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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

Thank You, But Hold the Applause

Richard J. Clark · September 6, 2013

AM NOT SURE HOW AND WHEN it all began, but it has been increasingly common for congregations to applaud at the end of a recessional song or hymn. While this is a very well intended gesture of appreciation for the music ministers, it is indicative of both something right and something not entirely right. A close cousin of this is loud talking in the pews after (or before) mass while others are literally kneeling and trying mightily to pray.

Before I sound too grumpy, there are a few things here that are in the right direction and a few that are not. On the bright side, for someone who used to witness with regularity one third of the congregation disappearing after communion in order to beat the traffic, I am happy to see this practice becoming far less common than it was perhaps a decade or two ago. It is good that people are happy to be at church. It is a very good thing for people to form a close community. This cannot be overlooked with depressing statistics about declining mass attendance. (That is an issue for a dissertation, not a brief blog entry.)

But perhaps in part, the overall decline in mass attendance can be attributed to what is not quite right in this circumstance.

Pope Benedict XVI famously wrote:

“Wherever applause breaks out in the liturgy because of some human achievement, it is a sure sign that the essence of liturgy has totally disappeared and been replaced by a kind of religious entertainment. Such attractiveness fades quickly—it cannot compete in the market of leisure pursuits, incorporating as it increasingly does, various forms of religious titillation.” (The Spirit of the Liturgy, pg. 198-199)

Mass cannot, nor should not compete on a level of entertainment. “Such attractiveness fades quickly.” The mass brings something else entirely different. It is in our very human nature, the need to worship God. Our brains are wired for contemplation. It is within our very soul to connect with the divine. This desire and need is very human. Vatican II states:

“Christ indeed always associates the Church with Himself in this great work (of the liturgy) wherein God is perfectly glorified and men are sanctified. The Church is His beloved Bride who calls to her Lord, and through Him offers worship to the Eternal Father.”(Sacrosanctum Concillium §7)

Take the case of applause at the end of mass. Certainly, everyone understands the expression of such appreciation. However, quite interestingly, the more transformative the music, the less likely there will be applause. The more closely the music is connected with the liturgical action, the more it “adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites.” This is turn builds hearts, souls, minds, and a sense of close community.

At the end of a Recessional on Palm Sunday, it would seem very inappropriate to applaud or talk loudly after such a solemn occasion. This is because the people are filled with a deep interior silence that is moved by the transformative power of Jesus’ sacrifice for us all.

Speaking as a musician, it feels very uncomfortable to hear applause. If anything should be applauded, it should be the Eucharist and the Word. Of course, this is silly. As such, applauding music is just as silly. We don’t applaud the lectors or altar servers, greeters, or ushers, etc. Yet, they all serve an important ministry.

Finally, the best way to show appreciation for your music ministers is not through applause — for if there is applause, we have somehow failed to convey a sense of awe and reverence. For music ministers, there is no greater thrill than to hear a congregation singing with full hearts, minds and voices. Still, it is never about us.

Soli Deo gloria!
To God alone the Glory!

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

    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

“And thus, when we renounce for Thee | Its restless aims and fears, | The tender mem’ries of the past, | The hopes of coming years, | Poor is our sacrifice, whose eyes | Are lighted from above; | We offer what we cannot keep, | What we have ceased to love.”

— Blessed John Henry Cardinal Newman

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