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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

Begin From the Beginning—Interesting Things Will Happen

Richard J. Clark · June 28, 2013

EFORE ONE CAN EVEN BEGIN talking about music in the liturgy, one must understand something about the Sacred Liturgy itself. No conversation about liturgical music based on personal taste can yield much fruit without fundamental understanding of the purpose of the mass.

In his 1903 Motu Proprio, Tra le Sollecitudini (“Instruction on Sacred Music”) Pope Saint Pius X begins his “instruction” as he describes the overall purpose of the liturgy as “the glory of God and the sanctification, the edification of the faithful.”

Sacrosanctum Concilium echoes this statement in The Nature of the Sacred Liturgy and Its Importance in the Church’s Life: (§7) “Christ indeed always associates the Church with Himself in this great work wherein God is perfectly glorified and men are sanctified.”

Further echoing Saint Pius X: “For His humanity, united with the person of the Word, was in the instrument of our salvation…The wondrous redemption of the whole Church.” (Sacrosanctum Concillium, §5)

That the singularly most important purpose of the mass is to glorify God seems like something we could not possibly forget, yet it happens and sometimes quite frequently. It is easy to become too mindful of ourselves and of our own problems, or of our own importance in context of the liturgy. God already knows our most inner thoughts and needs, and certainly we must bring our prayers and petitions to God. But preoccupied self-absorption or self-importance (I am very guilty of this more than just occasionally!) distorts the nature of the Sacred Liturgy. Quite happily, focus on God alone points to the second part of Saint Pius X’s statement: “the edification and sanctification of the people.” God finds us and gives us the grace we need despite our sins and flaws.

Giving glory to God alone leads to our sanctification and edification! Singing God’s praises is necessary for personal and communal sanctification and edification.

Therefore, as a community joins together to praise God, something quite interesting happens: not only do individuals grow in faith, but also the community unifies and intensifies with greater strength than ever. In a sense, the “vertical” strengthens the “horizontal”. Ultimately, the goal of the community and of the whole Church is Christ-like living: Lex orandi, lex credendi, lex Vivendi – the law of prayer is the law of belief, which points to the law of how Christians must live. More simply put, the liturgy reminds us if we truly believe what we pray, we must respond to God’s call by that way that we live.

NOTHER IMPORTANT QUESTION about the liturgy was posed by Bishop Sample at the CMAA Sacred Music Colloquium. While the mass is a celebration, perhaps we must ask what it is we are celebrating. Is it a party? Is it a shared communal meal? Is it self-affirmation? These are not necessarily bad things, and in fact they can be quite good and helpful in the right context. But during the liturgy they distort what is essential for our souls: Jesus who died for us redeems us by His Body and Blood. We are a saved people! (This is why we celebrate Easter for 50 days after a Lenten preparation of 40 days.) That we are saved is all quite remarkable and joyful.

But our redemption is not possible without the Sacrifice of our Savior. We cannot sidestep nor gloss over the Sacrifice. Without Good Friday, there is no Easter Sunday. Without the dying, there is no rising. God alone is the center of our prayer. From this, flows our redemption.

Sacrosanctum Concillium (§5) furthermore states under The Nature of the Sacred Liturgy and Its Importance in the Church’s Life, “For His humanity, united with the person of the Word, was in the instrument of our salvation…The wondrous redemption of the whole Church.”

OK, we may know all of this already. But it is remarkable that we may joyfully embrace in our hearts our redemption through Christ’s Sacrifice. This is what we celebrate every Sunday and every day at every mass! In the words of the anamnesis: “Save us, Savior of the world, that by your cross and Resurrection, you have set us free.”

Sacrosanctum Concillium (§2): “For the liturgy, ‘through which the work of our redemption is accomplished.’ (Secret of the ninth Sunday after Pentecost) most of all in the divine sacrifice of the Eucharist, is the outstanding means by whereby the faithful may express in their lives, and manifest to others, the mystery of Christ and the real nature of the true Church.”

As we are united in the Eucharist, in Christ’s loving act of self-sacrifice is this not worthy of joyful praise of God and God alone?

I have not even begun to speak of music at liturgy, music worthy of praising the God who loves us to the point of death on a cross. Where will this understanding lead us in our sacred music? Interesting things happen in our lives when we worship God.

So, perhaps this discussion on music for the Sacred Liturgy must begin from the beginning:
Soli Deo Gloria! Give glory to God alone!

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

Filed Under: Articles Last Updated: January 1, 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

    Which Mass?
    In 1905, when the Vatican Commission on Gregorian Chant began publishing the EDITIO VATICANA—still the Church’s official edition— they assigned different Masses to different types of feasts. However, they were careful to add a note (which began with the words “Qualislibet cantus hujus Ordinarii…”) making clear “chants from one Mass may be used together with those from others.” Sadly, I sometimes worked for TLM priests who weren’t fluent in Latin. As a result, they stubbornly insisted Mass settings were ‘assigned’ to different feasts and seasons (which is false). To understand the great variety, one should examine the 1904 KYRIALE of Dr. Peter Wagner. One should also look through Dom Mocquereau’s Liber Usualis (1904), in which the Masses are all mixed up. For instance, Gloria II in his book ended up being moved to the ‘ad libitum’ appendix in the EDITIO VATICANA.
    —Jeff Ostrowski
    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“Unfortunately there are few organists or singers nowadays whose knowledge of Latin is sufficient to enable them to follow easily the meaning of the liturgical texts.”

— Monsignor Charles E. Spence (18 Dec. 1952)

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