Margery Kempe, who went to Norwich in 1413 to receive advice on her spiritual life. This is why, in her lifetime, Julian was called “Dame Julian,” as is engraved on the funeral monument that contains her remains. She had become a mother to many.

Men and women who withdraw to live in God’s company acquire by making this decision a great sense of compassion for the suffering and weakness of others. As friends of God, they have at their disposal a wisdom that the world—from which they have distanced themselves—does not possess, and they amiably share it with those who knock at their door.

The entire address is available on the Vatican website.

ITH THE PERSPECTIVE afforded by a few years’ distance from Pope Benedict XVI’s resignation, it is not unreasonable for us to believe that his reflections on the solitary life of Julian of Norwich might serve as a point of access into his own view of his present existence. Secluded in the near-silence of a former convent inside Vatican City, does the Pope Emeritus see his retirement as an entrance into the life of the “recluse,” poised for growth in compassion, wisdom, and holiness?

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

Filed Under: Articles Tagged With: Pope Benedict XVI 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

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    Our tiny 501(c)3 nonprofit organization exists solely by generous readers who donate $5.00 per month. We have no endowment; we have no major donors; we run no advertisements; we have no savings. A donor wrote to us: “I so appreciate all you do and have done, and your generosity is unprecedented. I am honored to be able to make a monthly contribution.” Another monthly donor says: “Thank you for everything CC Watershed does. We are able to add so much solemnity to Holy Mass due to the resources made available here.” Can you spare a few dollars each month to help us survive?
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    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski

Quick Thoughts

    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    “Reminder” — Month of January (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. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“…it would be a very praiseworthy thing and the correction would be so easy to make that one could accommodate the chant by gradual changes; and through this it would not lose its original form, since it is only through the binding together of many notes put under short syllables that they become long without any good purpose when it would be sufficient to give one note only.”

— Zarlino (1558) anticipating the Medicæa

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  • Dom Pothier • Photo from 1904
  • PDF Chart • “Plainsong Rhythm”
  • PDF • “3-Voice Motet” (Father De Laet)
  • PDF Download • “Hymn for 2 Voices”

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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.