Views from the Choir Loft

Catholic Artists Society

Fr. David Friel · September 8, 2013

NE DAY OVER THE SUMMER, I made a day trip to New York City. My main purpose was to apply for a visa at the Brazilian consulate in order to go to World Youth Day. As I walked from Penn Station to the consulate, though, I happened to pass by the exquisite Church of Our Savior on Park Avenue. Amid many blocks of unremarkable skyscrapers and apartment complexes, this church stood out as quite an impressive building. The door was open, so I stopped in to make a visit. Upon leaving, I took a copy of their bulletin, in which I discovered that their then-pastor was the eminent Fr. George Rutler.

Another thing I discovered in the bulletin was information about The Catholic Artists Society. After checking out the group online when I got home, it seems like a very worthwhile society. In conjunction with the Thomistic Institute, they will present an exciting lecture series over the next few months. Here are the speakers and topics:

Art: For Whose Sake? (Gregory Wolfe, Editor, Image Journal)

The Responsibility of the Artist (Fr. Peter John Cameron, OP, editor, Magnificat)

Forming the Artist (David Clayton, Thomas More College)

Beauty and the Real (Alice Ramos, St. John’s University)

Love and Artistic Genesis (Anthony Esolen, Providence College)

Virtue and the Artistic Imagination (Fr. Joseph Koterski, SJ, Fordham University)

Anyone who lives within traveling distance to the Big Apple, take note. The series will be held on Saturday nights at 7:30 PM in the heart of Greenwich Village. These lectures look very worthwhile.

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

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).

“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

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