Views from the Choir Loft

Sacred Architecture

Fr. David Friel · February 23, 2020

Exploring the 5th/6th-Century Mosaics of Ravenna

These magnificent images are not only attractive to behold, but also deeply theological.

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Fr. David Friel · February 17, 2020

Imposing the Classical Style on Public Building Projects?

A rumored executive order would unify the architectural style of future projects and upgrades.

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Fr. David Friel · November 9, 2019

The Gratuity of Beauty

Thoughts on the Feast of the Dedication of the Lateran Basilica

Fr. David Friel · September 15, 2019

This Is a Cathedral, Not Disneyland

Several English cathedrals hosted peculiar amusements this summer.

Fr. David Friel · February 17, 2019

Sacred Architecture and Brexit

A connecting link in the form of Gothic cathedrals

Fr. David Friel · August 28, 2016

On the Spirit of Conservation

A Reflection on the National Parks, Sacred Architecture, and “Laudato Si”

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 · July 27, 2015

The Church of Our Savior

And the Case of the Vanishing Icons

Fr. David Friel · November 9, 2014

Sacred Architecture & the Dedication of the Lateran Basilica

When we come to church, there should be no question whether we are in a church or in a coffeehouse or in a multipurpose gym.

Fr. David Friel · March 23, 2014

Secular Architecture

Reneging on the Promise of Public Art

22 September 2020 • “Tears of Joy”

A reader wrote to us: “Thank you for the sample verses of Hymn #869 (Solemn Hymn to the Son of God). I found this music posted to YouTube this morning, and I’ve lost count at of the number of times I’ve replayed it and—no exaggeration!—it makes me tear up each time. This lovely hymn makes me feel closer to Jesus in a way I have not experienced before. It also makes me want to proceed with my daily prayers right then and there, rather than run off to the next errand or household task. I could play your traditional hymns and liturgical music all day long!” —(Ann from the Boston area)

—Jeff Ostrowski

Myth Re: Johann Sebastian Bach

Some musicologists try to make a “splash” by saying that Bach was totally forgotten when he died—remembered only as an organ virtuoso—and that his sons were more famous than he was. Such an idea is indefensible. It is true that musical styles changed in 1750AD—but this is normal. Musical styles change constantly; e.g. much of the repertoire of Hofmann and Rachmaninov was considered “garbage” toward the end of their lives. But those who carefully study the lives of Wolfgang Amadeus Mozart, Christian Gottlob Neefe, Franz Liszt, John Field, Hans von Bülow, Felix Mendelssohn, Frédéric Chopin, and countless others realize that Bach was revered. It’s true that his music was seldom played in public, but music by “dead composers” was generally speaking not played in public until approximately the middle of the 19th century.

—Jeff Ostrowski

Arthur Friedheim, Franz Liszt’s Secretary

Arthur Friedheim (d. 1932) has a very poor reputation as a pianist, and Liszt rejected him several times before finally accepting him as a pupil, yet the Liszt recordings he left are quite good—especially considering the transgressions by other Liszt pupils. Friedheim must have been an amazing musician; twice he was asked to become conductor of the New York Philharmonic (1898 + 1911) but he declined both times. Circa 1912, Friedheim was recording Chopin’s “Funeral March” but the record ran out, so he simply stopped in the middle of the piece. Things sure have changed! Pianists no longer stop in the middle of pieces, although Cortot would sometimes abridge pieces to make them fit on records (cf. Chopin’s Andante Spianato & Grande Polonaise Brilliante).

—Jeff Ostrowski