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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

Biography • Richard J. Clark

Richard J. Clark · January 14, 2013

ICHARD J. CLARK is an eclectic musician—composer, conductor, organist, pianist, and songwriter. In 2018, he was named as the Director of Music for the Archdiocese of Boston and choirmaster at the Cathedral of the Holy Cross. He previously served for twenty-eight years as Music Director and Organist at St. Cecilia Parish, where he oversaw a thriving music program and helped develop the Smith and Gilbert Organ of six divisions and fifty-four ranks. He continues as Chapel Organist (Saint Mary’s Chapel) at Boston College, where he has served since 2004. As performer and composer, his appearances include the Church of Saint-Eustache (Paris, France), the Basilica of the National Shrine of the Immaculate Conception (Washington D. C.), Eternal Word Television Network (EWTN), the Celebrity Series of Boston, Fenway Park (historic home of the Boston Red Sox), the New York Songwriters Circle, and Saint Patrick’s Cathedral (New York).

*  PDF Download • Publicity Photo (A)

*  PDF Download • Publicity Photo (B)

The Ministry & Liturgy Magazine has called Mr. Clark’s music “transformative” as well as “expertly arranged and prayerfully sung.” His compositions have been broadcast on radio in New York, New England, and Europe, including Sounds from the Spires with Dr. Jennifer Pascual. In Russia, his organ work Ascent to Freedom was played by American virtuoso Mark Husey and the American Boychoir under the direction of Fernando Malvar-Ruiz. He also appears with his wife, clarinetist Kara Gretschel Clark, on the Cathedral Encores CD featuring the 1875 E. & G.G. Hook, opus 801, at the Cathedral of the Holy Cross. He also appears with trumpeter Richard Kelley in a recording of his Requiem pour une américaine à Paris. His liturgical, choral, and organ works are published by Lorenz/The Sacred Music Music Press, CanticaNOVA Publications, RJC Cecilia Music, Corpus Christi Watershed, and World Library Publications. Mæstro Clark is frequently chosen as presenter at international conferences such as the Sacred Music Symposium and the NPM Annual Convention.

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ORN in Greenwich Village, New York City, Mr. Clark grew up in Long Island at St. William the Abbott Parish. While studying as a chemistry major at New York University, he also studied piano and composition with Justin Dello Joio. He received his Bachelor’s Degree at the Berklee College of Music in 1991 where he studied jazz piano and composition. He studied organ with James David Christie. In 1997 he completed his Master of Music Degree from the Boston Conservatory, and was elected to the National Music Honor Society, Pi Kappa Lambda. He currently lives with his wife and four children in Milton, Massachusetts where they are parishioners at St. Agatha Parish. To reach Richard J. Clark via Email, please click here.

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

Filed Under: Articles, Biographies Tagged With: Catholic Composers Last Updated: August 20, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

Taking into account the “barrenness of the times” and the fact that Father Francisco Guerrero is scarcely able to feed his choirboys, the chapter decides (by a close vote) to give him money to buy new robes, surplices, and caps for his six young charges.

— Resolution: 14 February 1562

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