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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

Father Friel • Article Archive

Ordained in 2011, Father Friel served as Parochial Vicar at Saint Anselm Church in Northeast Philly before earning a doctorate in liturgical theology at The Catholic University of America. He presently serves as Vocation Director for the Archdiocese of Philadelphia.—(Read full biography).

Fr. David Friel · February 14, 2016

Repetition in the Roman Missal

A Literary Approach in an Adoremus Bulletin Article

Fr. David Friel · February 7, 2016

The Phrasing of the Sanctus

The Difference a Comma Makes

Fr. David Friel · January 31, 2016

Too Many Options

Allowing Adolescents to Choose Their Faith & the Wide-Open Permissions of the GIRM

Fr. David Friel · January 24, 2016

Motet for Three Voices: “O Crux Ave”

This piece is ideal for use as a motet during the veneration of the Holy Cross at the Good Friday liturgy.

Fr. David Friel · January 17, 2016

Sacra Liturgia UK — Registration Now Open

An International Conference on Liturgical Formation in Light of the New Evangelization

Fr. David Friel · January 10, 2016

Whose Responsibility Is It To Establish New EF Communities?

We must respect the vision of Pope Emeritus Benedict XVI.

Fr. David Friel · January 1, 2016

Chesterton on the Value of New Beginnings

Thoughts on New Year’s Day

Fr. David Friel · December 20, 2015

Pope Francis on Collaboration of the Lay Faithful

Remarks during the Ad Limina Visit of the German Bishops

Fr. David Friel · December 13, 2015

Lighting Up Façades

Catholic churches ought not to be treated as houses of entertainment, but as houses of prayer.

Fr. David Friel · December 6, 2015

Not One of Aesop’s Fables

Of Tetrarchs, High Priests, and the Polar Express

Fr. David Friel · November 23, 2015

An Extraordinary Event: NCYC 2015

Traditional Mass offered at National Catholic Youth Conference

Fr. David Friel · November 22, 2015

St. Cecilia Academy for Pastoral Musicians

The program seeks to broaden the knowledge of already well trained musicians so that they can become well trained liturgical musicians.

Fr. David Friel · November 15, 2015

Fides et Ratio

Celebrating the Great Balance of Albertus Magnus

Fr. David Friel · November 15, 2015

Should the Liturgy Be Televised?

Introducing a New Book by Fr. Uwe Michael Lang

Fr. David Friel · November 8, 2015

Liturgical Happenings at Notre Dame

Divine Liturgy and a new pipe organ

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Corpus Christi Watershed

President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“I left music college swearing never to write another note again … It was during the mid-1980s when esoteric and cerebral avant-garde music was still considered the right kind of music to be writing.”

— James MacMillan

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  • Why A “Fugue” Here?

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