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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

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)

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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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

Yet, with all its advantages, the new Missal was published as if it were a work put together by professors, not a phase in a continual growth process. Such a thing never happened before. It is absolutely contrary to the laws of liturgical growth, and it has resulted in the nonsensical notion that Trent and Pius V had “produced” a Missal four hundred years ago.

— Josef Cardinal Ratzinger (1986)

Recent Posts

  • 2-Voice Arr. • “Creator of the Starry Height”
  • PDF Download • Christmas Piece (SATB) — “Angels We Have Heard on High” with Text in Latin
  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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