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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

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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President’s Corner

    💲 5.00 💵
    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?
    —Corpus Christi Watershed
    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

    “Reminder” — Month of Febr. (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
    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
    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

To end an impropriety, noticed particularly at orchestral Vespers, when two or three Psalms are sung with full orchestra, and then the other Psalms and the Hymn are rapidly hurried through with organ accompaniment only […] we order that at Mass all portions of the text, including “Agnus Dei,” be sung with orchestral accompaniment. […] Moreover, the musicians are not allowed to put the instruments away and leave their places before the conclusion of the sacred function.

— Cardinal Patrizi (18 November 1856)

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  • Dom Pothier • Photo from 1904
  • PDF Chart • “Plainsong Rhythm”

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