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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Music Leads Us to Heaven

Fr. David Friel · January 20, 2019

Schubert CHUBERT was an extraordinary composer, not only for the beauty of his music, but also for the sheer magnitude of his corpus. Once a chorister in the Vienna Boys Choir, Schubert went on to compose more than 1500 works—and he died at age 31! These works span many genres, including Masses, symphonies, operas, chamber works, and overtures.

His largest group of works, of which he left us roughly 600 examples, is the category of Lieder, sometimes called art songs. These pieces, scored for piano and solo voice, set German-language poems to classical art music.

Recently, I heard a performance of several Schubert Lieder. Among them were several charming pieces, but one stood out for the beauty of its text. Entitled An die Musik (“To Music”), the text was written by Franz von Schober, a friend and roommate of Schubert. The composer set the poem to music in 1817, having barely entered his twenties.

The text of the piece is as follows:

Du holde Kunst, in wie viel grauen Stunden,
Wo mich das Lebens wilder Kreis umstrickt,
Hast du mein Herz zu warmer Lieb entzunden,
Hast mich in eine beßre Welt entrückt.

Oft hat ein Seufzer, deiner Harf entfloßen,
Ein süßer, heiliger Akkord von dir,
Den Himmel beßre Zeiten mir erschloßen,
Du holde Kunst, ich danke dir dafür.

An English translation:

Thou, lovely art, in how many gray hours
in which I have been ensnared by life’s wild circle,
hast thou inflamed my heart to warm love,
hast thou transported me to a better world?

Often has a sigh, flowing from your harp—
a sweet, holy chord from thee—
unlocked for me the heaven of better times.
Thou, lovely art, I thank thee for it!

HIS CHARMING art song, both in its melody and in its message, reminds us of the medicinal quality of music, which can provide a welcome salve in trying times.

Music, for most of our readers, is either a dear avocation or a full profession. It is good to be reminded, therefore, that music has the power to lead us on toward heaven.

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

Filed Under: Articles 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

    “Common” Responsorial Psalm?
    I try to avoid arguing about liturgical legislation (even with Catholic priests) because it seems like many folks hold certain views—and nothing will persuade them to believe differently. You can show them 100 church documents, but it matters not. They won’t budge. Sometimes I’m confronted by people who insist that “there’s no such thing” as a COMMON RESPONSORIAL PSALM. When that happens, I show them a copy of the official legislation in Latin. I have occasionally prevailed by means of this method.
    —Jeff Ostrowski
    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —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

Ralph Vaughan Williams “was an atheist during his later years at Charterhouse and at Cambridge, though he later drifted into a cheerful agnosticism: he was never a professing Christian.”

— Dr. William Mahrt, CMAA President (2021)

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